The Tetons (B&W)
Jackson Hole, Wyoming – 2025
Archival Pigment Print
“If the town of Zermatt in Switzerland has the Matterhorn, then Jackson Hole has the Tetons. Both communities stand guarded by mountains so dramatically grand that there is an extra sense of excitement on arrival. To land at Jackson Hole airport on a clear day is a thrill, even for the most travel weary of passengers; there is as pronounced a visual overload as there is at any airport in America. When I think about the town of Jackson, I find it impossible not to think about the Tetons. To me they are coupled at the hip.
Grand Teton, at 13,775 feet, is the highest point of the Teton Range and it rises steeply from the valley floor 7,000 feet below. The amphitheatre has offered a great canvas for photographers to tell stories since the invention of the camera and we always work here fully aware that we are on well-trodden ground.
This January morning we brought a cocktail of props to the Tetons, including a rather special Ford Bronco. We had a clear and cold day to work with, but there is a need to work quickly; as soon as the sun gains some height and strength, the light becomes a little harsh for me. The window is no more than 15 minutes and I think we were home in Jackson for breakfast by 9 am.
-David Yarrow
Available sizes
Large: Edition of 12 + 3 AP
- Image Size: 56″ x 59″ in (142 x 150 cm)
- Framed Image: 71″ x 74″ in (180 x 188 cm)
Standard: Edition of 12 + 3 AP
- Image Size: 37″ x 39″ in (94 x 99 cm)
- Framed Image: 52″ x 54″ in (132 x 137 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 Tetons (Colour)
Jackson Hole, Wyoming – 2025
Archival Pigment Print
“If the town of Zermatt in Switzerland has the Matterhorn, then Jackson Hole has the Tetons. Both communities stand guarded by mountains so dramatically grand that there is an extra sense of excitement on arrival. To land at Jackson Hole airport on a clear day is a thrill, even for the most travel weary of passengers; there is as pronounced a visual overload as there is at any airport in America. When I think about the town of Jackson, I find it impossible not to think about the Tetons. To me they are coupled at the hip.
Grand Teton, at 13,775 feet, is the highest point of the Teton Range and it rises steeply from the valley floor 7,000 feet below. The amphitheatre has offered a great canvas for photographers to tell stories since the invention of the camera and we always work here fully aware that we are on well-trodden ground.
This January morning we brought a cocktail of props to the Tetons, including a rather special Ford Bronco. We had a clear and cold day to work with, but there is a need to work quickly; as soon as the sun gains some height and strength, the light becomes a little harsh for me. The window is no more than 15 minutes and I think we were home in Jackson for breakfast by 9 am.
-David Yarrow
Available sizes
Large: Edition of 12 + 3 AP
- Image Size: 56″ x 59″ in (142 x 150 cm)
- Framed Image: 71″ x 74″ in (180 x 188 cm)
Standard: Edition of 12 + 3 AP
- Image Size: 37″ x 39″ in (94 x 99 cm)
- Framed Image: 52″ x 54″ in (132 x 137 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.
Stop That Train
Bryson City, North Carolina – 2024
Archival Pigment Print
“Train robbers hold a firm place in the mythological lore of the American West. Attacks on trains were a common occurrence when the rule of law was either difficult to implement or simply non-existent. Thin governance was an accepted danger on the Final Frontier.
What is perhaps surprising is that history has looked fondly on the bandits, as if their means of living was laudable and even romantic. Our affection for the underdog knows no bounds and Hollywood played to this emotion by often characterising the bandits as lovable and misunderstood rogues. The narrative was often that the bad guys were the train owners for having the wealth in the first place; maybe they had disposable moral fibre as well. It was a dog-eat-dog world.
No more was this better articulated than in the classic 1969 Western buddy film Butch Cassidy and the Sundance Kid starring Paul Newman and Robert Redford. The film – which was loosely based on fact – cemented both actors at the top of the Hollywood A-list, not just because of their acting, but because the public found affection for their characters and their affable, wise cracking roles. It was as if they played the good guys.
This photograph was a great team effort and we want to thank the Smokey Mountain Railroad for their partnership in the project.”
– David Yarrow
Available sizes
Large: Edition of 12 + 3 AP
- Image Size: 52.5″ x 102″ in (133 x 259 cm)
- Framed Image: 67.5″ x 117″ in (171 x 297 cm)
Standard: Edition of 12 + 3 AP
- Image Size: 37″ x 72″ in (94 x 183 cm)
- Framed Image: 52″ x 87″ in (132 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.
The Million Dollar Cowboy Bar (Colour)
Jackson Hole, Wyoming – 2025
Archival Pigment Print
“Established in 1937, the Million Dollar Cowboy bar in Jackson, Wyoming is one of America’s landmark honky tonks. Its authentic western vibe draws hundreds of visitors a day and yet despite this fame, the joint retains a folksy charm. That is quite a trick. It is the epicentre of the Jackson Hole community and probably always will be.
Clint Eastwood has acted in the bar (Any Which Way You Can), Willie Nelson and Hank Williams Jr have sung there and I thought it was high time we filmed there. I was drawn to the ageless facade of the bar, with its retro neon lighting and famous rotating cowboy on horseback sign on the roof. My creative pondering never departed much from the premise that this backdrop offered a definitive sense of place and had to be paid homage to.
Neon lights don’t do themselves justice during the day, but as the bar is busy until closing, 365 days a year, shooting at night offered challenges. The solution was to film at 5.30 am and, on the morning of the shoot, this offered some bonuses as there was fresh snow and a temperature of 0°F. This extreme cold allowed the exhaust fumes from the Ford Bronco to add more drama to the set.
-David Yarrow
Available sizes
Large: Edition of 12 + 3 AP
- Image Size: 56″ x 64″ in (142 x 163 cm)
- Framed Image: 71″ x 79″ in (180 x 201 cm)
Standard: Edition of 12 + 3 AP
- Image Size: 37″ x 42″ in (94 x 107 cm)
- Framed Image: 52″ x 57″ in (132 x 145 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 Million Dollar Cowboy Bar
Jackson Hole, Wyoming – 2025
Archival Pigment Print
“Established in 1937, the Million Dollar Cowboy bar in Jackson, Wyoming is one of America’s landmark honky tonks. Its authentic western vibe draws hundreds of visitors a day and yet despite this fame, the joint retains a folksy charm. That is quite a trick. It is the epicentre of the Jackson Hole community and probably always will be.
Clint Eastwood has acted in the bar (Any Which Way You Can), Willie Nelson and Hank Williams Jr have sung there and I thought it was high time we filmed there. I was drawn to the ageless facade of the bar, with its retro neon lighting and famous rotating cowboy on horseback sign on the roof. My creative pondering never departed much from the premise that this backdrop offered a definitive sense of place and had to be paid homage to.
Neon lights don’t do themselves justice during the day, but as the bar is busy until closing, 365 days a year, shooting at night offered challenges. The solution was to film at 5.30 am and, on the morning of the shoot, this offered some bonuses as there was fresh snow and a temperature of 0°F. This extreme cold allowed the exhaust fumes from the Ford Bronco to add more drama to the set.
-David Yarrow
Available sizes
Large: Edition of 12 + 3 AP
- Image Size: 56″ x 64″ in (142 x 163 cm)
- Framed Image: 71″ x 79″ in (180 x 201 cm)
Standard: Edition of 12 + 3 AP
- Image Size: 37″ x 42″ in (94 x 107 cm)
- Framed Image: 52″ x 57″ in (132 x 145 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.