# @team.deakins on Instagram

- **Type:** Image
- **Original URL:** https://www.instagram.com/p/CisxeCXPNjq
- **Gondola URL:** https://gondola.cc/posts/18217675-teamdeakins-instagram
- **Thumbnail:** https://img.gondola.cc/tr:w-,h-,fo-auto/thumbnails/2e65605831.jpg
- **Posted:** 2022-09-19T19:11:43.000+00:00
- **Account Owner:** Team Deakins (@team.deakins) — https://gondola.cc/team.deakins

## Caption

#Repost odtakeovers
・・・
So today we are excited to start a week-long takeover with the former Editor-in-Chief of LIFE magazine and, later, of LIFE.com, Bill Shapiro (billshapiro). He edits photo books, writes about photography, and curates a brilliant weekly "Meet This Photographer" series on his feed every Friday. This takeover will include some of our favourites from that archive. We hope you enjoy his introductions.

Meet This Photographer… Roger Deakins (team.deakins)

Roger is the legendary cinematographer behind The Shawshank Redemption, Unbroken, Skyfall, Blade Runner 2049, and many more. At the age of 72, he has just published “Byways,” his first book of photography. Turns out, he’s been shooting stills for more than 50 years: Before he picked up a movie camera, Roger’s dream “was that I might find a career as a photographer.” And, indeed, he worked for nearly a year as a local shooter in the southwest of England.

The images included in “Byways” tilts to those humble beginnings, with pictures of kids mesmerized by carnival lights and a fleet-footed farmer chasing his sheep. When I asked Roger what sort of moment inspires him to lift his camera, he told me that he’s “drawn to images that are both simple and composed of few elements… I try to find some humor and irony in the images I take. I feel they succeed best,” he added, “when there are conflicting ideas within the frame.” I like that.

Roger uses his camera for his films—“Byways” includes location-scouting shots for “Sicario,” the gritty cartel movie, and reference photos of otherworldly landscapes for “How to Train Your Dragon”—but now it’s more for escape and meditation. In his day job, he told me, “I am working to a script as it is envisioned by a director and in collaboration with dozens of other crew members. But my still photographs are far more personal.” So after a day on the set, he shoulders his camera and goes walking: “I like to observe, to exercise my eye. Even if [I’m] only looking and never take a single picture, I feel I am better prepared for the next time.”

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