The Italian Job
Procida, Italy – 2025
Archival Pigment Print
In Roman times, the island of Procida, in the Bay of Naples, became a renowned resort for the patrician class of Rome. Over time, however, industry replaced leisure and Procida became a shipbuilding hub and, at one point in the 18th century, over 17,000 shipbuilders were employed on the tiny island. That compares with a total population today of 10,000.
Shipbuilding faded here in the last century, but it does remain a place of boats – small islands without airports tend to be that way. In the making of Antony and Cleopatra, with Richard Burton and Elizabeth Taylor, Cleopatra’s barge was filmed against the timeless harbour in the island. It is very difficult to put an age on any building here, which presumably was why the producers were drawn to Procida and neighbouring Ischia.
The long thin multi coloured harbour is one of the most visually captivating sights in southern Italy. It certainly makes for a good backdrop and my leaning was to film at dusk so that we could add some energy from the house lights in town. This strategy always tests camera capability, and indeed the cameraman, and most of the photographs don’t stack up, but I consider it better than playing safe during normal daylight hours. All you really need is one shot.
Alessandra Ambrosio and the Riva work well together, she has an elegance and allure that Elizabeth Taylor would have appreciated.
Available sizes
Large: Edition of 12 + 3 AP
- Image Size: 54” x 103” in (137.2 cm x 261.6 cm)
- Framed Image: 69” x 118” in (175.3 cm x 299.7 cm)
Standard: Edition of 12 + 3 AP
- Image Size: 37” x 70” in (93.98 cm x 177.8 cm)
- Framed Image: 52” x 85” in (132.1 cm x 215.9 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 Italian Job (Colour)
Procida, Italy – 2025
Archival Pigment Print
In Roman times, the island of Procida, in the Bay of Naples, became a renowned resort for the patrician class of Rome. Over time, however, industry replaced leisure and Procida became a shipbuilding hub and, at one point in the 18th century, over 17,000 shipbuilders were employed on the tiny island. That compares with a total population today of 10,000.
Shipbuilding faded here in the last century, but it does remain a place of boats – small islands without airports tend to be that way. In the making of Antony and Cleopatra, with Richard Burton and Elizabeth Taylor, Cleopatra’s barge was filmed against the timeless harbour in the island. It is very difficult to put an age on any building here, which presumably was why the producers were drawn to Procida and neighbouring Ischia.
The long thin multi coloured harbour is one of the most visually captivating sights in southern Italy. It certainly makes for a good backdrop and my leaning was to film at dusk so that we could add some energy from the house lights in town. This strategy always tests camera capability, and indeed the cameraman, and most of the photographs don’t stack up, but I consider it better than playing safe during normal daylight hours. All you really need is one shot.
Alessandra Ambrosio and the Riva work well together, she has an elegance and allure that Elizabeth Taylor would have appreciated.
Available sizes
Large: Edition of 12 + 3 AP
- Image Size: 54” x 103” in (137.2 cm x 261.6 cm)
- Framed Image: 69” x 118” in (175.3 cm x 299.7 cm)
Standard: Edition of 12 + 3 AP
- Image Size: 37” x 70” in (93.98 cm x 177.8 cm)
- Framed Image: 52” x 85” in (132.1 cm x 215.9 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.
Summer Holiday (Colour)
Summer Holiday
Archival Pigment Print
The Grand Hotel Parker’s in Napoli is the city’s oldest luxury hotel dating back to 1870. Its original owner succumbed to gambling issues and, in 1890, it was bought by a regular guest – a British marine biologist called George Parker. Presumably he rather liked the view of the ocean.
Certainly, as hotel views go, Parker’s takes some beating from its balcony floor. There is a perfect outlook to the city, Vesuvius and the Bay of Naples and then, as one’s head turns clockwise to 2 pm, there, in all its splendour, amidst the azure sea, is the fabled island of Capri. We have all seen many contextual photographs of this storied summer paradise, but I had not seen one taken from the mainland at this elevation. I spotted an opportunity.
Alessandra Ambrosio is one of the leading supermodels of her generation and she took to this role at Parker’s with the playful ease that is her hallmark. I thought it would be fun to have her eat pasta. Afterall, we were where we were.
The chefs at Parker’s are lauded and they can make 5-star spaghetti alle vongole blindfold and drunk. That prop was never going to be a challenge. I just needed to find some compositional balance in the frame and a sunbed to complement Capri away in the distance.
This region of Italy is a very special part of the world. The topography, the islands, the sea, the food, the people and the culture combine to offer the perfect holiday. To not find it totally intoxicating suggests a lack of some sort of sensibility, either that, or an allergy to pasta and boats. It is the perfect summer holiday.
