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.
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.
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.
A Room With A View (Colour)
If locations had the right to be called “heaven on earth”, then the Amalfi Coast would fancy its chances of owning it and not being mocked. There are not many places I know that can get away with that. The timeless beauty and dramatic location of communities such as Atrani are well known; the dramatic peninsula attracts five million visitors a year despite car journeys that are not for the faint hearted. This is no secret garden.
Making this photograph of the generational supermodel Alessandra Ambrosio in Atrani needed some thought. It was a good premise, with some world class constituents, but we could not afford to be creatively lame.
We knew a modest B&B with one room whose balcony had the right view of Atrani. But my sense was that it needed an extra variable to give that emphatic sense of place. My leaning was to construct a lemon grove – as the fruit is symbolic of the region. In the Bay of Naples, lemons are Jurassic; almost as if they have evolved differently from everywhere else and when they come together on a grove, it offers a visual feast.
This was not an easy set and the people who made it happen were the locals of Atrani: the Mayor; the Chief of Police; the landlord and the lemon gardener. It was a true team effort. There is such a sense of community here and that is what makes the Amalfi Coast truly special. The hilltop scenery, the azure sea, the food and the wine all transcend at some level, but it’s the people living and working behind Alessandra in this photograph who make the location so special.
It is a “Room with a view” – a view of a proper community.
Available sizes
Large: Edition of 12 + 3 AP
- Image Size: 56” x 89” in (142.2 cm x 226.1 cm)
- Framed Image: 71” x 104” in (180.3 cm x 264.2 cm)
Standard: Edition of 12 + 3 AP
- Image Size: 37” x 59” in (93.98 cm x 149.9 cm)
- Framed Image: 52” x 74” in (132.1 cm x 188 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.
Bellissimo (Colour)
Bellisimo
Archival Pigment Print
Neapolitans are intensely proud people – “Vedi Napoli e poi muori” goes the local proverb (see Napoli and die). That pride is well deserved given the city’s unique well-worn beauty, the visual splendour of Vesuvius and the Bay of Naples and then the palpable sense of community that has been consistently nurtured generation after generation. Throw in the archaeological treasure trove of Pompeii, culinary preeminence, Diego Maradona and Napoli FC and this is an ancient city that never stops giving.
Like being Texan, being Neapolitan assures a certain state of mind, but unlike Texas, that state of mind may have been on offer for 3000 years. The area has been continuously inhabited since 1000 BC – one of the oldest such cases in the world – and this has probably worked against radical urban redevelopment. I sense that there has never been a real window of opportunity to establish modernity and the reward is what we can now all see.
Undeniably poor in parts, and chaotic almost everywhere, Napoli is raw and untamed, but that is what makes it artistically captivating. What the inner city lacks in serenity, it makes up for in adrenalin. Driving a car here is a combative Olympic sport, not just a means of getting from A to B.
In filtering down to what is truly core to the city, I sense that two constituents simply cannot be removed – food and football. That is not to say that the other associations are emphatically weaker, but these two are surely integral to the fabric of the Paris of the South.
I was fortunate to be working in town last Friday when Napoli FC landed the Serie A title for the 4th time in the club’s history. Forza Napoli and Forza Scott McTominay. And it was also a treat to work with Alessandra Ambrosio, who despite huge fame, has never really changed at all.
There have been many photographs taken in the Bay of Naples of girls eating pasta over the years and I wanted a fresh composition. This image of the celebrated Alessandra Ambrosio eating vongole on the roof of the famous Grand Hotel Parker’s has a definite sense of place for sure.
It’s always the small things and I like the one glass in this shot – the most notorious volcano in the world and we get to see it twice in one frame.
Available sizes
Large: Edition of 12 + 3 AP
- Print Size: 56″ x 87″ in (142.2 x 221 cm)
- Framed Size: 71″ x 102″ in (180.3 x 259.1 cm)
Standard: Edition of 12 + 3 AP
- Print Size: 37″ x 57″ in (94 x 144.8 cm)
- Framed Size: 52″ x 72 in (132.1 x 182.9 cm)
Also available in B+W.
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.
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.
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.