Daylight Robbery (B&W) | David Yarrow

Daylight Robbery (B&W)

Bryson City, North Carolina – 2025

“A year ago, in October, we filmed in this same field in North Carolina with the same train and the end photograph worked well. There are inherent dangers in returning to the same location if the narrative has not evolved, but at least we had a good year to think about it. If we revisit somewhere, my goals tend to be loftier than before, as we never want to regress creatively.

The first alteration we made was to embrace the colors of the fall and this meant waiting for the first overnight frosts to golden the trees and give our backdrop some proper seasonal glory. So we planned our trip to the Smoky Mountains at the end of October, rather than the middle; we all know 10 days can make a huge difference in the colors of the fall.

It was wet, cold and a bit bleak but that is more appropriate weather for the scenes we were shooting than balmy sunshine. Flat light can be a photographer’s great friend in scenes like this, so long as the rain holds off.

The second addition was to bring in a horse and rider to run alongside the steam train. This is not a job for part time cowboys as the steam and the smoke from the train are uncertain variables for a horse. Ty Mitchell is an old hand at this kind of stuff; Martin Scorsese cast him as the bad guy in Killers of the Flower Moon and he is certainly a bad ass dude.

Ty is as good and game as they come, but even he fell off his horse shooting this sequence; the first time I have seen him do that in our six-year friendship. Huge respect to him for just getting up and giving it another go.

The result is a strong picture with enough layers to tell a full story. I had props at my disposal for the concept to have potential, but the execution here was a little harder than most. But all you need is one good cowboy and one good frame, and eventually we got it.”

-David Yarrow

AVAILABLE SIZES:

LARGE: Edition of 12 + 3 AP
  • Image Size: 56" x 103" in (142.24 cm × 261.62 cm)
  • Framed Image: 71" x 118" in (180.34 cm × 299.72 cm)
STANDARD: Edition of 12 + 3 AP
  • Image Size: 37" x 68" in (93.98 cm × 172.72 cm)
  • Framed Image: 52" x 83" in (132.08 cm × 210.82 cm)

We ship worldwide and use a multitude of providers to safely deliver your masterpiece. Domestic delivery and installation may also be available via Hilton Asmus Contemporary’s private art shuttle. Please inquire.


    Daylight Robbery (Colour) | David Yarrow

    Daylight Robbery (Colour)

    Bryson City, North Carolina – 2025

    “A year ago, in October, we filmed in this same field in North Carolina with the same train and the end photograph worked well. There are inherent dangers in returning to the same location if the narrative has not evolved, but at least we had a good year to think about it. If we revisit somewhere, my goals tend to be loftier than before, as we never want to regress creatively.

    The first alteration we made was to embrace the colors of the fall and this meant waiting for the first overnight frosts to golden the trees and give our backdrop some proper seasonal glory. So we planned our trip to the Smoky Mountains at the end of October, rather than the middle; we all know 10 days can make a huge difference in the colors of the fall.

    It was wet, cold and a bit bleak but that is more appropriate weather for the scenes we were shooting than balmy sunshine. Flat light can be a photographer’s great friend in scenes like this, so long as the rain holds off.

    The second addition was to bring in a horse and rider to run alongside the steam train. This is not a job for part time cowboys as the steam and the smoke from the train are uncertain variables for a horse. Ty Mitchell is an old hand at this kind of stuff; Martin Scorsese cast him as the bad guy in Killers of the Flower Moon and he is certainly a bad ass dude.

    Ty is as good and game as they come, but even he fell off his horse shooting this sequence; the first time I have seen him do that in our six-year friendship. Huge respect to him for just getting up and giving it another go.

    The result is a strong picture with enough layers to tell a full story. I had props at my disposal for the concept to have potential, but the execution here was a little harder than most. But all you need is one good cowboy and one good frame, and eventually we got it.”

    -David Yarrow

    AVAILABLE SIZES:

    LARGE: Edition of 12 + 3 AP
    • Image Size: 56" x 103" in (142.24 cm × 261.62 cm)
    • Framed Image: 71" x 118" in (180.34 cm × 299.72 cm)
    STANDARD: Edition of 12 + 3 AP
    • Image Size: 37" x 68" in (93.98 cm × 172.72 cm)
    • Framed Image: 52" x 83" in (132.08 cm × 210.82 cm)

    We ship worldwide and use a multitude of providers to safely deliver your masterpiece. Domestic delivery and installation may also be available via Hilton Asmus Contemporary’s private art shuttle. Please inquire.


