¿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includes previously unpublished black-and-white photographs spanning five decades from 1971 to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.
