The White Lady

Jackson Hole, Wyoming – 2025

“There is not much I would change with this photograph – it all came together in cold winter light looking out to the much-loved Mount Moran in Grand Teton National Park. I am not the first photographer to be drawn to the almost perfect symmetry and grandeur of this 12,000-foot-tall mountain and I won’t be the last.

The foreground had to have some punch and I think the combination of Josie Canseco and her travel companion in a 1953 Ferrari pushes a few boundaries. There is much to look at.

It was, however, the weather that made the shot. I needed fresh snow and a clear morning sky; without one or the other, there was no picture to be taken. The light becomes increasingly less kind on a sunny day and we knew that it would all be over by 8 am at the latest. The window of opportunity is less than 30 minutes.

During our week in Jackson, we had low sky and suboptimal light for 95% of the time. But we had one morning of clear sky and we took our chance. It was luck really, but I think we leveraged what we were given and that ultimately is the acid test. This image is now in the bag forever and that’s something to celebrate.

For those with a visual sensibility, The Tetons set a high bar; there is no mountain range in the Americas I would prefer as a backdrop and the Snake River Valley below offers so much opportunity to build stories. It is an amphitheater that demands a filmmaker’s A game – to be mundane or vanilla would be embarrassing.

-David Yarrow

AVAILABLE SIZES:

Standard: Edition of 12, 3 AP, 1 EP
  • Image Size: 37” x 45” in (94 cm × 114.5 cm)
  • Framed Image: 52" x 60" in (132 cm × 152.5 cm)
Large: Edition of 12, 3 AP, 1 EP
  • Image Size: 56” x 68” in (142 cm × 173 cm)
  • Framed Image: 71" x 83" in (180.5 cm × 211 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 Usual Suspects III | David Yarrow

    The Usual Suspects II

    Montana – 2024

    Archival Pigment Print

    “The first time that I set foot in Montana, I knew I was in a very special place. It was not just the majesty of the scenery, it was the characters that lived there. I have long had a visceral attraction to the Wild West and no state embodies the final frontier of America more than Montana. In the hills in the winter, there is a sense of timelessness. The clock seemingly broke about 100 years ago.

    Over the last few years we have been fairly relentless networking up in a village in the mountains. I have been there 7 times and we have invested emotionally as well as financially in order to be able to tell stories with the camera. This week – on Robbie Burns night – appropriately enough – we had our reward. There was no point attempting this without a solid base of locals that genuinely wanted to help.

    I know this bar in the mountains inside out and the locals know me. Everyone wanted a role in the shoot, but we had to be selective. I wanted ex-convicts, wolf wranglers, wannabe Davey Crocketts and crazy old mountain men that are drunk by 11 am. But it needed more – the barmaid had to have the right look – as she would be pivotal to the image – as would the chosen mountain man. It would be a key juxtaposition. I found the girl – Roxanna Redfoot (what a name) – from Dallas and she was brilliant.

    The wolf I could rely on – I have worked with him before and so long as he doesn’t tire I had a chance. But there is no light in the bar – so it as all seat-of-the-pants stuff technically – there was no margin for error in focus. A flash gun would destroy the emotion and sense of place.

    As I expected, most of the photographs were not sharp or someone messed up (including me). The composition was always however bang on. I just needed one stroke of luck – 1 / 125th of a second that would capture Montana. I think we nailed it!

    “The Usual Suspects”…indeed.”

    -David Yarrow

    Available sizes

    Large: Edition of 12, 3 AP, 1 EP

    • Image Size: 56″ x 99″ in (142.24 cm × 251.46 cm)
    • Framed Image: 71″ x 114″ in (180.34 cm × 289.56 cm)

    Standard: Edition of 12, 3 AP, 1 EP

    • Image Size: 37″ x 66″ in (93.98 cm × 167.64 cm)
    • Framed Image: 52″ x 81″ in (132.08 cm × 205.74 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.


      Once Upon a Time in America (Colour) | David Yarrow

      Once Upon a Time in America (Colour)

      Brooklyn, New York City – 2025

      Once Upon a Time in America

      “This is a good picture of an outstanding team and I think that the combination is powerful enough to allow it to transcend as a piece of sporting memorabilia. Time will tell, but my early sense is that it could become one of the most coveted pictures of my career. There is an old platitude that the best photographs tend to unfold when good stuff is in front of the lens and this single frame endorses that principle. The true essence of being a team is played out against the most emphatic sense of place conceivable.