Available sizes
Large: Edition of 12 + 3 AP
- Image Size: 56” x 82” in (142.2 cm x 208.3 cm)
- Framed Image: 71” x 97” in (180.3 cm x 246.4 cm)
Standard: Edition of 12 + 3 AP
- Image Size: 37” x 54” in (93.98 cm x 137.2 cm)
- Framed Image: 52” x 69” in (132.1 cm x 175.3 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.
Summer Holiday
Summer Holiday
Archival Pigment Print
The Grand Hotel Parker’s in Napoli is the city’s oldest luxury hotel dating back to 1870. Its original owner succumbed to gambling issues and, in 1890, it was bought by a regular guest – a British marine biologist called George Parker. Presumably he rather liked the view of the ocean.
Certainly, as hotel views go, Parker’s takes some beating from its balcony floor. There is a perfect outlook to the city, Vesuvius and the Bay of Naples and then, as one’s head turns clockwise to 2 pm, there, in all its splendour, amidst the azure sea, is the fabled island of Capri. We have all seen many contextual photographs of this storied summer paradise, but I had not seen one taken from the mainland at this elevation. I spotted an opportunity.
Alessandra Ambrosio is one of the leading supermodels of her generation and she took to this role at Parker’s with the playful ease that is her hallmark. I thought it would be fun to have her eat pasta. Afterall, we were where we were.
The chefs at Parker’s are lauded and they can make 5-star spaghetti alle vongole blindfold and drunk. That prop was never going to be a challenge. I just needed to find some compositional balance in the frame and a sunbed to complement Capri away in the distance.
This region of Italy is a very special part of the world. The topography, the islands, the sea, the food, the people and the culture combine to offer the perfect holiday. To not find it totally intoxicating suggests a lack of some sort of sensibility, either that, or an allergy to pasta and boats. It is the perfect summer holiday.
Available sizes
Large: Edition of 12 + 3 AP
- Image Size: 56” x 82” in (142.2 cm x 208.3 cm)
- Framed Image: 71” x 97” in (180.3 cm x 246.4 cm)
Standard: Edition of 12 + 3 AP
- Image Size: 37” x 54” in (93.98 cm x 137.2 cm)
- Framed Image: 52” x 69” in (132.1 cm x 175.3 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.
Ford
Ford
Archival Pigment Print
No industrial company played a bigger role in the evolution of American culture than the Ford Motor Company. Founded in Detroit, Michigan by Henry Ford in 1903, the voting structure means that it has been in continuous family control for over 100 years, despite being a public company. Today it remains one of the largest family-controlled companies in the world. Henry Ford is rightly recognised as one of America’s great industrialists and the early car models, like the mass-produced Ford Model T, changed how Americans travelled and lived.
Two generations later, in the 1960s, Ford challenged Ferrari’s dominance in the racing car marketplace; an unlikely story that was well chronicled in the movie Ford v Ferrari. Some of the scenes from that film were shot at Willow Springs race circuit in California and we were excited to have access to this location to tell our own Ford racing division stories. The 1967 Ford GT40 MK111 sits strikingly low to the ground and I saw an opportunity to pair the car with Cindy Crawford’s long legs. Hopefully the visual mismatch would then serve to highlight and showcase the beauty of both subjects.
Cindy is one of the brightest of the lead supermodels since the 1980s and role playing is hardly a challenge for her. Meanwhile I suspect that Jimmie Johnson – one of the most successful NASCAR racers of all time – is also a performing artist in his spare time. The camera likes him and he likes the camera. The two American stars lives had not crossed until that day in Willow Springs, but they worked well together in this set and this photograph is certainly a keeper. Cindy is exceptional. I want to thank Sam Bryne and his team at CrossHarbor Capital Partners for trusting us with this project and the Petersen Automotive Museum in LA for transporting some very precious sports cars up to Willow Springs.
Available sizes
Large: Edition of 20 + 3 AP
- Image Size: 56” x 84” in (142.2 cm x 213.4 cm)
- Framed Image: 71” x 99” in (180.3 cm x 251.5 cm)
Standard: Edition of 20 + 3 AP
- Image Size: 37” x 56” in (93.98 cm x 142.2 cm)
- Framed Image: 52” x 71” in (132.1 cm x 180.3 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.
El Rancho
Durango, Colorado
Archival Pigment Print
Most American mountain towns have a saloon that is such an integral part of the fabric of the community, that the owners are bestowed special status in town. It is a long-standing irony of final frontier main streets that they cannot survive without law and order, but equally they cannot survive without the watering holes in which that law and order deteriorate. These bars tend to have longevity, along with a whiff of notoriety. The longer the bar has opened its doors to the public, the more chance that it has hosted every type of vice imaginable.
