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.
Ford
Ford
Archival Pigment Print
No industrial company played a bigger role in the evolution of American culture than the Ford Motor Company. Founded in Detroit, Michigan by Henry Ford in 1903, the voting structure means that it has been in continuous family control for over 100 years, despite being a public company. Today it remains one of the largest family-controlled companies in the world. Henry Ford is rightly recognised as one of America’s great industrialists and the early car models, like the mass-produced Ford Model T, changed how Americans travelled and lived.
Two generations later, in the 1960s, Ford challenged Ferrari’s dominance in the racing car marketplace; an unlikely story that was well chronicled in the movie Ford v Ferrari. Some of the scenes from that film were shot at Willow Springs race circuit in California and we were excited to have access to this location to tell our own Ford racing division stories. The 1967 Ford GT40 MK111 sits strikingly low to the ground and I saw an opportunity to pair the car with Cindy Crawford’s long legs. Hopefully the visual mismatch would then serve to highlight and showcase the beauty of both subjects.
Cindy is one of the brightest of the lead supermodels since the 1980s and role playing is hardly a challenge for her. Meanwhile I suspect that Jimmie Johnson – one of the most successful NASCAR racers of all time – is also a performing artist in his spare time. The camera likes him and he likes the camera. The two American stars lives had not crossed until that day in Willow Springs, but they worked well together in this set and this photograph is certainly a keeper. Cindy is exceptional. I want to thank Sam Bryne and his team at CrossHarbor Capital Partners for trusting us with this project and the Petersen Automotive Museum in LA for transporting some very precious sports cars up to Willow Springs.
Available sizes
Large: Edition of 20 + 3 AP
- Image Size: 56” x 84” in (142.2 cm x 213.4 cm)
- Framed Image: 71” x 99” in (180.3 cm x 251.5 cm)
Standard: Edition of 20 + 3 AP
- Image Size: 37” x 56” in (93.98 cm x 142.2 cm)
- Framed Image: 52” x 71” in (132.1 cm x 180.3 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.
El Rancho
Durango, Colorado
Archival Pigment Print
Most American mountain towns have a saloon that is such an integral part of the fabric of the community, that the owners are bestowed special status in town. It is a long-standing irony of final frontier main streets that they cannot survive without law and order, but equally they cannot survive without the watering holes in which that law and order deteriorate. These bars tend to have longevity, along with a whiff of notoriety. The longer the bar has opened its doors to the public, the more chance that it has hosted every type of vice imaginable.
El Rancho in Durango, with its secret underground tunnels that hosted gambling, prostitutes and illicit liquor trafficking, is one such bar and its owners, Chip and Chris Lile, are popular figures in town. It has a palpable vibe to it, which is elevated by the wall murals and the tree’s branches that fuse seamlessly into the Brunswick bar. In its 80-year life, the walls of El Rancho have seen most things and the underground caves have presumably seen an awful lot more. From a photographic point of view, the ambient light during the day is very generous at the street side part of the bar and that allowed me to freeze the big black wolf as he strolled down the bar. It was a fleeting moment in a lauded watering hole.
Available sizes
Large: Edition of 12 + 3 AP
- Image Size: 56” x 90” in (142.2 cm x 228.6 cm)
- Framed Image: 71” x 105” in (180.3 cm x 266.7 cm)
Standard: Edition of 12 + 3 AP
- Image Size: 37” x 60” in (93.98 cm x 152.4 cm)
- Framed Image: 52” x 75” in (132.1 cm x 190.5 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.
1966 (B&W)
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.
Untamed
Telluride, Colorado- 2024
Archival Pigment Print
“Established in 1885, the saloon at the New Sheridan in Telluride, Colorado plays to the lore of the loosely governed Wild West. A great deal has gone on in this building over the last 140 years and I sense that not much of it would have earned the participants an easy stairway to heaven. The irony is, that given the bar sits at an altitude of 9200 feet, the alleged climb would be considerably shorter than most. The saloon has the whiff of vice and is probably all the better for it. It was a place where only four generations ago, saloon girls and grizzly gold prospectors bettered each other’s lives night after night.
In 1889, just one building down from the New Sheridan saloon, Butch Cassidy staged his first bank robbery. He and three mates ran off with $31,000 from the San Miguel Valley Bank – a load of cash in those days. There were no lawmen in sight, it was very much The Wild West. In my giddy western revisionism, I always demand strong faces and this tableau is a narrow smorgasbord of Western archetypes. The calculus involved in the casting and then the composition of that cast in a single vignette is vital if we are to pay effective homage to famous saloons such as the New Sheridan. It is a good canvas on which to tell stories.
Attention to detail in placing cast members is the epicentre of what we do and I think we have learnt from our many mistakes over the years. Everyone in this photograph has earned their place at the table and what a good dinner table that would be. There would be little in the way of moral compass, but there would be a dogged determination and a pursuit of the American dream. There is much to applaud in those attributes.
This was my first time working with Kelsey Asbille – a key cast member in the iconic Yellowstone series and a delightful and down to earth actress. She brought great energy to the set as well as her South Carolina charm and many stories of the excellence of Taylor Sheridan’s direction. I was keen not to be seen as a regression and that was a tough order. Kelsey knows the camera well and the camera loves her. Her eyes were my single point of focus and I asked her to look untamed. She delivered that look for sure as, indeed, did everyone else.
