Ferrari (Colour)
Amboy, California – 2023
Archival Pigment Print
“In the 1950s, the Californian Dream made Route 66 the most famous road in the world. “The Mother Road”, as John Steinbeck described it in The Grapes of Wrath, became the route of flight for the American Middle Class; a trend accelerated by the rapidly evolving Californian economy and the opening of Disneyland in 1955.
The stretch of road heading east near Amboy in the baking Californian desert showcases the Route 66 journey as it once was. The sense of scale offers the filmmaker a valuable tool kit and I have been drawn to this outpost for many years. It is a commitment of time to get there, but one that many road trippers make because of the iconic Roy’s Motel and Cafe which serves as the one identifiable landmark in a barren desert.
Amboy is a known known and I worried how I could break new ground because like all spectacular vistas in the US, it has been well photographed. The challenge is not in getting there, but in transcending when one does.
I called upon a Hong Kong friend who is a passionate investor in vintage cars and owns one of the most lauded and valuable collections in the world. I explained the shoot concept and he graciously offered up one his most coveted treasures – the 1953 Ferrari 250 MM Vignale Spider. It was one of only 12 built in the world and when one comes up at auction, they sell for more than a London townhouse. His team was kind enough to transport this fabled Ferrari 1,000 miles across the country, but at least when they arrived, they understood the opportunity. It was going to be a trip well made.
The design of the Ferrari was perfect as its low windscreen allowed my lens direct access into the faces of the girl (the wonderful Daniela Braga) and the wolf. They could then hold centre stage and let all the other constituent parts play off each other.
The goal of this shoot was to play on the metaphor that is Route 66. It encapsulates the American Dream, as it was the road of freedom and ambition. Go West, work hard, stay focused and enjoy the very best of lives.
We styled to the mid 1950s and I told Daniela to exude a sense of positivity. She should look, as Nat King Cole suggested, that she was “Getting her Kicks on Route 66”.
Hard not to in that Ferrari.”
Available sizes
Large: Edition of 12 + 3 AP
- Image Size: 56” x 59” in (142.2 cm x 149.9 cm)
- Framed Image: 71” x 74” in (180.3 cm x 188 cm)
Standard: Edition of 12 + 3 AP
- Image Size: 37” x 39” in (93.98 cm x 99.06 cm)
- Framed Image: 52” x 54” in (132.1 cm x 137.2 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 Wolves of Wall Street II (Colour)
Los Angeles, California – 2019
“The concept of this photograph has been bouncing around in my head for over a year. We prepared for many months as it was clear to me that if we were to pay homage to The Wolf of Wall Street, we had to do it well. There was no point in doing it in a casual way – after all, Martin Scorsese is one of my heroes and his framing is so exceptional that we had to be at the top of our game not to materially underachieve in any recreation. It was the biggest production of my career.
The location of the abandoned office in Simi Valley outside Los Angeles was ideal for most of the cast – including Jordan Belfort – the real Wolf of Wall Street, but not so ideal for the wolves, as there was no working air conditioning inside. This meant importing huge AC units to keep the animals cool. The green room on the side of the dealing floor was transformed into a giant fridge for the day.
The final image is one of the most satisfying of my career. I wanted as many references to the film as possible – Cameron Dallas eating the goldfish, Jordan with his pen, the marching band, the dollar notes and the glitter. Both models – Kate Bock and Daniela Braga – smashed it in their roles, not easy with so much going on and a wolf charging down the table. Both Kate and Dany are at the top of their game and pivotal to this photograph.
Someone once said that the best pictures can be looked at for a very long time. On that level, this image wins. However, the key for me was to find out what the world’s most celebrated actor thought of this one snap shot in time. Without his approval, this photograph would lose some of its relevance. I was proud when he told me that it captured the very essence of Belfort.
We did it and I feel that we left nothing in the bucket in the conception and the execution. It is as good as I can do.“
-David Yarrow
Available Sizes:
Large - Edition of 12 + 3 AP
- Unframed Size: 56" x 103" (142 x 262 cm)
- Framed Size: 71" x 118" (180 x 300 cm)
Standard - Edition of 12 + 3 AP
- Unframed Size: 37" x 68" (94 x 173 cm)
- Framed Size: 52" x 83" (132 x 211)
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.