El Rancho in Durango, with its secret underground tunnels that hosted gambling, prostitutes and illicit liquor trafficking, is one such bar and its owners, Chip and Chris Lile, are popular figures in town. It has a palpable vibe to it, which is elevated by the wall murals and the tree’s branches that fuse seamlessly into the Brunswick bar. In its 80-year life, the walls of El Rancho have seen most things and the underground caves have presumably seen an awful lot more. From a photographic point of view, the ambient light during the day is very generous at the street side part of the bar and that allowed me to freeze the big black wolf as he strolled down the bar. It was a fleeting moment in a lauded watering hole.
Available sizes
Large: Edition of 12 + 3 AP
- Image Size: 56” x 90” in (142.2 cm x 228.6 cm)
- Framed Image: 71” x 105” in (180.3 cm x 266.7 cm)
Standard: Edition of 12 + 3 AP
- Image Size: 37” x 60” in (93.98 cm x 152.4 cm)
- Framed Image: 52” x 75” in (132.1 cm x 190.5 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.
1966 (Colour)
Willow Springs, California
Archival Pigment Print
“One of the locations for the Oscar winning movie Ford v Ferrari was Willow Springs racetrack, an hour northeast of Hollywood. When we knew we might have the opportunity to film there, I watched the scenes at the racetrack several times and I recognised that for a single image story to be successful, there had to be a definitive sense of place. The mountainous backdrop to the circuit defines it as much the 1950s buildings scattered around the pit area. In the movie, Matt Damon plays Carroll Shelby enlisted by Ford to try and compete on the racetrack with Ferrari. The film reaches its climax at Le Mans in 1966 where Shelby’s car gets the better of Ferrari. It seemed appropriate therefore to bring a 1966 Ford Mustang Shelby GT 350 as our principal prop in this period tableau. But our ambitions were high and our large cast was led by Cindy Crawford who I knew would own her role as a triumphant racer. She always delivers and has such presence in this photograph.
It is always validating to work with her and our commitment to our craft is never higher than on these occasions. Two days before we shot, I found myself sitting near Christian Bale at a West Hollywood restaurant and I remembered how integral he was to the movie. I knew a Texan model who could play to that vibe and my instincts were to quickly drag him in at the last moment. He slipped in the space behind Cindy and I think he elevates the image. It’s the little things. Motor racing enthusiasts will also see “The King” Richard Petty behind the car on the right. Richard, who won the Daytona 500 seven times, was a joy to have on set and added to the freewheeling joy of the day. The title of this photograph is fitting as Cindy Crawford and I were both born in 1966. I show my age, but Cindy certainly does not, as this special picture fully showcases. I would like to thank the team at CrossHarbor Capital Partners, led by Sam Byrne, for facilitating and encouraging this project and for inviting Richard Perry and Jimmie Johnson. But most of all, thank you to Cindy Crawford for being outstanding in her role.
Available sizes
Large: Edition of 20 + 3 AP
- Image Size: 45” x 103” in (114.3 cm x 261.6 cm)
- Framed Image: 60” x 118” in (152.4 cm x 299.7 cm)
Standard: Edition of 20 + 3 AP
- Image Size: 34” x 77” in (86.36 cm x 195.6 cm)
- Framed Image: 49” x 92” in (124.5 cm x 233.7 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.
1966 (B&W)
Willow Springs, California
Archival Pigment Print
“One of the locations for the Oscar winning movie Ford v Ferrari was Willow Springs racetrack, an hour northeast of Hollywood. When we knew we might have the opportunity to film there, I watched the scenes at the racetrack several times and I recognised that for a single image story to be successful, there had to be a definitive sense of place. The mountainous backdrop to the circuit defines it as much the 1950s buildings scattered around the pit area. In the movie, Matt Damon plays Carroll Shelby enlisted by Ford to try and compete on the racetrack with Ferrari. The film reaches its climax at Le Mans in 1966 where Shelby’s car gets the better of Ferrari. It seemed appropriate therefore to bring a 1966 Ford Mustang Shelby GT 350 as our principal prop in this period tableau. But our ambitions were high and our large cast was led by Cindy Crawford who I knew would own her role as a triumphant racer. She always delivers and has such presence in this photograph.
It is always validating to work with her and our commitment to our craft is never higher than on these occasions. Two days before we shot, I found myself sitting near Christian Bale at a West Hollywood restaurant and I remembered how integral he was to the movie. I knew a Texan model who could play to that vibe and my instincts were to quickly drag him in at the last moment. He slipped in the space behind Cindy and I think he elevates the image. It’s the little things. Motor racing enthusiasts will also see “The King” Richard Petty behind the car on the right. Richard, who won the Daytona 500 seven times, was a joy to have on set and added to the freewheeling joy of the day. The title of this photograph is fitting as Cindy Crawford and I were both born in 1966. I show my age, but Cindy certainly does not, as this special picture fully showcases. I would like to thank the team at CrossHarbor Capital Partners, led by Sam Byrne, for facilitating and encouraging this project and for inviting Richard Perry and Jimmie Johnson. But most of all, thank you to Cindy Crawford for being outstanding in her role.