I want to thank Ray Farnsworth – the proud owner of the New Sheridan Hotel and its famous saloon – for hosting our crew and looking after us all so well. Do stay there: the staff are delightful; the food is excellent and it is no longer untamed.” – David Yarrow
Available sizes
Large: Edition of 12 + 3 AP
- Image Size: 56” x 98” in (210.8 cm x 248.9 cm)
- Framed Image: 71” x 113” in (248.9 cm x 287 cm)
Standard: Edition of 12 + 3 AP
- Image Size: 37” x 65” in (93.98 cm x 165.1 cm)
- Framed Image: 52” x 80” in (132.1 cm x 203.2 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.
Last Christmas
Telluride, Colorado- 2024
Archival Pigment Print
“The main street in Telluride looking west towards the colossal mountain that will bully it forever, is one of America’s great visual overloads. That is why every year hundreds of thousands of tourists stand where I knelt to take a picture. Like the Grand Canyon and Monument Valley, it is a ground zero for selfies and maybe the location deserves a little better. It should elicit not just our phone’s attention, but a deep respect for Americana and the Final Frontier. The fact that a 150 years ago a village was built up here at 9,000 feet in Box Canyon is a telling insight into the determination of the first settlers.
I have filmed on Main Street a few times, but never with a car and I sensed that there could be potential to tell a period story. In my creative processing I built in a few key components: a classic car; an empty and snow caked street with no signs of modernity and a model whose styling played to the era of the car. If that was not greedy enough, I needed my wolf – Klondike. I wanted parody as well as glamour.
Closing down that street is not easy and I am hugely appreciative of the Major of Telluride – Teddy Errico – and his staff for their support on 14th December 2024. Without the film permit, the road closure and the parking restrictions, there was no picture.
But the best photographs always come down to the last 1% and on this occasion the key 1% was just luck. The early morning temperature, on that one morning when we were permitted to close the street and bring in my cast, led by the beautiful Josie Canseco, turned out to be the coldest of the winter so far and that changed every visual dynamic. At dawn it was only about 10 °F and the extreme cold amplified the heavy exhaust fumes from the 1955 Austin Healey. This offered an opportunity to isolate the model from the backdrop and elevate the photograph. It was not something that I had considered in my planning, but I will most certainly take it.” – David Yarrow
Available sizes
Large: Edition of 12 + 3 AP
- Image Size: 56” x 56” in (210.8 cm x 210.8 cm)
- Framed Image: 71” x 71” in (248.9 cm x 248.9 cm)
Standard: Edition of 12 + 3 AP
- Image Size: 37” x 37” in (93.98 cm x 93.98 cm)
- Framed Image: 52” x 52” in (132.1 cm 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.
Ralphie The Buffalo
Boulder, Colorado- 2024
Archival Pigment Print
“The epicentre of the University of Colorado is Folsom Field – a 53,000 capacity stadium where the college football team – the Colorado Buffaloes – play their home games. Opened in 1924, the horseshoe-shaped stadium sits at over one mile above sea level, making it one of the highest sports stadiums in America, higher even than the Broncos’ famous home down the road in Denver.
Until recently, the Buffaloes struggled to fill the stadium on game day, but the arrival of Deion “Coach Prime” Sanders in 2023 flipped the narrative overnight and attendance rose 25% to its 53,000 capacity. From sitting somewhat on the periphery, the Colorado Buffaloes are now very much a story in US college football.
In October 2024, I visited Folsom Field for an evening game to film the arrival of the famous team mascot – Ralphie the Buffalo – into a packed stadium heaving with anticipation and excitement.
I had studied video of previous entrances and made a judgement on the best position on a risk-reward basis. My preconception was that I needed to convey the sense of a stadium full to capacity as well as, of course, capturing the spectacle of Ralphie in full flow.
I want to thank CU for its support and partnership in this project, which will raise money for the Athletic department and those that look after Ralphie. We wish Coach Prime all the best in his crusade in Boulder – he certainly has had a material impact.” – David Yarrow
AVAILABLE SIZES:
LARGE: Edition of 12 + 3 AP
- Image Size: 55” x 103” in (139.7 cm x 261.6 cm)
- Framed Image: 70” x 118” in (177.8 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” (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.
The Winter Season
Jackson Hole, Wyoming – 2024
Archival Pigment Print
“The onset of winter divides opinion: for some it is a time of increased cost of living and a daily life with less optionality; for others it is eagerly anticipated as a time of celebration, festivities and the possibility of winter sports. Winter rewards some and punishes others.
But there is perhaps unity in the idea that this time of year can showcase the world at its visual best. For filmmakers, snow offers an extra character for free and that is something we have always embraced. It is a time to be in the field and not huddled by the fireplace watching movies.
This image of a large bull moose in the sage flats in Teton National Park has an emphatic sense of winter and that was my goal. It had snowed about six inches the night before and the photograph, taken around 07.30am, is elevated by the fresh snow cover and the sign of an early winter storm lifting. There is no better time to photograph than at the end of a snowfall; the flat light enhances the ethereal splendour of what the storm has left behind.
We have learnt a great deal about moose behaviour and we know each situation is different. They can be extremely dangerous animals and should not be approached. This photograph was taken after three days monitoring the behaviour of this specific bull. “ – David Yarrow
AVAILABLE SIZES:
LARGE: Edition of 12 + 3 AP
- Image Size: 56” x 77” in (142.2 cm x 195.6 cm)
- Framed Image: 71” x 92” in (180.3 cm x 233.7 cm)
STANDARD: Edition of 12 + 3 AP
- Image Size: 37” x 51” in (93.98 cm x 129.5 cm)
- Framed Image: 52” x 66” (132.1 cm x 167.6 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.