The Wolves of Wall Street II
Los Angeles, California – 2019
“The concept of this photograph has been bouncing around in my head for over a year. We prepared for many months as it was clear to me that if we were to pay homage to The Wolf of Wall Street, we had to do it well. There was no point in doing it in a casual way – after all, Martin Scorsese is one of my heroes and his framing is so exceptional that we had to be at the top of our game not to materially underachieve in any recreation. It was the biggest production of my career.
The location of the abandoned office in Simi Valley outside Los Angeles was ideal for most of the cast – including Jordan Belfort – the real Wolf of Wall Street, but not so ideal for the wolves, as there was no working air conditioning inside. This meant importing huge AC units to keep the animals cool. The green room on the side of the dealing floor was transformed into a giant fridge for the day.
The final image is one of the most satisfying of my career. I wanted as many references to the film as possible – Cameron Dallas eating the goldfish, Jordan with his pen, the marching band, the dollar notes and the glitter. Both models – Kate Bock and Daniela Braga – smashed it in their roles, not easy with so much going on and a wolf charging down the table. Both Kate and Dany are at the top of their game and pivotal to this photograph.
Someone once said that the best pictures can be looked at for a very long time. On that level, this image wins. However, the key for me was to find out what the world’s most celebrated actor thought of this one snap shot in time. Without his approval, this photograph would lose some of its relevance. I was proud when he told me that it captured the very essence of Belfort.
We did it and I feel that we left nothing in the bucket in the conception and the execution. It is as good as I can do.“
-David Yarrow
Available Sizes:
Large - Edition of 12 + 3 AP
- Unframed Size: 56" x 103" (142 x 262 cm)
- Framed Size: 71" x 118" (180 x 300 cm)
Standard - Edition of 12 + 3 AP
- Unframed Size: 37" x 68" (94 x 173 cm)
- Framed Size: 52" x 83" (132 x 211)
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.
Top Gun
Los Angeles, Callifornia – 2023
“The original Top Gun movie from 1986 is now part of cinema folklore. Directed by Tony Scott, it cost just $15 million to make and has now grossed over $350m. As a result of the movie, the US Navy’s elite fighter pilots were lauded more than sports stars and no fancy dress party was complete without a Maverick or Goose in their naval uniform. Top Gun became a metaphor as much as a movie.
The most played clip from the movie is the sequence when Tom Cruise poorly serenades Kelly McGillis to The Righteous Brothers 1965 hit “You’ve lost that lovin’ feeling”. The bar was a sea of white testosterone. It was the soundtrack of Top Gun at the time that won over the critics and earned the movie its Oscar.
My idea at The Wolves bar in downtown Los Angeles was to play on that scene and have a room full of fighter pilots all in their crisp naval whites. The name of the bar legitimised bringing our wolf into the bar and offering another layer to the story. I also sensed that if Maverick, Goose and Iceman had spirit animals, they would surely be wolves, as they are athletic, good-looking and brimming with self-confidence.
Focus is everything when telling a single image story, as it can deliberately include or deliberately exclude. I knew in the low light of The Wolves bar, I would have the pilots out of focus, but there is enough detail to make out Kelly McGillis centre stage on the right. Josie Canseco was 100% styled on the prompt from the movie – right down to the shoulder clinging cardigan.
The Wolves is a hidden gem of a bar and the ornamental ceiling and lamp adds character to the shot. I like the tight compositional balance of it all.“
-David Yarrow
Available Sizes:
Large - Edition of 12 + 3 AP
- Unframed Size: 56" x 101" (142 x 257 cm)
- Framed Size: 71" x 116" (180 x 295 cm)
Standard - Edition of 12 + 3 AP
- Unframed Size: 37" x 67" (94 x 170 cm)
- Framed Size: 52" x 82" (132 x 208)
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.
