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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 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 It includes previously unpublished black-and-white photographs spanning five decades, from 1971 to the present.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.
In Backroads, New Jersey, Di Ionno leads readers off the congested interstates with their commonplace scenery to the seldom-explored secondary roads, where the real life of the state can be found. These inter-county or 500 series roads are a 6,788-mile network of mostly one-lane highways. Marked by blue-and-yellow five-sided shields bearing county names, they make up more than 20 percent of New Jersey's public roads. They are never the fastest or most direct way to get anywhere, but when you break out of the towns and hit the country, they are a pleasure to drive.
This stunning photographic essay opens a new frontier for readers to explore through words and images. Microbial studies have clarified life’s origins on Earth, explained the functioning of ecosystems, and improved both crop yields and human health. Scott Chimileski and Roberto Kolter are expert guides to an invisible world waiting in plain sight.
Reprint of the original, first published in 1875.
When Donald Justice wrote in "On a Picture by Burchfield" that "art keeps long hours," he might have been describing his own life. Although he early on struggled to find a balance between his life and art, the latter became a way of experiencing his life more deeply. He found meaning in human experience by applying traditional religious language to his artistic vocation. Central to his work was the translation of the language of devotion to a learned American vernacular. Art not only provided him with a wealth of intrinsically worthwhile experiences but also granted rich and nuanced ways of experiencing, understanding, and being in the world. For Donald Justice--recipient of some of poetry's highest laurels, including the Pulitzer Prize, the Bollingen Prize, and the Lannan Literary Award for Poetry--art was a way of life. Because Jerry Harp was Justice's student, his personal knowledge of his subject--combined with his deep understanding of Justice's oeuvre--works to remarkable advantage in For Us, What Music? Harp reads with keen intelligence, placing each poem within the precise historical moment it was written and locating it in the context of the literary tradition within which Justice worked. Throughout the text runs the narrative of Justice's life, tying together the poems and informing Harp's interpretation of them. For Us, What Music? grants readers a remarkable understanding of one of America's greatest poets.