Bond (Colour)
GLENCOE, SCOTLAND – 2025
Archival Pigment Print
Glencoe offers one of Scotland’s grandest locations, especially at the denouement of a winter storm. This panoramic was taken about 20 minutes after the snow had stopped fallen and clouds still covered the cone shaped volcanic monolith of Buachaille Etive; there is an emphatic sense of place and sense of mood. We were very fortunate to be here in these conditions and we were all very rather humbled by the vista in front of us.
This is the celebrated gateway to the Scottish Highlands and a land known not just for its natural beauty, but for its bloody past, particularly the Clan feuds between the MacDonalds and the Campbells. The drive through Glencoe encourages a silent historical musing as intense as any road I know in the world. Shit happened here.
But there is also an untamed regality to the region that has long drawnfilmmakers and, of course, this goes full circle, as this remote part of the world has long been associated with the Fleming family and particularly Ian Fleming – the creator of James Bond. He lived here before moving to Jamaica in 1946.
A pivotal sequence in the 2012 Bond movie “Skyfall” was shot on the road down from the A82 to what was Ian Fleming’s nephew’s shooting lodge – Dalness. The location was well chosen and all those that are drawn to the mournful beauty of Scotland, appreciated the subtle alchemy between Bond’s DB5 and the quintessential Highland topography. I doubt any other Bond location has as many daily visitors as that Glen Etive Road.
This photograph was taken near the entrance to that road on the West Highland Way. We had watched the weather forecast every day for 10 daysbefore the shoot and not in our wildest dreams did we ever expect the light and the snow cover to be this kind to us. We still had to move quickly with the props and I had to find compositional balance in my frame, but the weather was the transcending component. We were back at Dalness for breakfast.
This photograph is personal. Scotland is my home and I think we did Glencoe proud. No wonder Sam Mendes chose to shoot here in the Skyfall movie and the truth is that we got luckier than him with the weather.
I would like to thank the Alba Police force and Phil Fleming for their help in making this shoot happen.
Available sizes
Large: Edition of 12 + 3 AP
- Image Size: 38” x 102” in (96.52 cm x 259.1 cm)
- Framed Image: 53” x 117” in (134.6 cm x 297.2 cm)
Standard: Edition of 12 + 3 AP
- Image Size: 29” x 77” in (73.66 cm x 195.6 cm)
- Framed Image: 44” x 92” in (111.8 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.
Skyfall (Colour)
GLENCOE, SCOTLAND – 2025
Archival Pigment Print
Glencoe offers one of Scotland’s grandest locations, especially at the denouement of a winter storm. The cone shaped volcanic monolith of Buachaille Etive stands proud at the entrance as if it was a white hatted sentry guarding the national treasures in the glen beyond. This is the celebrated gateway to the Scottish Highlands and a land known not just for its natural beauty, but for its bloody past, particularly the Clan feuds between the MacDonalds and the Campbells. The drive through Glencoe encourages a silent historical musing as intense as any road I know in the world. Shit happened here.
But there is also an untamed regality to the region that has long drawn filmmakers and, of course, this goes full circle, as this remote part of the world has long been associated with the Fleming family and particularly Ian Fleming – the creator of James Bond. He lived here before moving to Jamaica in 1946. A pivotal sequence in the 2012 Bond movie “Skyfall” was shot on the road down from the A82 to what was Ian Fleming’s nephew’s shooting lodge – Dalness. The location was well chosen and all those that are drawn to the mournful beauty of Scotland, appreciated the subtle alchemy between Bond’s DB5 and the quintessential Highland topography. I doubt any other Bond location has as many daily visitors as that Glen Etive Road.
This panoramic was taken near the entrance to that road on the West Highland Way. We had watched the weather forecast every day for 10 days before the shoot and not in our wildest dreams did we ever expect the light and the snow cover to be this kind to us. We still had to move quickly with the props and I had to find compositional balance in my frame, but the weather was the transcending component. We were back at Dalness for breakfast. This photograph is personal. Scotland is my home and I think we did Glencoe proud. No wonder Sam Mendes chose to shoot here in the Skyfall movie and the truth is that we got luckier than him with the weather.
I would like to thank the Alba Police force and Phil Fleming for their help in making this shoot happen.
Available sizes
Large: Edition of 12 + 3 AP
- Image Size: 36” x 103” in (68.58 cm x 261.6 cm)
- Framed Image: 51” x 118” in (129.5 cm x 299.7 cm)
Standard: Edition of 12 + 3 AP
- Image Size: 27” x 78” in (68.58 cm x 198.1 cm)
- Framed Image: 42” x 93” in (106.7 cm 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.