Who Let the Dogs Out
Los Angeles, California – 2023
“This photograph is a small love letter to the city of Los Angeles. For all its vapidity, superficialness and elaborate coffee orders, there is no denying its pre-eminence in the entertainment world. It is a place where creatives go to be challenged, humbled and occasionally propelled forward. As the comedian Steve Martin once said “the key is to be so good they can’t ignore you”.
Sunset Boulevard is the spiritual heart of West Hollywood and that makes it one of the most famous stretches of road in the world. There are not many places where a road itself is a tourist attraction, but Sunset is exactly that. It is not just a perfunctory means of getting from A to B, it is a visual feast from the ground level tarmac to the Californian sky above. The enormous billboards that lean down from above create a two-sided amphitheatre that informs drivers of all that is present.
I have long found a visceral connection with Sunset Boulevard. I would go as far as to say it might be my favourite stretch of road in the world. It is possibly a subconscious prompt to get better at what I do and never to accept the average. Hollywood destroys the mundane and the callow and that is no bad thing.
This is a dog-eat-dog world and they certainly love their dogs in LA. There are more pet shops these days in the city than newsagents. One day, just before we were closing a section of Sunset Boulevard for a Sunday morning shoot, we were having lunch in Il Pastaio – my family’s favourite Italian restaurant in Beverly Hills – and our concentration on the menus was broken by the sight of three Pomeranian dogs arriving in their own scaled down Lamborghini. The only passengers were the dogs and it was being driven remotely down the street by their owner who was out of sight. Only in LA – we all thought – and I knew what needed to be done. It was time to rip up our plans for the Sunday and adapt.
I want to thank the dogs – Rocky, Apollo and Napoleon – for being so easy and gentle to work with. But most of all, I want to thank their owner Anne Frankel who is rightly so proud of her boys. She bought two of these dogs on the passing of her husband and I see the love they have for her and vice versa. They are adored by all who meet them.
Only in LA, but it’s a beautiful world.“
-David Yarrow
Available Sizes
Large - Edition of 12 + 3 AP
- Image Size: 56” x 77" in (142 cm x 196 cm)
- Framed Image: 71” x 92” in (180 cm x 234 cm)
Standard - Edition of 12 + 3 AP
- Image Size: 37” x 51” in (94 cm x 130 cm)
- Framed Image: 52” x 66” in (132 cm x 168 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.
1955 Porsche Continental
Willow Springs, California – 2025
Archival Pigment Print
“The Porsche Continental was conceived by New York marketers who believed that the American market would be more likely to embrace a vehicle with an evocative name, than a mere number designation.
Although the term implied European sophistication and style, Porsche was forced to re-name the Continental when Ford Motor Company legal representatives informed them that they already owned the name. As a result, few Porsche Continentals were produced in 1955 before the name was briefly changed to “European” and then reverted to 356.
I took this picture at Willow Springs racetrack in California on a cold, grey and rainy morning and the conditions complemented the car. There is a rather austere mood to the location; we could have been in Stuttgart on a bleak winter’s day, except I don’t think I could have persuaded Cindy Crawford to make that long a trip. The heavy cloud cover ended up being a useful prop.
There are always so many people to thank in projects like this – Cindy herself, her stylists and hair and make-up team and, of course, Sam Bryne of CrossHarbor Capital for partnering with us and giving us great access to his latest investment.”
-David Yarrow
Available sizes
Large: Edition of 12 + 3 AP
- Image Size: 56″ x 84″ in (142 x 213 cm)
- Framed Image: 71″ x 99″ in (180 x 251 cm)
Standard: Edition of 12 + 3 AP
- Image Size: 37″ x 56″ in (94 x 142 cm)
- Framed Image: 52″ x 71″ in (132 x 180 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.
Top Gear
Willow Springs, California – 2025
Archival Pigment Print
“In the old days I liked to be as close to the ground as possible when filming wildlife as it served to glorify the animal and, at the margin, it also allowed for a little more immersion for the viewer. It became very much my signature style in the field to offer the visual perspective of a small ant.
