Black Magic (Colour)
Black Magic
Archival Pigment Print
“My recent photograph “The Black Panther Club” elicited a material reaction and I knew immediately after I saw the picture that I needed to go back the following evening and see if I could put something else in the can. A fisherman surely does the same and the emotions are not that different. These were big days in the field – the days we dream of. We have many dull days with no opportunity to create and it is in those barren moments that we must remember the very good times. Whilst it is accepted that luck equals out over time, we will do all we can to disrupt that equation.
We invest considerable time in this part of Transvaal and we sometimes return disappointed with the new content. This was time to double up and attack especially since the weather was settled and the light decline in the evening would be the same as the previous night. There was a limited window of perfect light, but I was confident on the logistics and my partnership with Kevin Richardson. The process relies entirely on his talents. Symmetry matters in these shots as well as facial expression and a head on perspective. It is far from easy and that’s why we haven’t seen much of this kind of work before. This was our only shot that worked that night and it all happened very quickly. I only took a dozen pictures; all within a two second period.
I like the panther’s posture and the angle of his back. They are predators first and foremost. I have seen all the big cats in my career, but this cat is a finely oiled machine. The cinematic format is perfect for this photograph – after all, Black Panthers elicit heavy Hollywood vibes. It is an animal that has rightly created many metaphors.”
-David Yarrow
Available sizes
Large: Edition of 12 + 3 AP
- Image Size: 49″ x 103″ in (124.5 x 261.6 cm)
- Framed Image: 64″ x 118″ in (162.6 x 299.7 cm)
Standard: Edition of 12 + 3 AP
- Image Size: 37″ x 78″ in (94 x 198.1 cm)
- Framed Image: 52″ x 93 in (132.1 x 236.2 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.
Backcountry (Colour)
Backcountry
Archival Pigment Print
“In my experience, Alaskan bear photography leans heavily on two variables: logistical rigour and luck. If there is a third component, it is probably patience and an ability to kill time. I don’t really think camerawork, above a basic level, has much to do with it; it is more about making sure the camera is in front of interesting stuff when it matters and that is a function of logistical prowess and luck.
I sense that over the years our experience has helped push luck in our direction. As my friend Gary Player the golfer once commented “the more I practice the luckier I seem to get”. The guidance we have from 15 years of metadata of bear encounters on this river is never far from my mind. It is an iterative process and we have most certainly learnt on the job. In the early days, I really had no idea what I was doing and my work with bears was bland and generic.
This part of Alaska is proper backcountry and a world removed from the staged shoots I do around the world. There are few comforts other than familiarity, but that is the biggest luxury of all. I think I have spent more time over the years on this small patch of river gravel than I have in any smart hotel room in the world.
I don’t like to photograph bears when the light is bright. Somehow they become less menacing, and the sense of awe can be lost. It rains a great deal in Alaska, but there are also many sunny days during the salmon runs and on those days bear photography can become challenging not long after breakfast. It is a long way to come to work in suboptimal light, so we tend to push things logistically.
The day I took this photograph we were in the air in our float plane just after 5.30am and no one was anywhere near us when we trekked the tundra 30 minutes later. That is the way to do it – be alone and in place early in the backcountry and then wait for decent daylight and the magic to unfold. I was back home and in a welcome hot shower by 10 am. I think I am too old now to believe that there is any better way to start the day.”
-David Yarrow
Available sizes
Large: Edition of 12 + 3 AP
- Image Size: 70″ x 56″ in (177.8 x 142.2 cm)
- Framed Image: 85″ x 71″ in (215.9 x 180.3 cm)
Standard: Edition of 12 + 3 AP
- Image Size: 46″ x 37″ in (116.8 x 94 cm)
- Framed Image: 61″ x 52 in (154.9 x 132.1 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.
Backcountry
Backcountry
Archival Pigment Print
“In my experience, Alaskan bear photography leans heavily on two variables: logistical rigour and luck. If there is a third component, it is probably patience and an ability to kill time. I don’t really think camerawork, above a basic level, has much to do with it; it is more about making sure the camera is in front of interesting stuff when it matters and that is a function of logistical prowess and luck.
I sense that over the years our experience has helped push luck in our direction. As my friend Gary Player the golfer once commented “the more I practice the luckier I seem to get”. The guidance we have from 15 years of metadata of bear encounters on this river is never far from my mind. It is an iterative process and we have most certainly learnt on the job. In the early days, I really had no idea what I was doing and my work with bears was bland and generic.