      Bad Asses II | David Yarrow

      Bad Asses II (Colour)

      Kanaan Desert, Namibia – 2024

      “This photograph has been in my head for many years. We have taken our fair share of bad ass pictures of girls in cars in America, but I always wanted to extend my reach to Africa and introduce a Mad Max type narrative. Rather than working in the mountains with snow, as we often do, it was time to work in the desert with sand.

      I knew my girl for the shot – Cara Delevingne – and I knew that the hugely respected Naankuse Sanctuary in Namibia often work their cheetahs with film crews, and then I also knew the Kanaan desert well. But I needed a central prop to hold the whole idea together. I needed something of substance.

      I had long deliberated over building a bar marooned in the middle of the desert. Not just a two-dimensional facade of a bar, but an actual functioning bar, with lights, cooling machines and entertainment.

      I confess that there was quite a bit of talking to myself about the risk reward ratio and I became all to mindful of Walt Disney’s famous advice of “stop talking and start doing”. I like to have creative courage and be bold.

      So, I threw my fears away and we built our bar in the desert. It is so damn good that we are going to keep it there for tourists to visit and perhaps have a cold Namibian lager. It was not a small building job and six lorries full of wood and corrugated iron made the eight-hour trip south from Windhoek. I have never worked with a more willing bunch of people in my life than the Namibian production team and they had earned the right to be very proud of The Desert Inn.

      In a tableau photograph like this, I want to be greedy and broaden the story: the barman and the bushman on the far right are the little details that help. Cara looks sensational and, of course, that split second pose from the cheetah makes the photograph what it is.

      It is a bad ass shot for sure and it is also a bad ass bar.”

      -David Yarrow

      AVAILABLE SIZES:

      LARGE: Edition of 20, 3 AP, 1 EP
      • Image Size: 49" x 103" in (124.46 cm × 261.62 cm)
      • Framed Image: 64" x 118" in (162.56 cm × 299.72 cm)
      STANDARD: Edition of 20, 3 AP, 1 EP
      • Image Size: 37" x 78” in (93.98 cm × 198.12 cm)
      • Framed Image: 52" x 93" in (132.08 cm × 236.22 cm)

      We ship worldwide and use a multitude of providers to safely deliver your masterpiece. Domestic delivery and installation may also be available via Hilton Asmus Contemporary’s private art shuttle. Please inquire.


        The Bills (Colour) | David Yarrow

        The Bills (Colour)

        The Flying D Ranch, Montana – 2021

        The concept of this photograph has been on my wish list for many years. A group of male bison charging through heavy snow, directly towards a camera is certainly a rare sight and it always seemed a bridge too far from almost every perspective. The question has always been where and how could this epic scene unfold in front of a camera?

        Yellowstone National Park was never going to be the answer. This sort of collective behaviour does not tend to happen in the park and if it did, there would be zero chance of being in the right place at the right time to film it. It is difficult to break new ground in Yellowstone.

        In 2020 an American artist, John Banovich, an exceptional talent and good friend, suggested that I approach Ted Turner to see if I could gain access to his stunning 180 square mile ranch – Flying D – saddling Yellowstone and neighbouring Big Sky. This remarkable place is nine times the size of Manhattan and showcases Montana at its most stunning best.

        John’s wonderful painting of a group of running bison adorns the wall of the main reception of the exclusive Yellowstone Club and he took his inspiration from spending time at Ted Turner’s ranch. I recognised that this was a link worth pursuing. Flatteringly, a few months after my initial approach, the Turner team agreed to collaborate in the hope that we could raise money for Ted’s conservation initiatives.

        Ted Turner is one of America’s biggest landowners and also one of its most acclaimed conservationists and he reintroduced both bison and wolves into Flying D, one of his three Montana ranches. In mid-winter, his team of ranchers will herd some of the 5,000-resident bison into areas where feeding is easier and this controlled activity creates an opportunity to work a situation. Just like cowboys herding their cattle in Texas, the skill sets of the Turner ranchers in deep snow are a privilege to watch.

