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Highlights
- Portraits and landscapes from the cinematographer famed for his work with Sam Mendes and the Coen brothersThis is the first monograph by the legendary Oscar-winning cinematographer Sir Roger A. Deakins (born 1949), best known for his collaborations with directors such as the Coen brothers, Sam Mendes and Denis Villeneuve.
- 168 Pages
- Photography, Individual Photographers
Description
Book Synopsis
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 A. Deakins (born 1949), 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 It includes previously unpublished black-and-white photographs spanning five decades, from 1971 to the present.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 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.
Review Quotes
Attests to a keenly ironic English sensibility, and also serves as a record of a time and place of vanished post-war Britain.-- "L'Oeil de la Photographie"
His command of light and eye for composition is as evident in his snapshots as it is in his cinematography.--Chris Lindahl "Indiewire"
Quintessentially poignant in grainy shades of greys, Deakins' photography evokes a simultaneous sensibility of dreamy surrealism and hardened human nature.--Sunny Sunday "Provokr"
He has a real knack for situating people or other objects (like the crosses in that image) within space. It's meant as a compliment to both Deakins the photographer and Deakins the cinematographer to say that so many of these images could be mistaken for film stills.--Mark Feeney "Boston Globe"
It may be the purest distillation of Deakins's vision--stark, plaintive, and reverent of land and light--we ever get.--Taylor Dafoe "Artnet"