The real charm of Byways isn’t playing spot-the-location as Deakins dabbles between takes, but the window it opens onto his youthful eye. You can trace his drive from an early age to catch the light at its best - or wait for it - all night if necessary. - The Telegraph
…his first monograph, Byways, looks not to his revered cinematography career, but his decades-long habit of taking still photographs. Among them are breathtaking landscapes and moments of stillness, interspersed with photographs imbued with wit thanks to the playful possibilities of scale, framing and timing. It’s the kind of dry humour that sits passers by in conversation with monuments and miscellaneous objects in the street, or captures a canine rendition of Cartier-Bresson’s seminal image Behind The Gare Saint-Lazare. - Creative Review
Candid close-ups, wide-angle landscapes, and dynamic long exposures, his monochrome photographs display a variety of approaches and techniques, yet first and foremost, testify to the remarkably perceptive artistic gaze that has seen him nominated for an Oscar on fifteen separate occasions (winning twice). Thoughtful, poetic, and profoundly arresting, they display his distinct enigmatic sensibility, and presented for the most part with little or no information or context (index aside) form a compelling visual soliloquy that conveys with great eloquence, the profound power of the still image. The Independent Photographer
An intimate introduction to the man behind the lens - The Times
Portraits and landscapes from the cinematographer famed for his work with Sam Mendes and the Coen brothers
This is the first monograph by the legendary Oscar-winning cinematographer Sir Roger Deakins, best known for his collaborations with directors such as the Coen brothers, Sam Mendes and Denis Villeneuve. It includes previously unpublished black-and-white photographs spanning five decades, from 1971 to the present. After graduating from college Deakins spent a year photographing life in rural North Devon, in South West 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, 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.