This part of Alaska is proper backcountry and a world removed from the staged shoots I do around the world. There are few comforts other than familiarity, but that is the biggest luxury of all. I think I have spent more time over the years on this small patch of river gravel than I have in any smart hotel room in the world.
I don’t like to photograph bears when the light is bright. Somehow they become less menacing, and the sense of awe can be lost. It rains a great deal in Alaska, but there are also many sunny days during the salmon runs and on those days bear photography can become challenging not long after breakfast. It is a long way to come to work in suboptimal light, so we tend to push things logistically.
The day I took this photograph we were in the air in our float plane just after 5.30am and no one was anywhere near us when we trekked the tundra 30 minutes later. That is the way to do it – be alone and in place early in the backcountry and then wait for decent daylight and the magic to unfold. I was back home and in a welcome hot shower by 10 am. I think I am too old now to believe that there is any better way to start the day.”
-David Yarrow
Available sizes
Large: Edition of 12 + 3 AP
- Image Size: 70″ x 56″ in (177.8 x 142.2 cm)
- Framed Image: 85″ x 71″ in (215.9 x 180.3 cm)
Standard: Edition of 12 + 3 AP
- Image Size: 46″ x 37″ in (116.8 x 94 cm)
- Framed Image: 61″ x 52 in (154.9 x 132.1 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.
Bison DeChambeau (Colour)
Bison DeChambeau
Archival Pigment Print
“There are about 16,000 golf courses in America, but only two are higher in elevation than Telluride Golf Club. When the members play out their rounds against the visual grandeur of the San Juan mountains, the thin air allows them to enjoy an extra 10 % length on their drives.
120 years ago, these mountains were thinly governed and hosted hard living, gun carrying, outlaws, not golf tournaments. When Tarantino shot The Hateful Eight, just a couple of miles
up the road, there were no clean-cut characters who looked like Arnold Palmer or Jack Nicklaus.
There was little cultural refinement in the San Juan Mountains in the wild west days and the emergence of the genteel game of golf seems a little incongruous – especially at 9,500 feet. Until the club was founded in 1985, there were many more bears and bison in the mountains than there were birdies.
With all this in mind, I sensed there was an opportunity to be playful and stage a Wild West golf match on the course. The
locals could participate as extras, so long as they dressed in final frontier clothing, and then we just needed a proper ruffian
as the lead. I chose my friend Ty Mitchell, an authentic cowboy and DiCaprio’s henchman in Killers of the Flower Moon.
But we were not quite finished with the cast. We knew a tame bison out of Santa Fe and his owner was fairly convinced that he would be comfortable carrying the outlaw’s golf clubs. That seemed an idea worth exploring.
Early one mid-summer morning, it all came together on the 18th green at Telluride. The view back to the celebrated mountain airport in the distance emphatically identifies the location.
Today’s professional golf circuit is enriched by a few cavalier gun slingers and none more so than Bryson DeChambeau. I had a rare moment of inspiration and the title of this photograph is perhaps as fun as the photo itself.”
-David Yarrow
Available sizes
Large: Edition of 12 + 3 AP
- Image Size: 56″ x 92″ in (142.2 x 233.7 cm)
- Framed Image: 71″ x 107″ in (180.3 x 271.8 cm)
Standard: Edition of 12 + 3 AP
- Image Size: 37″ x 61″ in (94 x 154.9 cm)
- Framed Image: 52″ x 76″ in (132.1 x 193.1 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.
Telluride's Happy Gilmore (Colour)
2025
“The visually blessed mountain town of Telluride in Colorado has accommodated story book characters since its foundation as a mining town in the late 19th century. Nestling at 9,500 feet up in the San Juan mountains, I think the thin air impinges on the ability of anyone to be even remotely normal. We are a quarter of the way through the 21st century, but Telluride remains a frontier town at the end of the line.
Those that have found Telluride and chosen to make it their home, celebrate life, as well they should; there are very few places I know on the planet that offer such a good way of life. It is a resort full of happy extroverts who embrace the culture of Carpe diem.
Telluride Golf Club is the third highest in elevation in America (out of 16,000 courses) and almost every hole has an outrageous backdrop. I thought that the18th hole, with the cliff hugging airport in the distance, would be an ideal platform to tell a story of a Wild West community that knows how to enjoy life.
I have become increasingly drawn to participation art and greatly admire the work of French photographer JR. The quest for authenticity is core to art and participation art is almost always authentic. Involving many people in a staged image does lean on logistics a little, but the key is to emotionally invest in the community of whom you are asking so much.
