The Bad Ass (Colour)
This photograph, taken near the Californian mining town of Trona, very much follows my compositional formula of having a foreground, a middle ground and a background. If one of these layers is weak, the image is impaired and its ability to grab the attention of others suffers. We need the layers to tell as full a story as possible in one single image.
I think the formula in this photograph works as well as possible; the Trona Pinnacles look spectacular at sunrise and the winter storm clouds above were an unexpected bonus. The police cars and officers show our commitment to period storytelling; there is no point going about this in a halfhearted way.
It was cold in the Californian desert at 7.20 am and the whole process was completed in less than three minutes.
As it was, the storm clouds were a harbinger of a severe winter storm that dumped 10 feet of snow in some parts of the Sierra Nevada mountains. By 8 am the sun had gone and with it the opportunity to do any more filming. It was another case of our team being extremely focused on local weather forecasts.
To be on set at 7 am with the rider’s hair styled as well as it was, is a challenge in a remote location like this. The Pinnacles are only accessible in a 4-wheel drive car and at 5 am it was pitch black and the dirt road was flooded in some places. But we enjoy these logistical challenges – it makes the end product all the more pleasing.
71” x 109” (framed)
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.
The Bad Ass (Black & White)
This photograph, taken near the Californian mining town of Trona, very much follows my compositional formula of having a foreground, a middle ground and a background. If one of these layers is weak, the image is impaired and its ability to grab the attention of others suffers. We need the layers to tell as full a story as possible in one single image.
I think the formula in this photograph works as well as possible; the Trona Pinnacles look spectacular at sunrise and the winter storm clouds above were an unexpected bonus. The police cars and officers show our commitment to period storytelling; there is no point going about this in a halfhearted way.
It was cold in the Californian desert at 7.20 am and the whole process was completed in less than three minutes.
As it was, the storm clouds were a harbinger of a severe winter storm that dumped 10 feet of snow in some parts of the Sierra Nevada mountains. By 8 am the sun had gone and with it the opportunity to do any more filming. It was another case of our team being extremely focused on local weather forecasts.
To be on set at 7 am with the rider’s hair styled as well as it was, is a challenge in a remote location like this. The Pinnacles are only accessible in a 4-wheel drive car and at 5 am it was pitch black and the dirt road was flooded in some places. But we enjoy these logistical challenges – it makes the end product all the more pleasing.
71” x 109” (framed)
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.
The Hitchhiker's Guide to the Galaxy
Monument Valley, Utah – 2023
“This is not the first time we have asked former basketball player- Erica Lawrence – to travel to a far-off location so that we could fuse her magnificence with an equally spectacular car. First it was the San Bernardino Pass between Italy and Switzerland with a James Bond car and this time it was the heart of John Ford’s American West with a $60m Testarossa Ferrari. The car, driven by Sports Illustrated cover girl Brooks Nader, looks stunning against the iconic grandeur of Monument Valley and Erica’s body starts and finishes the story.
We enjoy rolling the dice a little and embracing parody: it doesn’t pay to be too earnest in storytelling. Stories are just that – stories. Taschen’s book Wheels and Curves showcased photographs from the roaring twenties that played on the alchemy between female form and the early motor car. For many it brought two of the finer things in life together and this was to be celebrated.
It is quite instructive that in the 1920s photographing this quite specific subject matter was seen as being a most laudable use of the camera. It was a category within the vast field of photographic subject matter. A photographer could turn his lens to landscapes, or war, or still life, but could equally photograph girls sitting erotically on cars.
Ostensibly, it would seem little has changed in the last 100 years.“
-David Yarrow
Available Sizes
Large - Edition of 12 + 3 AP
- Image Size: 56” x 91" in (142 cm x 231 cm)
- Framed Image: 71” x 106” in (180 cm x 269 cm)
Standard - Edition of 12 + 3 AP
- Image Size: 37” x 60” in (94 cm x 152 cm)
- Framed Image: 52” x 75” in (132 cm x 191 cm)
We ship worldwide and use a multitude of providers to safely deliver your artwork. Domestic delivery and installation may also be available via Hilton Contemporary’s private art shuttle. Please inquire.
Hotel Bond
Furka Pass, Switzerland 2025
“No film franchise has enhanced the fame of specific locations more than Bond. To be the backdrop narrative to a sequence in a Bond movie – no matter how dated – bestows heavyweight status on the map coordinates. It is product placement at its most acute level.
In 1964, Goldfinger, the second 007 movie, was released and, in retrospect, it was the key to the franchise. The movie recouped its investment in just two weeks and is still cited as the film that established many of the iconic elements and tropes of Bond movies. For many aficionados, Goldfinger is THE Bond movie – Rotten Tomatoes – the exacting review aggregation website, score it at 99%.
