Roger Deakins is publishing a deluxe book of his… | Little White Lies

Incoming

Roger Deakins is pub­lish­ing a deluxe book of his photography

06 Jul 2021

Words by Charles Bramesco

Two men, one with a beard using a video camera, the other man standing beside him.
Two men, one with a beard using a video camera, the other man standing beside him.
Byways’ will cov­er five decades of pho­tographs from the Acad­e­my Award-win­ning DoP.

There’s no cur­rent­ly work­ing cin­e­matog­ra­ph­er as accom­plished or pop­u­lar as Roger Deakins, a minor celebri­ty in his own right for his high-pro­file col­lab­o­ra­tions with the Coen broth­ers, Denis Vil­leneuve, and Sam Mendes. He’s been keep­ing busy as of late with his shop-talk pod­cast, and today brings the news that he’ll expand into the world of print media as well with his next venture.

The Deakins Archives Twit­ter account has announced that Ital­ian art book pub­lish­er Dami­ani will part­ner with Deakins on a new mono­graph titled Byways’, col­lect­ing 50 years of still pho­tog­ra­phy work from the mov­ing-pic­ture mas­ter. The upcom­ing release will hit the UK come August, and then US mar­kets lat­er in the fall.

Over five decades of jobs and life, Deakins has amassed a stag­ger­ing back­log of both casu­al snap­shots and care­ful­ly com­posed art­works, dat­ing back to his post-grad­u­ate years. The publisher’s includ­ed descrip­tion gets into fin­er detail on the tra­jec­to­ry of Deakins’ career, divid­ed into phas­es orga­nized around a com­mon theme:

After grad­u­at­ing from col­lege Deakins spent a year pho­tograph­ing life in rur­al North Devon, in South­west Eng­land, on a com­mis­sion for the Beaford Arts Cen­tre; these images are gath­ered here for the first time and attest to a keen­ly iron­ic Eng­lish sen­si­bil­i­ty, while also doc­u­ment­ing a van­ished post­war Britain. A sec­ond suite of images express­es Deakins’ love of the sea­side. Trav­el­ing for his cin­e­mat­ic work has allowed Deakins to pho­to­graph land­scapes all over the world; in this third group of images, that same irony remains evident.”

Devo­tees of Deakins may be some­what dis­ap­point­ed to find that the book doesn’t include so much behind-the-scenes tid­bits from the notable film sets he’s worked on, erring more on the side of orig­i­nal inde­pen­dent work. All the same, it pro­vides an inti­mate view through the eye of a peer­less image con­struc­tor, show­ing us how he sees the world in his inim­itable way.

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