It is about “winning the crowd” and I could not have done this without the support and advocacy of locals in town. I want to thank Gold Mountain Gallery and Telluride Ski & Golf Club for their enthusiasm for this project and then, of course, the 100 locals who turned up at 6.30 am in period clothing at 9,500 feet up a mountain.”
– David Yarrow
Available sizes
Large: Edition of 12 + 3 AP
- Print Size: 49″ x 103″ in (124.46 x 261.6 cm)
- Framed Size: 64″ x 118″ in (162.6 x 300 cm)
Standard: Edition of 12 + 3 AP
- Print Size: 37″ x 78″ in (94 x 198.1 cm)
- Framed Size: 52″ x 93 in (132 x 326.2 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 Contemporary’s private art shuttle. Please inquire.
White Chicks
Telluride, Colorado – 2024
“The main street in Telluride, Colorado holds the attention of anyone with a visual sensibility; it is as good as it gets for a mountain town. There is a final frontier timelessness and then there is the grandest of mountains bossing all that happens below. Not much has changed in the last 100 years and I doubt much will change in the next 100 either.
My idea in this parody of the movie with same name, was not to disrupt the almost perfect symmetry of the view looking east. Indeed, with the right styling and the right talent, I could enforce that sense of balance in all layers of the image; the street allows for that opportunity.
The use of space is core to storytelling with a camera, but so often we do fall short, for one reason or another, in maximising the potential. That makes photographs like this more rewarding. The lines and the composition work.
There are so many people to thank for helping that cold Sunday morning in Telluride: the town and its mayor; the snow handlers and indeed the whole crew. But I want to specially thank the Josie and Holly and their respective teams who did a first-class job. It is not easy to look that hot when the temperatures are that cold.”
– David Yarrow
Available sizes
Large: Edition of 12 + 3 AP
- Print Size: 56″ x 83″ in (142.25 x 210.82 cm)
- Framed Size: 71″ x 98″ in (180.35 x 248.92 cm)
Standard: Edition of 12 + 3 AP
- Print Size: 37″ x 55″ in (94 x 139.7 cm)
- Framed Size: 52″ x 70″ in (132.1 x 177.8 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.
All Nighter in Cowtown
Fort Worth, Texas – 2024
“In Fort Worth, the road under the Stockyard sign rises as it moves west away from the heart of Cowtown. This allows for much deeper visuals of the historic area and, from a filmmaker’s perspective, offers the potential of a wider narrative. If the road was flat, the location would still be strong, but it is the hill that transforms the potential.
Fort Worth is a fully paid-up member of the Americana Club and the city’s rise in fortunes over the last 10 years is testimony to the role the Stockyards played in the old west. The cowboy is the most enduring symbol of America and Fort Worth is the cowboy’s spiritual home. Little wonder, therefore, that this stretch of road will host nine million visitors this year.There are few hotter areas in American real estate right now than this pocket of Texas and I sense that Taylor Sheridan has played something of a role in the growing awareness of cattle culture. The lore of the cattle markets and ranches no longer only speaks to Texans.
I wanted to shoot this tableaux at first light to amplify the neon lighting in the background and create more of a visual mood. That ambition made for greater challenges with the camera, but I just hadn’t seen a picture like this before and that always energises me. The location will always be there and that forces the cameraman to push a few boundaries in the quest to be authentic. It is just not good enough to shoot the Stockyards during normal working hours. More of the same is never an option.
I think the vignette plays to the vibe of Cowtown. This is a storied place where, over the last 160 years, there must have been many late nights of hard drinking and those on the street at dawn, will be going to bed, not getting up.
– David Yarrow
Available sizes
Large: Edition of 12 + 3 AP
- Print Size: 56″ x 83″ in (142.25 x 210.82 cm)
- Framed Size: 71″ x 98″ in (180.35 x 248.92 cm)
Standard: Edition of 12 + 3 AP
- Print Size: 37″ x 55″ in (94 x 139.7 cm)
- Framed Size: 52″ x 70″ in (132.1 x 177.8 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.
Poker Nights
Jackson Hole, Wyoming – 2025
“Poker was as integral a part of cowboy life in the long winter nights as it was around a campfire in the summer. It was the most common form of entertainment – especially if those cowboys could neither read nor write. There was also, of course, a transactional element to the activity; money would meaningfully change hands.
The problem in Wyoming, however, was the state outlawed gambling in 1901. But the iconic Cowboy Bar in Jackson Hole never really bothered with that too much. In the 1940s, customers entering the bar were greeted with roulette craps and poker tables throughout the main room. Meanwhile, big stakes poker games were held in the back. It was a little Las Vegas as much as it was a watering hole and the use of space was a brazen affront to the law that played to the lore of the loosely governed wild west.
