If there’s beauty in this darkness, McCullin makes it hard to see. You think, too, of McCullin standing there, looking at the scene. The conflict pictures have a sense of speed that McCullin’s work since could never have. Alongside the ancient ruin photographs and the still lifes McCullin makes in his garden shed, these landscapes are intended, perhaps, as a reprieve for the viewer, and for McCullin himself. But it shows that it is in proximity to devastation and death that McCullin’s work feels most alive.