78 Degrees North (Colour)
Svalbard, Norway – 2017
Archival Pigment Print
“I should start by saying I have generally been disappointed by my own work with polar bears in Svalbard. This is a giant’s kingdom, and my images from previous trips have been too marginal to do either the giants or their kingdom justice. Luck evens itself out, but nature can seem cruel in its distribution of content, and in this barren archipelago, I don’t recall many favors until June 2017.
There is no doubt in my mind that this photograph of a big male polar bear lends weight to the contention that wildlife photography does not have to be reportage—it can be art. The photograph is elevated rather than weakened by the negative space and the bear’s anonymity. Since 2011, I have spent more than 30 days shooting in Svalbard, and this is my favorite image of a polar bear in this part of the Arctic. Indeed, the more I look at it, the prouder I am. As my fellow Scottish photographer and friend the great Harry Benson once said, “Great images can never be repeated.” Others will decide if this is a great image, but it certainly won’t be repeated.
The distinctive pads on the sole of his foot immediately grab the eye. The central pad, which resembles the Nike “swoosh,” is the epicenter of a photograph that owes its differentiating content entirely to this right foot. The image is made complete by its own lack of completeness; the storytelling is started by the camera and finished by the viewer. We are asked to finish the story, not just read it, and the spartan economy of the narrative helps along the way. Less is more in the Arctic. Its beauty is in its simplicity and the enormity of the white detail. It conveys a true sense of place.” – David Yarrow
Available sizes
Large: Edition of 12 + 3 AP
- Image Size: 56” x 87” in (142.2 cm x 221 cm)
- Framed Image: 71” x 102” in (180.3 cm x 259.1 cm)
Standard: Edition of 12 + 3 AP
- Image Size: 37” x 57” in (93.98 cm x 144.8 cm)
- Framed Image: 52” x 72” in (132.1 cm x 182.9 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.
Driving Home For Christmas (Colour)
Lake Tahoe, California – 2024
Archival Pigment Print
“I had this photograph in my mind for a good year or two before I took it. Mountain roads with snow tunnels this high are not easy to find and even then, filming on them can be a logistical challenge as there are always going to be other cars on the road.
Our research led us to a mountain area near Lake Tahoe that always has high accumulation of snow throughout the winter. But my ambition of bringing in a 1953 Ferrari and a wolf to the set took the production effort to a challenging level. The car was worth around $12m and we certainly didn’t need any accidents, but we simply had to use it; it is so beautiful.
My default position is to make my work as attention grabbing as possible – and since I tend to make photographs rather than take them – the key is always in the preparation. As I saw the frame develop in my head, I imagined this is a colour photograph, as the burgundy of the Ferrari would pop against the white of the snow; if there was a bend in the road, we could use that to make the backdrop as uniform as possible.
I guess this photograph has a fairytale vibe and that was my intent. She is simply driving home for Christmas.
Brooks Nader is so good to work with; she is family to us and smashes every role we give her”. – David Yarrow
Available sizes
Large: Edition of 12 + 3 AP
- Image Size: 56” x 92” in (142.2 cm x 233.7 cm)
- Framed Image: 71” x 107” in (180.3 cm x 271.8 cm)
Standard: Edition of 12 + 3 AP
- Image Size: 37” x 61” in (93.98 cm x 154.9 cm)
- Framed Image: 52” x 76” in (132.1 cm 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.
Rack 'em Up (Colour)
Kanaan Desert, Namibia – 2024
Archival Pigment Print
“This somewhat dystopian image was not preconceived and came together spontaneously on the day of our shoot in the Namibian desert. The camera angle allows the viewer to explore inside our bar and the picture is all the better for that. It is a proper desert bar, two hours from anywhere of note.
I remember once looking at a book featuring telephone kiosks in unusual places around the world. It was a nice idea and there were some eye-catching visual contrasts in the collection. But telephone kiosks do not tend to play host to people of disposable moral fibre, whereas pool lounges largely do and that is why a pool table is such a good prop; it smacks of the possibility of trouble.
I think if there was a book of pool table images playing to the lore of a sketchy saloon, this photograph would stand a good chance of being front cover. Who could possibly refuse an invitation for a drink and a game of pool at this bar? It has everything you need, including that vague hint of vice.
Cara Delevingne is so much more than just a supermodel. She is a generational talent and a force of nature. In 2024 she played Sally Bowles in Cabaret for a good 10 weeks in the West End. One critic said she played the role as well as Liza Minnelli in the 1971 movie of the same name. And so it was an honour to have her along to The Desert Saloon to shoot some pool and check out the local wildlife.