In 1951, Wyoming’s gambling crack down spread to the last stronghold – The Cowboy Bar – and when the bust came, early one Tuesday morning, there were apparently over 100 slot machines in operation. The Attorney General said of the raid “Jackson was one of the last bad spots and this probably winds it up”.
The bar would go on to reinvent itself into the iconic music and dancing venue that it is now. But fabulous stories of this illicit gambling den remain for us all to enjoy. Apparently, one roulette wheel was fixed with numerous magnets hidden under the table, which allowed the dealer to determine the winning number. The owner, at the time, was an electrician and he thought the customers were fair game.”
– David Yarrow
Available sizes
Large: Edition of 12 + 3 AP
- Print Size: 56″ x 94″ in (142 x 239 cm)
- Framed Size: 71″ x 109″ in (180 x 277 cm)
Standard: Edition of 12 + 3 AP
- Print Size: 37″ x 62″ in (94 x 157 cm)
- Framed Size: 52″ x 77″ in (132 x 196 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 Girl On The Vespa
The timeless island of Procida, in the Bay of Naples, has caught the eye of film directors of stature. Anthony Minghella was drawn to it and made full use of it in The Talented Mr Ripley and in the same era, Il Postino: The Postman was shot almost entirely on the island.
I like the island, not just for its worn facades or the artisan life that defines it, but because there is a strong sense of place in almost every location. The still camera can capture that vibe in a single frame, which is quite rare and always encourages me.
This little street – used by Minghella – caught my eye because the camera lens must point up as the road is on a steep slope. This allows for a wider narrative behind the subject and if we travel to somewhere as special as Procida, we want to include as much context as possible. A road with a steep incline is almost always good news.
In the first 58 years of my life, I never traveled to Procida and then, in the space of eight months, I went there five times. Someone tracking my movements – and thankfully I don’t think anyone is bored enough or interested enough to do so – would suspect something was up. They would be right, though it was nothing more than a new obsession – like a dog with a new bone. I knew there was stuff to do here, and I needed to let it all soak in.
Alessandra Ambrosio nailed her role as “The girl on the vespa”, but this was far from her first rodeo, and even at 06.20 am she looks too good to be true. Everything else was intuitive – including, of course, a Maradona shirt on the laundry line. That shirt is part of every street in the Bay of Naples
Available sizes
Large: Edition of 12 + 3 AP
- Image Size: 56” x 62” in (142.2 cm x 157.5 cm)
- Framed Image: 71” x 77” in (180.3 cm x 195.6 cm)
Standard: Edition of 12 + 3 AP
- Image Size: 37” x 41” in (93.98 cm x 104.1 cm)
- Framed Image: 52” x 56” in (132.1 cm x 142.2 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 Girl On The Vespa (Colour)
The timeless island of Procida, in the Bay of Naples, has caught the eye of film directors of stature. Anthony Minghella was drawn to it and made full use of it in The Talented Mr Ripley and in the same era, Il Postino: The Postman was shot almost entirely on the island.
I like the island, not just for its worn facades or the artisan life that defines it, but because there is a strong sense of place in almost every location. The still camera can capture that vibe in a single frame, which is quite rare and always encourages me.
This little street – used by Minghella – caught my eye because the camera lens must point up as the road is on a steep slope. This allows for a wider narrative behind the subject and if we travel to somewhere as special as Procida, we want to include as much context as possible. A road with a steep incline is almost always good news.
In the first 58 years of my life, I never traveled to Procida and then, in the space of eight months, I went there five times. Someone tracking my movements – and thankfully I don’t think anyone is bored enough or interested enough to do so – would suspect something was up. They would be right, though it was nothing more than a new obsession – like a dog with a new bone. I knew there was stuff to do here, and I needed to let it all soak in.
Alessandra Ambrosio nailed her role as “The girl on the vespa”, but this was far from her first rodeo, and even at 06.20 am she looks too good to be true. Everything else was intuitive – including, of course, a Maradona shirt on the laundry line. That shirt is part of every street in the Bay of Naples
Available sizes
Large: Edition of 12 + 3 AP
- Image Size: 56” x 62” in (142.2 cm x 157.5 cm)
- Framed Image: 71” x 77” in (180.3 cm x 195.6 cm)
Standard: Edition of 12 + 3 AP
- Image Size: 37” x 41” in (93.98 cm x 104.1 cm)
- Framed Image: 52” x 56” in (132.1 cm x 142.2 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.