      When I look at the image – as I do every day – I just can’t help smiling; perhaps in recognition that the months of logistical planning were rewarded and also because the weather at Brooklyn that appointed morning was generous to us. There was no Plan B.

      Above that, I feel the investment and thought that went into the dressing of the players, the captain and vice captains and caddies paid great dividends. We cut no corners in the individual stylings and consequently everyone was invested in the end result. You win the caddies over and you win the crowd. I want to thank Nicole Allowitz and her styling team for their talent and care.

      But most of all, I recognise the extreme privilege of knowing every single member in this extraordinary collective of people. History will remind us that they unequivocally proved that in the best teams, the whole is greater than the sum of the parts. Everyone in this picture had earned the right to be at Bethpage and I sensed, from the moment we gathered in New York 10 days before the tournament, that there was a cohesive vibe that united and glued them together. Egos were long left behind and that is the hallmark of a captain as strong as Luke Donald.

      To win the Ryder Cup away from home is empirically tough. This European Team achieved that, but they did so in the daunting bearpit of New York and that surely gives the story added weight.

      Once upon a time in America ….

      Monies from the sales of this print will be deployed to causes close to the hearts of everyone that made this picture possible. It was a proud moment in my journey as an artist.”

      -David Yarrow

      AVAILABLE SIZES:

      Large: Edition of 30, 3 AP, 1 EP
      • Image Size: 59” x 56” in (149.86 cm × 142.24 cm)
      • Framed Image: 75" x 71" in (190.5 cm × 180.34 cm)
      Standard: Edition of 30, 3 AP, 1 EP
      • Image Size: 40” x 37” in (101.6 cm × 93.98 cm)
      • Framed Image: 55" x 52" in (139.7 cm × 132.08 cm)
      Commemorative: Edition of 30, 3 AP, 1 EP
      • Image Size: 50” x 47" in (127 cm × 119.38 cm)
      • Framed Image: 65" x 62" in (165.1 cm × 157.48 cm)
      Small Studio: Edition of 30, 3 AP, 1 EP
      • Image Size: 26” x 24” in (66.04 cm × 60.96 cm)
      • Framed Image: 36" x 34" in (91.44 cm × 86.36 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.


        Once Upon a Time in America (B&W) | David Yarrow

        Once Upon a Time in America (B&W)

        Brooklyn, New York City – 2025

        Once Upon a Time in America

        “This is a good picture of an outstanding team and I think that the combination is powerful enough to allow it to transcend as a piece of sporting memorabilia. Time will tell, but my early sense is that it could become one of the most coveted pictures of my career. There is an old platitude that the best photographs tend to unfold when good stuff is in front of the lens and this single frame endorses that principle. The true essence of being a team is played out against the most emphatic sense of place conceivable.

        When I look at the image – as I do every day – I just can’t help smiling; perhaps in recognition that the months of logistical planning were rewarded and also because the weather at Brooklyn that appointed morning was generous to us. There was no Plan B.

        Above that, I feel the investment and thought that went into the dressing of the players, the captain and vice captains and caddies paid great dividends. We cut no corners in the individual stylings and consequently everyone was invested in the end result. You win the caddies over and you win the crowd. I want to thank Nicole Allowitz and her styling team for their talent and care.

        But most of all, I recognise the extreme privilege of knowing every single member in this extraordinary collective of people. History will remind us that they unequivocally proved that in the best teams, the whole is greater than the sum of the parts. Everyone in this picture had earned the right to be at Bethpage and I sensed, from the moment we gathered in New York 10 days before the tournament, that there was a cohesive vibe that united and glued them together. Egos were long left behind and that is the hallmark of a captain as strong as Luke Donald.

        To win the Ryder Cup away from home is empirically tough. This European Team achieved that, but they did so in the daunting bearpit of New York and that surely gives the story added weight.

        Once upon a time in America ….

        Monies from the sales of this print will be deployed to causes close to the hearts of everyone that made this picture possible. It was a proud moment in my journey as an artist.”