This whole project was only feasible through our partnership with Rudi and Marlice Van Vuuren and the lauded Naankuse Sanctuary in Namibia.” – David Yarrow
Available sizes
Large: Edition of 20 + 3 AP
- Image Size: 53” x 103” in (134.6 cm x 261.6 cm)
- Framed Image: 68” x 118” in (172.7 cm x 299.7 cm)
Standard: Edition of 20 + 3 AP
- Image Size: 37” x 72” in (93.98 cm x 182.9 cm)
- Framed Image: 52” x 87” in (132.1 cm x 221 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 (Colour)
Kanaan Desert, Namibia – 2024
Archival Pigment Print
“This eye grabbing 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 12 + 3 AP
- Image Size: 49” x 103” in (124.5 cm x 261.6 cm)
- Framed Image: 64” x 118” in (162.6 cm x 299.7 cm)
Standard: Edition of 12 + 3 AP
- Image Size: 37” x 78” in (93.98 cm x 198.1 cm)
- Framed Image: 52” x 93” in (132.1 cm 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.
For Your Eyes Only (Color)
Kanaan Desert, Namibia – 2024
Archival Pigment Print
“If we can persuade a female icon to take leave from the Paris Fashion shows, and then take three flights with a combined 16 hours flying time, only to then arrive in a Mars like desert with no accommodation other than tents, we better have a good plan when she reaches her tent.
We did have a plan, but when Cara arrived in Namibia the weather was so windy and stormy that we could not even hold a glass of water in our hands. It hadn’t properly rained in this part of the Kanaan Desert for two years, but the day we arrived for one of our most ambitious productions, it started to properly rain. You could not make this shit up.
But this poor weather created an opportunity not a threat, as it always does. Although the storm cleared through the night, it was still unseasonably cold and when we arrived at the top of the sand dunes at dawn, the distant mountains were enveloped in low cloud. This is most unusual and added a whole new element to what I already knew was a visually intoxicating location. The wind had also left new textural patterns in the sand.
The positioning of Cara and the cheetah on the ridge of the dunes lends a pleasing compositional balance to the picture. It was not all down to fortune and I could not have done this without the help of the Naankuse team in Namibia and in particular Rudi and Marlice Van Vuuren. It also helps that I know the dunes well; any filmmaker must make decisions quickly at sunrise in the desert. The light I needed to amplify the beauty of the content is only gifted for a brief period.
The real credit goes to Cara Delevingne though, what a force of nature she is and a total professional. It is not easy walking naked in those dunes with a cheetah watching your every move.
The best pictures are authentic and can never be taken again. I think this raw and elemental picture ticks those boxes. It is a glimpse of our beautiful world.” – David Yarrow
Available sizes
Large: Edition of 12 + 3 AP
- Image Size: 49” x 103” in (124.5 cm x 261.6 cm)
- Framed Image: 64” x 118” in (162.6 cm x 299.7 cm)
Standard: Edition of 12 + 3 AP
- Image Size: 37” x 79” in (93.98 cm x 200.7 cm)
- Framed Image: 52” x 94” in (132.1 cm x 238.8 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.
Dune (Colour)
Kanaan Desert, Namibia – 2024
Archival Pigment Print
“As my quest to tell layered stories has evolved, I have a firmer understanding of how a weak layer can kill an image of mine. I look back at some work and wince. I have kept hunting in my creative process for clues as to what I am striving for and I guess that the journey of discovery never ends. It is the journey itself that is the purpose of all the effort and drive.
Namibia is the cheetah capital of the world. Since 1990, smart conservation efforts have resulted in the population in the country growing from 1500 to 2500 – that’s one third of the planet’s total. We have long worked with the acclaimed cheetah conservationists Rudi and Marlice van Vuuren who founded the Naankuse Sanctuary nearly 20 years ago and they partnered with us on this project in the Kanaan Desert.
This photograph in the dunes of the Namibian desert, was taken in September 2024. I first photographed in this desert over 14 years ago and I hope I have learned a great deal since then. All the layers in this image: the textural sand, the central characters, the desert mountains and the clouds coalesce as one.
My camera metadata tells me that it was taken long before most people are out of bed and yet we are a long way from the nearest building. But no one in the crew had a problem with that. There is a visual overload from these dunes at sunrise to match any location on the planet.
Shanina Shaik looks sensational and elevates a photograph of a cheetah in the desert into something a little more special. I felt that it was vital that we could see both her eyes and that dictated my camera position in the dunes and her body angle. The moment came and it was just a glimpse, but that is all you need. She is smart as well as beautiful.
I like the cinematic proportions of this photograph – it helps to tell the story.” – David Yarrow
Available sizes
Large: Edition of 12 + 3 AP
- Image Size: 46” x 103” in (116.8 cm x 262.6 cm)
- Framed Image: 61” x 118” in (154.9 cm x 299.7 cm)
Standard: Edition of 12 + 3 AP
- Image Size: 34” x 75” in (86.36 cm x 190.5 cm)
- Framed Image: 49” x 90” in (124.5 cm x 228.6 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.
