![]() ![]() I’ve never really kept a huge number of negatives. I’ve always selected as I’ve gone along over the years. I found that gave me better quality than scanning the negative. I make quite large prints and just scan them. What was your process of choosing which photos to include in the book? How do you have your work stored? I used to shoot black and white film, now I shoot a color file and use Photoshop. I think there’s very few still photographers who can work in color. I think color can be a distraction - it certainly can be in cinema, in films. I see in black and white, in some strange way. The photos in “Byways” are all black and white. There’s some sense of humor in the photos I take. Photographs are personal to me, they’re just like sketches. I like working on film because I like the camaraderie: I like working with a director, I like working on something that’s part of more than just me. I like exploring different places, I like very much exploring the same places. But other than that, I don’t think there’s any connection for me. Anything you do creating images, it’s about composition and light within the frame. ![]() Roger Deakins: People try and relate the two, but I’m not sure they are. IndieWire: How do you approach your cinematography work and how does that differ from the approach you take with your personal photography? He’s long since transitioned to digital, but some of his early inclinations still stick.ĭeakins spoke to IndieWire about his photography in an interview published below, lightly edited for length and clarity. His preference then, before the advent of digital cameras, was to shoot black and white film he would process the negatives himself in a darkroom set up in the basement of his Santa Monica home. The photos published in the book date back to the 1970s. However ‘Succession’ Ends, We Already Know How It Will Feel ![]()
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