![]() I then went to college at Corsham Bath Academy of Art, and that was probably the best decision for me. I went to art college, which is probably what you do, or what you did back then, when you didn’t know what else to do. I wanted to get away, and I didn’t know what to do with my life. ![]() I mean, my childhood was mixed because I really love the outside – I love walking, I love fishing, and I loved that aspect of it as a kid – but I wasn’t happy. Below, I chat to Roger to learn more about the relationship between both mediums, his love of the British seaside and why, in utter modesty, he still refuses to call himself as a photographer: “I just sometimes feel a bit embarrassed – these are just little images taken over the years.” On a train returning from a day of shooting for ‘The Reader’, Germany, 2007 © Roger Deakinsįrustrating. Idly wandering with a camera in tow, Roger would find purpose in his solitary walks amongst the farms, trees and the nature-rich countryside, often returning again and again to the coastlines of Paignton, Teignmouth and Torquay – the latter a place in which he still calls home, despite mostly residing in Santa Monica with his wife and collaborator, James. Perhaps an unsurprising pairing, Roger has spent a life documenting his surroundings in rural North Devon, which has now been compiled into his first monograph titled Byways, published by Damiani and featuring a collection of previously unseen, black and white still photography. But how many know of his photography pursuits? Revered for his cinematography work on films such as Sicario, The Shawshank Redemption, 1917, Fargo, No Country for Old Men and many (countless) more, he’s become a master of remarkable, boundary-pushing imagery. The acclaimed cinematographer publishes his first monograph, a documentation of rural life in Devon shot over four decades Before the children take over, Weston – Super – Mare, 2019 © Roger Deakins
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