        The difficulty is that bison in this vast ranch are more skittish of humans on foot than their Yellowstone cousins, who see thousands of tourists every day. I therefore needed either to be camouflaged or out of sight as they made haste in my direction. Luckily the Flying D team knew of a group of rocks behind which I would be obscured from the bison’s line of sight.

        After many a failure, and some adjustments to the approach, one gorgeous winter morning in February, we achieved what we set out to do. It was a real team effort and I want to thank John Banovich and the whole Turner Corporation team at the Flying D.”

        – David Yarrow

        AVAILABLE SIZES:

        LARGE: Edition of 12 + 3 AP
        • Image Size: 37” x 100” in (93.98 cm × 254 cm)
        • Framed Image: 52" x 115" in (132.08 cm × 292.1 cm)
        STANDARD: Edition of 12 + 3 AP
        • Image Size: 25” x 67” in (63.5 cm × 170.18 cm)
        • Framed Image: 40” x 82” in (101.6 cm × 208.28 cm)

        We ship worldwide and use a multitude of providers to safely deliver your masterpiece. Domestic delivery and installation may also be available via Hilton Asmus Contemporary’s private art shuttle. Please inquire.


          Twin Peaks (Colour)

          Twin Peaks (Colour)

          Jackson Hole, Wyoming – 2025

          Archival Pigment Print

          “I want to thank American supermodel – Brooks Nader – for playing to my narrative that freezing January morning beneath the Tetons. She is very game; in fact, she may well serve as my enabler. Not many girls we work with could pull off that look in those temperatures. The Devil may well wear Prada, but Brooks wears very little, even when it is hellishly cold.

          If the town of Zermatt in Switzerland has the Matterhorn, then Jackson Hole has the Tetons. Both communities stand guarded by Twin Peaks mountains so dramatically grand that there is an extra sense of excitement on arrival. To land at Jackson Hole airport on a clear day is a thrill, even for the most travel weary of passengers; there is as pronounced a visual overload as there is at any airport in America. When I think about the town of Jackson, I find it impossible not to think about the Tetons. To me they are coupled at the hip.

          Grand Teton, at 13,775 feet, is the highest point of the Teton Range and it rises steeply from the valley floor 7,000 feet below. The amphitheatre has offered a great canvas for photographers to tell stories since the invention of the camera and we always work here fully aware that we are on well-trodden ground.

          This January morning we brought a cocktail of props to the Tetons, including a rather special Ford Bronco. But there is a need to work quickly; as soon as the sun gains some height and strength, the light becomes a little harsh for me. The window is no more than 15 minutes and I think we were home in Jackson for breakfast by 9 am.”

          -David Yarrow

          Available sizes

          Large: Edition of 12 + 3 AP

          • Image Size: 56″ x 75″ in (142 x 191 cm)
          • Framed Image: 71″ x 90″ in (180 x 229 cm)

          Standard: Edition of 12 + 3 AP

          • Image Size: 37″ x 50″ in (94 x 127 cm)
          • Framed Image: 52″ x 65″ in (132 x 165 cm)

          We ship worldwide and use a multitude of providers to safely deliver your masterpiece. Domestic delivery and installation may also be available via Hilton Asmus Contemporary’s private art shuttle. Please inquire.


            David_Yarrow_The_Statesman_Hilton_Asmus_Contemporary

            Polar Bears


            David_Yarrow_Chicago_Bear_Hilton_Asmus_Contemporary

            Chicago Bear

            Chicago, USA – 2019

            Archival Pigment Print

            Standard: Edition of 12 + 3 APs
            • Image Size: 37” x 41" in (93.98 × 104.14 cm)
            • Framed Size: 48” x 52” (121.9 × 132.1 cm)

             

            Large: Edition of 12 + 3 APs

            • Image Size: 56” x 63.5" in (142.2 × 161.3 cm)
            • Framed Size: 67” x 74.5" in (170.2 × 189.2 cm)

            We ship worldwide and use a multitude of providers to safely deliver your artwork. Domestic delivery and installation may also be available via Hilton Contemporary’s private art shuttle. Please inquire.


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