I don’t see why the approach should be that different when filming a 1957 Porsche Speedster. It has an aesthetic beauty that needs to be showcased and a ground up perspective also highlights the dust being kicked up from behind the car. Dust is always best captured using strong back light and this does present tonal range challenges to our printers. Luckily, we have the best craftsmen in our studio who can bring out the shadow detail without losing the detail in the highlights. It is a different craft to being a photographer.
The talent on this shot came from the very top drawer – Jimmie Johnson – the most decorated of NASCAR drivers, is behind the wheel of the Speedster, whilst supermodel Shanina Shaik is the lady theatrically acknowledging his victory. Both Jimmie and Shanina enjoyed themselves that morning at Willow Springs racetrack in California and I think it shows. From my own selfish perspective, Jimmie had to focus slightly on slowing down before he ran me over and I guess he could be forgiven for having his eyes elsewhere.
-David Yarrow
Available sizes
Large: Edition of 12 + 3 AP
- Image Size: 56″ x 92″ in (142 x 234 cm)
- Framed Image: 71″ x 107″ in (180 x 272 cm)
Standard: Edition of 12 + 3 AP
- Image Size: 37″ x 61″ in (94 x 155 cm)
- Framed Image: 52″ x 76″ in (132 x 193 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.
Top Gear (Colour)
Willow Springs, California – 2025
Archival Pigment Print
“In the old days I liked to be as close to the ground as possible when filming wildlife as it served to glorify the animal and, at the margin, it also allowed for a little more immersion for the viewer. It became very much my signature style in the field to offer the visual perspective of a small ant.
I don’t see why the approach should be that different when filming a 1957 Porsche Speedster. It has an aesthetic beauty that needs to be showcased and a ground up perspective also highlights the dust being kicked up from behind the car. Dust is always best captured using strong back light and this does present tonal range challenges to our printers. Luckily, we have the best craftsmen in our studio who can bring out the shadow detail without losing the detail in the highlights. It is a different craft to being a photographer.
The talent on this shot came from the very top drawer – Jimmie Johnson – the most decorated of NASCAR drivers, is behind the wheel of the Speedster, whilst supermodel Shanina Shaik is the lady theatrically acknowledging his victory. Both Jimmie and Shanina enjoyed themselves that morning at Willow Springs racetrack in California and I think it shows. From my own selfish perspective, Jimmie had to focus slightly on slowing down before he ran me over and I guess he could be forgiven for having his eyes elsewhere.
-David Yarrow
Available sizes
Large: Edition of 12 + 3 AP
- Image Size: 56″ x 92″ in (142 x 234 cm)
- Framed Image: 71″ x 107″ in (180 x 272 cm)
Standard: Edition of 12 + 3 AP
- Image Size: 37″ x 61″ in (94 x 155 cm)
- Framed Image: 52″ x 76″ in (132 x 193 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 Ferrari Kids (Colour)
Available sizes
Large: Edition of 12 + 3 AP
- Image Size: 56″ x 93″ in (142 x 236 cm)
- Framed Image: 71″ x 108″ in (180 x 274 cm)
Standard: Edition of 12 + 3 AP
- Image Size: 37″ x 61″ in (94 x 155 cm)
- Framed Image: 52″ x 76″ in (132 x 193 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.
Willow Springs, California – 2025
Archival Pigment Print
“The compositional structure and mood of this tableaux reminds me of the album covers of British rock bands in the 1980s. Everyone is acting all serious and tough but in reality, they are having a complete blast in the spring sunshine.
The assembled cast took my directive well. I simply told them that motor racing was a competitive bad ass business and there was no room for jocularity when speed and precision were required to transcend and when one mistake could be life threatening. It pays to be serious and look serious.
We certainly had an A list of props that late afternoon in Willow Springs, California. For starters we had the unmodernised track that featured in some of the sets from Ford v Ferrari and then in the Ferrari hot seat, we had managed to source a driver who looks the spitting image of Christian Bale’s character in the movie. We then threw in two top models from LA as Ferrari pit girls and then, of course, a stunning vintage Ferrari from the 1950s. Some college kids from USC and appropriately dressed friends from West Hollywood then added flavour to the background narrative.
I want to thank Sam Byrne and his team at CrossHarbor Capital for believing in our creative processing and making this project possible.”