Available sizes
Large: Edition of 20 + 3 AP
- Image Size: 45” x 103” in (114.3 cm x 261.6 cm)
- Framed Image: 60” x 118” in (152.4 cm x 299.7 cm)
Standard: Edition of 20 + 3 AP
- Image Size: 34” x 77” in (86.36 cm x 195.6 cm)
- Framed Image: 49” x 92” in (124.5 cm x 233.7 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.
007 (Colour)
GLENCOE, SCOTLAND – 2025
Archival Pigment Print
The entrance to the Glencoe pass in Scotland offers a volcanic amphitheatre in all weather conditions, but at the denouement of a snow storm there is a haunting menace to Buachaille Etive Mor, the cone shaped monolith that rises vertically to the west of the A82. This is a place where many bad things have happened over the years and the rawness of the topography gives a symbolic nod to that. Glencoe is not a place of lavender fields and sun kissed meadows; it is a primeval geological aberration of granite rock.
The pass is one of the most arresting visuals in the UK and I have filmed up here many times over the years. Of course, I am far from alone and the celebrated film director – Sam Mendes – chose Glencoe as a key location for Skyfall in 2012. I am sure his decision was influenced by the fact that the Fleming family has, for four generations, lived in the region and Ian Fleming himself spent many a day in the shooting lodge just 45 miles down the road to Glen Etive. This is most emphatically Bond country.
From the single-track West Highland Way running parallel to the main road, we were able to offer a sense of journey to Bond’s DB5 and the other props came to mind quite naturally. At first light, the red telephone box certainly popped against such a formidable backdrop and we had made sure the lighting inside the box was functional. That made all the difference and we are again reminded that it’s often the small things.
The strongest photographs have an emphatic sense of place and conveying this was acutely necessary to do justice to both the destination and the Bond parody. We did get lucky with the weather and also, I want to thank the Fleming family and the Alba police force for their help with this project. It was not a bad few days to spend in pursuit of my craft.
Available sizes
Large: Edition of 12 + 3 AP
- Image Size: 47” x 103” in (119.4 cm x 261.6 cm)
- Framed Image: 62” x 118” in (157.5 cm x 299.7 cm)
Standard: Edition of 12 + 3 AP
- Image Size: 31” x 69” in (78.74 cm x 175.3 cm)
- Framed Image: 46” x84” in (116.8 cm x 213.4 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.
007
GLENCOE, SCOTLAND – 2025
Archival Pigment Print
The entrance to the Glencoe pass in Scotland offers a volcanic amphitheatre in all weather conditions, but at the denouement of a snow storm there is a haunting menace to Buachaille Etive Mor, the cone shaped monolith that rises vertically to the west of the A82. This is a place where many bad things have happened over the years and the rawness of the topography gives a symbolic nod to that. Glencoe is not a place of lavender fields and sun kissed meadows; it is a primeval geological aberration of granite rock.
The pass is one of the most arresting visuals in the UK and I have filmed up here many times over the years. Of course, I am far from alone and the celebrated film director – Sam Mendes – chose Glencoe as a key location for Skyfall in 2012. I am sure his decision was influenced by the fact that the Fleming family has, for four generations, lived in the region and Ian Fleming himself spent many a day in the shooting lodge just 45 miles down the road to Glen Etive. This is most emphatically Bond country.
From the single-track West Highland Way running parallel to the main road, we were able to offer a sense of journey to Bond’s DB5 and the other props came to mind quite naturally. At first light, the red telephone box certainly popped against such a formidable backdrop and we had made sure the lighting inside the box was functional. That made all the difference and we are again reminded that it’s often the small things.
The strongest photographs have an emphatic sense of place and conveying this was acutely necessary to do justice to both the destination and the Bond parody. We did get lucky with the weather and also, I want to thank the Fleming family and the Alba police force for their help with this project. It was not a bad few days to spend in pursuit of my craft.
Available sizes
Large: Edition of 12 + 3 AP
- Image Size: 47” x 103” in (119.4 cm x 261.6 cm)
- Framed Image: 62” x 118” in (157.5 cm x 299.7 cm)
Standard: Edition of 12 + 3 AP
- Image Size: 31” x 69” in (78.74 cm x 175.3 cm)
- Framed Image: 46” x84” in (116.8 cm x 213.4 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.