![]() ![]() ![]() He confesses it’s taken him years to gain any fondness for colour in the static medium. Stills photography exercises a different muscle from Deakins’s work in film. “I was probably there for an hour while it rained, thinking, maybe I’ll get lucky.” One similarly serendipitous frame, taken in the New Mexico desert while he was shooting Sicario, captures a vertical bolt of lightning striking a remote bar. There’s a lovely shot of a dog looking quizzically to camera mid-flight, as it jumps down several feet from a promenade. Several dozen of the book’s 157 images take in the sea air, their focus on pierside pleasure-seeking in the towns where he grew up. I guess I was always too busy on movies.” “I’d always wanted to do a series on the English seaside, especially down in Devon – my homeland,” Deakins says. But the majority of these shots are unpretentious moments of street life, stolen at a carnival in the 1970s or during a downpour on the beach. You may recognise the misty Scottish glens from Skyfall, and if not, Bond’s Aston Martin is a bit of a giveaway. A handful of images come from Deakins’s downtime on film shoots, too. Out this month, Byways features black-and-white shots going right back to his teenage years roving the landscapes of north Devon. Knighted this year for his services to film, he has five Baftas, and – after an unlucky run of 13 unsuccessful Academy Award nominations – broke his Oscar duck by picking up two in a row, for the blazing, sand-swept futuristic vision of Denis Villeneuve’s Blade Runner 2049 (2017) and the ultra-long-take showmanship of Sam Mendes’s 1917 (2019).Īt 72, Deakins is still prolific – at least, either side of last year’s Covid-induced shutdown of film production, during which (from the Torquay home he shares with his wife, James) he fulfilled a decades-long ambition to put together a book of his photographs. Roger Deakins is surely the world’s most celebrated living cinematographer. ![]()
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