        -David Yarrow

        AVAILABLE SIZES:

        Large: Edition of 30, 3 AP, 1 EP
        • Image Size: 59” x 56” in (149.86 cm × 142.24 cm)
        • Framed Image: 75" x 71" in (190.5 cm × 180.34 cm)
        Standard: Edition of 30, 3 AP, 1 EP
        • Image Size: 40” x 37” in (101.6 cm × 93.98 cm)
        • Framed Image: 55" x 52" in (139.7 cm × 132.08 cm)
        Commemorative: Edition of 30, 3 AP, 1 EP
        • Image Size: 50” x 47" in (127 cm × 119.38 cm)
        • Framed Image: 65" x 62" in (165.1 cm × 157.48 cm)
        Small Studio: Edition of 30, 3 AP, 1 EP
        • Image Size: 26” x 24” in (66.04 cm × 60.96 cm)
        • Framed Image: 36" x 34" in (91.44 cm × 86.36 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.


          Hello | David Yarrow | Hilton Contemporary

          Hello (Colour)

          Alaska, USA 2015

          This image was run in the British Press a few days after my encounter on Barter Island. It is a special picture and I guess it will become a well-known picture. It is something of a platitude to say that the bigger an image is printed, the greater the detail, but on this occasion it is very pertinent for two reasons.
          Firstly, a polar bear is a huge animal. If possible, any portrait should reflect this and – in this case – given that it is a head on shot, that is easy. The bear’s head in the image should be at least life size – if not more.
          Secondly the bear is pin sharp around its eyes. I think that I must have been closer than just about anyone has ever been to a polar bear in the wild and lived to tell the tale. I was also using Nikon’s flagship 58m lens – which captures every hair at the assigned focal point. When the first large print of the image came off the drum in LA, one of the team turned to me and said “David, look at the eyes – you are in them!”. He was right; I inadvertently took a selfie through the eyes of a polar bear. That surely is groundbreaking.

          AVAILABLE SIZES:

          LARGE: Edition of 12, 3 APs, 1 EP

          • Image: 56 x 91” in (143 cm x 231 cm)
          • Framed: 67" x 102" in (171 cm x 259 cm)

          STANDARD: Edition of 12, 3 APs, 1 EP

          • Image: 37" x 60" in (93.98 cm × 152.4 cm)
          • Framed: 52" x 75" in (132.08 cm × 190.5 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.


            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.


                The Road to Amalfi (Colour) | DAVID YARROW

                The Road to Amalfi (Colour)

                Atrani, Italy – 2024

                “A corollary of life on the road, is to build up a mental collection of favourite journeys. Most roads only offer a perfunctory way of getting from A to B, but then there are the gems where the journey itself becomes the main event. My home country, Scotland, has the A82 through Glencoe; America has the stretch through Monument Valley, Highway One and many more; Iceland has its entire ring road and then there is the Amalfi coastal road in southern Italy.

                It is almost incumbent on any movie director filming in the area, to emphatically locate the destination by celebrating the road. That is instructive as it suggests that to ignore the means of travel is to forget a prop.

                The road is terrifying and breathtaking as one: hugging the cliffs on one side and offering vistas of the Tyrrhenian Sea on the other. John Steinbeck wrote of the terror of winding through the Amalfi Coast on a road that “corkscrewed on the edge of nothing”, clutched in his wife’s arms who was “weeping hysterically”. Every hairpin bend is a prelude to a new visual feast, and none more so than the bend heading west before Atrani. I knew, at some stage, this bend would find itself in front of my camera.

                My leaning was to style a 1970s period shoot with a model capable of capturing the effortless grace and sexuality of Italian models of the time. She had to own the scene without impairing the visual feast behind her. American Supermodel, Brooks Nader, works with us regularly and knew exactly what I wanted from her. It all had to come together in the few moments when the police kindly closed the road; this was not a set for deliberating.”

                -David Yarrow

                AVAILABLE SIZES:

                LARGE: Edition of 12, 3 AP, 1 EP
                • Image Size: 56" x 76" in (132.08 cm × 236.22 cm)
                • Framed Image: 71" x 91" in (180.34 cm × 231.14 cm)
                STANDARD: Edition of 12, 3 AP, 1 EP
                • Image Size: 37" x 50" in (93.98 cm × 127 cm)
                • Framed Image: 52" x 65" in (132.08 cm × 165.1 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.


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