BYWAYS. Photographs by Roger A Deakins

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I’ve always selected as I’ve gone along over the years. I’ve never really kept a huge number of negatives. I don’t take too many shots. I rarely take a shot unless I’m really confident there’s something there. I’ve been quite selective as I’ve gone along.

Roger has always thought about doing it – and he had finally has! He is publishing a book of his still photography. He has rarely shown his still work. I can’t say anything is important about street photography,” says the photographer. “Whatever is important to one person may be of no consequence to another. That is what makes the photographic image interesting. We all have a different ‘eye.’ Carnival lights, Hatherleigh, 1971 A Break in the clouds, South Hams, 2015 At his exhibition at the Peter Fetterman Gallery in Santa Monica, he says of that print, “I remember when my brother took me to the fairground where I grew up in Torquay; you could go in and join the boxing — they would call for somebody in the audience to come up and attempt to outbox their main guy. There was a bearded lady, there was the sheep with the two heads and strip shows.” I simply use a still camera to record an image of a location or a set so that I can then use it as a reference,” he says. “These photos … are only spacial references [and not to examine the lighting].”Deakins spoke to IndieWire about his photography in an interview published below, lightly edited for length and clarity. Although Deakins has published Byways, a collection of his 50 years of street photography , he has no secret sauce on the subject. Deakins, knighted in 2013 for his service to film, is not much of a gearhead who desires the latest and greatest features in his cameras. You can create an image in any way you want,” he says. “The subject and the framing are more important than the means of capture.”

Most are actually scanned prints. I make quite large prints and just scan them. I found that gave me better quality than scanning the negative. That you don’t really see the joins in the enterprise is credit to Barkham’s skill as a writer, but also as an organiser of content. The story here is largely chronological, but the way it is told, the movement between the jagged present tense of the journals, the more meditative reflectiveness of the notebooks written late in life and the wistful reminiscences of friends lends the whole endeavour a sense of multidimensional dynamism. Laing, Olivia (16 November 2008). "Review: Notes From Walnut Tree Farm by Roger Deakin". The Observer– via www.theguardian.com.Deakins (born 1949) has spent much of his career encircled by film sets. He finds working on movies as a cinematographer to be stressful. This demanding environment does not get any better with experience, involving collaboration and coordination with the director, actors, and various crew. They are very different ways of seeing,” he clarifies. “My still photographs are my personal sketches that either stand or fall on their own. What I do as a cinematographer is so very different.” The B&W Photographs He also has a podcast called Team Deakins. It's a weekly show he does with his wife James about cinematography, the film business and whatever other questions listeners submit to the show. James [his wife] and I really didn’t want to do anything that was about movies. That’s why it was hard to get it published. They wanted that book, they wanted a behind-the-scenes book. This is not that. This is something that was very personal to me — it’s like my sketchbook.

a b c d e "Archives of environmentalist Roger Deakin given to university". Guardian. 8 May 2010 . Retrieved 19 September 2012. Deakin married Jenny Hind in 1973 with whom he had a son, Rufus, before the marriage was dissolved in 1982. [1] Deakin died, aged 63, in Mellis, Suffolk. He had been diagnosed with a brain tumour only four months previously. It may sound strange, but I consider my film and my photography work to be completely independent from each other. Certain preferences in composition probably exist across both, but I don’t feel they feed into each other. They’re quite separate disciplines. I’m much more influenced by photographers and painters than film-makers. I study the work of other cinematographers, of course, but there’s something unique about a still image that speaks to me more than any other visual language. About the author: Phil Mistry is a photographer and teacher based in Atlanta, GA. He started one of the first digital camera classes in New York City at The International Center of Photography in the 90s. He was the director and teacher for Sony/Popular Photography magazine’s Digital Days Workshops. You can reach him here. It’s more the instinct of the moment than generally on a movie,” Deakins says. “On movies, you still need to be instinctive and reactive to what actors do and everything else that happens on the day. But these are very much just me walking around.”

Color can be pleasing and vibrant and be about nothing but itself. It can complicate an image, and I am always striving for simplicity. The DP had initially been interested in documentary photography, so he worked on the same genre of documentaries as a budding cinematographer. Some directors asked him to work on fiction films and he gladly obliged. When no more work was found in London, he landed a movie in the US. Next, he was approached by the Coen Brothers ( Fargo, The Big Lebowski, O Brother, Where Art Thou?, No Country for Old Men), and the rest, as they say, is history. Recruiting Booth, Devon County Show, Whipton, 1972