Roger Deakins is best known as one of the most celebrated cinematographers working today, with a filmography that includes 1917, Blade Runner 2049, multiple Coen Brothers classics like No Country for Old Men, O Brother, Where Art Thou?, and A Serious Man, as well as his work on Skyfall, often considered one of the best James Bond films ever made. Directors have long trusted him to deliver striking, memorable images, and time and again he’s proven himself as a master of cinematic storytelling. Yet beyond his iconic film work, Deakins has spent years quietly creating still photographs—images that often stand in stark contrast to his movies while revealing another side to his visual sensibility.
Finding Photography
Deakins’ love for photography began during his time at Bath Academy of Art. He recalls developing “a passion for capturing images through a lens rather than with a brush, ” spending weekends exploring Bristol’s streets or sleeping on beaches to catch the early light. Originally dreaming of becoming a photographer, his path shifted when he learned the National Film School would open in 1971. His first application was rejected, but he persisted, strengthening his portfolio by photographing life in North Devon. This experience documenting rural life played a crucial role in shaping his documentary instincts and helped secure his place at the school - a decision that would lead to a career spanning over 70 feature films.
Collaboration vs. Independence
The collaborative nature of filmmaking contrasts sharply with the independence of photography. On Blade Runner 2049, Deakins worked closely with production designer Dennis Gassner to integrate lighting into the sets, drawing from influences like brutalist London architecture, photographs of Sydney during a dust storm, and countless online references. Cinematography demands coordination with designers, directors, and crew, while photography offers him a solitary, meditative process. He often spends hours walking, observing, and sometimes returning home without taking a single frame - valuing the search for images as much as capturing them.
Deakins views his photography as a personal sketchbook rather than a professional pursuit. Influenced by Alfred Stieglitz, Henri Cartier-Bresson, and Bill Brandt, he sees still photography as “more personal than cinematography,” but also more exposing: “You’re the only one to blame if your photos turn out badly.”
The Role of Location
Whether in stills or motion, Deakins’ work often revolves around solitude, silence, and isolation. His photographs frequently depict vast, sparsely populated landscapes, echoing themes present in films like No Country for Old Men. For that film, location was integral - Joel and Ethan Coen scouted Texas and New Mexico to find environments that matched the novel’s tone. Deakins says the landscape becomes a character in itself, shaping the mood and influencing the actions of the story’s inhabitants.
Color vs. Black & White
While many of his films—Blade Runner 2049, Kundun, Skyfall - are celebrated for their use ofcolor, Deakins’ still photography is exclusively black and white. He admits he “can’t get [his] head around shooting color,” finding it distracting and preferring the simplicity and focus that monochrome offers. For him, black and white emphasizes shape, form, and composition. Yet in cinema, he wields color masterfully - O Brother, Where Art Thou?, for instance, became the first live-action film extensively color-corrected via computer, giving it a dreamlike sepia tint.
Film vs. Digital
In cinematography, Deakins has embraced digital technology for its immediacy, the ability to review shots on set, and the assurance it gives during production. Still photography, however, remains a film-only practice for him. He finds that shooting film forces a slower, more selective approach, avoiding the overload of images that digital can encourage. This deliberate pace mirrors his belief in capturing only the essential angles in filmmaking - one shot that tells the story, rather than coverage from every direction.
Photography vs. Cinematography
Deakins sees photography as a way to relax, explore, and observe, without the teamwork and logistics of filmmaking. “Photographs are personal to me… they’re just like sketches.” Composition and light are at the core of both crafts, but beyond that, he treats them as separate worlds - cinema being collaborative storytelling, photography being a private dialogue between the photographer and the world.
Ultimately, Deakins’ still images carry a quiet intimacy distinct from his sweeping cinematic work. They’re stripped of the elaborate color palettes, production design, and collaborative influence of film, yet they share the same precision in framing and attention to light. His career proves that mastery in one visual medium can inform and enrich another, even when the results feel worlds apart.