Eternity (Color)
Kanaan Desert, Namibia – 2024
Archival Pigment Print
“John Ford said that the elemental grandeur of Monument Valley gave him an extra character for free in his movies and that was why it was his preferred filming location. If he was right, and he surely was, then the deserts of Namibia in Africa lend you at least a couple more.
The problem is that filming in the Namibian Desert is logistically a little more challenging than Arizona. The population density is 10 people per square mile – a tenth of America’s density – and in the desert, there is a palpable sense of solitude. Outside of the capital Windhoek the infrastructure is rather basic and to film ambitious projects demands resolve and a passion for adventure.
Namibia is, however, the cheetah capital of the world. Since 1990, smart conservation efforts have resulted in the population in the country growing from 1500 to 2500 – that’s one third of the planet’s total. We have long worked with the acclaimed cheetah conservationists Rudi and Marlice van Vuuren who founded the Naankuse Wildlife Sanctuary nearly 20 years ago and they partnered with us on this project in the Kanaan Desert.
I had this picture in my head since Covid days but I was only able to capture it in September 2024 – good things take time. Sunrise is a dangerous time to film; there are so many traps to fall into and the optimum light is ephemeral.
Shooting towards the sun, which would be my default position, becomes challenging if the photograph like this is contextual as I don’t like to have the sun itself in an image; it can be a little gaudy in colour and look extremely odd in black and white. To avoid the cliches and the tonal tension points, I prefer to film before the sun appears and this desert offers a chance as there are mountains for it to overcome. From my elevated position high in the sand dunes, the sun only arrives on stage a good 30 minutes after daylight.
There is a sense of timeless eternity to this photograph. I look at it and smile – what a wonderful planet we rent. Huge credit to Shanina Shaik, she was brilliant to work with, and cared not one bit about the 3 am wake up calls. I guess it’s not a bad place for a morning walk with a big cat.” – David Yarrow
Available sizes
Large: Edition of 12 + 3 AP
- Image Size: 42” x 103” in (106.7 cm x 262.6 cm)
- Framed Image: 57” x 118” in (144.8 cm x 299.7 cm)
Standard: Edition of 12 + 3 AP
- Image Size: 32” x 77” in (81.28 cm x 195.6 cm)
- Framed Image: 47” x 92” in (119.4 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.
Hook 'em Horns (Colour)
Austin, Texas – 2024
Archival Pigment Print
“The University of Texas (UT) is integral to the lore and image of Texas and is beloved by its alumni. If Texas was a country, it would now rank 8th in world GDP and if UT was just an athletics institution, it would also rank high in the global performance charts. This is not a normal educational establishment.
The flagship of the athletics department is, of course, the Texas Longhorns, whose fan base stretches way beyond the alumni. To be in Austin for a Saturday game day is a bucket list sporting occasion, attracting crowds of over 80,000 people, even if the result is a foregone conclusion long before the tailgating parties start.
My plan was to take a tableau photograph celebrating this venerable institution, but there was much to plan to ensure my effort as an outsider would not end up being generic or hackneyed. I needed to push a few boundaries in my creative processing.
Since 1916 a longhorn steer named Bevo has represented The University of Texas as its famed mascot. There have, of course, been a few Bevos over the years, with their orange and white colouring emblematic of the institution. There is no more revered live mascot in global sport and I recognised that without Bevo, any picture celebrating the Longhorns would be very lame.
I want to thank Ben Barnes – the former Lieutenant Governor of Texas – for helping facilitate this shoot. My idea was to photograph Bevo in front of the UT tower which is the storied epicentre of the campus and Ben, who bizarrely knew my late father in the UK, made the necessary calls.
The grass lawn between 21st Street and the Tower suited the steer, but my leaning was always to add both dynamism and symbolism by using the same smoke effects that accompany Bevo when he triumphantly enters the Darrell K Royal Memorial Stadium on game day. Smoke adds drama and focuses the eye. No wonder it is so often used in the creative entertainment industry.
I want to thank Ricky Brown Ricky Breenes, and Craig Westemeier of The University of Texas Athletics, William Reid and, of course, Governor Barnes. It was a privilege and an honour to be allowed this level of access.
This was an agreed partnership with UT, who will benefit from any sales of the commemorative photograph.” – David Yarrow
Available sizes
Large: Edition of 12 + 3 AP
- Image Size: 56” x 77” in (142.2 cm x 195.98 cm)
- Framed Image: 71” x 92” in (180.3 cm x 233.68 cm)
Standard: Edition of 12 + 3 AP
- Image Size: 37” x 51” in (93.98 cm x 129.54 cm)
- Framed Image: 52” x 66” in (132.1 cm x 167.64 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.