Goldfinger rammed home the Box Office of Sean Connery and brought names like Oddjob and Pussy Galore into our lives. It also made famous the hairpin bends of the Furka Pass in Switzerland and the quintessential Belle Époque buildings lining its route. The jewel in the crown of these is the iconic Belvedere Hotel – which sits precisely on the inside of one of the hairpins. It is an Alpine monument to the glittering days of the Swiss hotel industry in the late 19th century.
I do not like driving, or even being driven, on mountain pass roads – especially ones with token barriers accompanying 3000-foot drops. Bond may have enjoyed his car chase on this road, but I am no Bond and this project certainly reminded me that I have some embarrassing vertigo issues.
The Furka pass is inaccessible until late May and, given my leaning to film with as much snow in the backdrop as possible, this was always going to be an early June shoot. The Belvedere Hotel is long closed for business and I want to thank the owners for allowing to us to open the shutters and somehow put some lights on. I am sure Wes Anderson would have done the same and it did make all the difference.
If there was ever to be a Bond Hotel – I think it should be here.”
-David Yarrow
Available Sizes
Large - Edition of 12 + 3 AP
- Image Size: 56” x 101" in (142 cm x 257 cm)
- Framed Image: 71” x 116” in (180 cm x 295 cm)
Standard - Edition of 12 + 3 AP
- Image Size: 37” x 67” in (94 cm x 170 cm)
- Framed Image: 52” x 82” in (132 cm x 208 cm)
We ship worldwide and use a multitude of providers to safely deliver your artwork. Domestic delivery and installation may also be available via Hilton Contemporary’s private art shuttle. Please inquire.
Hotel Bond (Colour)
Furka Pass, Switzerland 2025
“No film franchise has enhanced the fame of specific locations more than Bond. To be the backdrop narrative to a sequence in a Bond movie – no matter how dated – bestows heavyweight status on the map coordinates. It is product placement at its most acute level.
In 1964, Goldfinger, the second 007 movie, was released and, in retrospect, it was the key to the franchise. The movie recouped its investment in just two weeks and is still cited as the film that established many of the iconic elements and tropes of Bond movies. For many aficionados, Goldfinger is THE Bond movie – Rotten Tomatoes – the exacting review aggregation website, score it at 99%.
Goldfinger rammed home the Box Office of Sean Connery and brought names like Oddjob and Pussy Galore into our lives. It also made famous the hairpin bends of the Furka Pass in Switzerland and the quintessential Belle Époque buildings lining its route. The jewel in the crown of these is the iconic Belvedere Hotel – which sits precisely on the inside of one of the hairpins. It is an Alpine monument to the glittering days of the Swiss hotel industry in the late 19th century.
I do not like driving, or even being driven, on mountain pass roads – especially ones with token barriers accompanying 3000-foot drops. Bond may have enjoyed his car chase on this road, but I am no Bond and this project certainly reminded me that I have some embarrassing vertigo issues.
The Furka pass is inaccessible until late May and, given my leaning to film with as much snow in the backdrop as possible, this was always going to be an early June shoot. The Belvedere Hotel is long closed for business and I want to thank the owners for allowing to us to open the shutters and somehow put some lights on. I am sure Wes Anderson would have done the same and it did make all the difference.
If there was ever to be a Bond Hotel – I think it should be here.”
-David Yarrow
Available Sizes
Large - Edition of 12 + 3 AP
- Image Size: 56” x 101" in (142 cm x 257 cm)
- Framed Image: 71” x 116” in (180 cm x 295 cm)
Standard - Edition of 12 + 3 AP
- Image Size: 37” x 67” in (94 cm x 170 cm)
- Framed Image: 52” x 82” in (132 cm x 208 cm)
We ship worldwide and use a multitude of providers to safely deliver your artwork. Domestic delivery and installation may also be available via Hilton Contemporary’s private art shuttle. Please inquire.
Deuce
Palm Beach, Florida – 2025
Archival Pigment Print
“There is, of course, a tennis picture from the mid 1970s that adorned the walls of many a teenager’s home or a student’s frat house. Its popularity was not just its cheekiness, but also its simplicity. This was the era of Bjorn Borg and Chris Evert and the sport was very much on the rise in the public’s consciousness. It was the start of an era in which tennis landed an integral role within popular culture and the stars themselves often became sex symbols. Tennis was sexy.
When filming our Palm Beach series, I had been given access to a beautiful home on North Country Drive just north of The Breakers. The property faced the Atlantic and the vast verdant lawns stretching to the beach were of Wimbledon standard. Towering palm trees soared to the sky breaking the symmetry and offered a definite sense of place. This was very clearly the ocean front of Palm Beach; a stretch of land emphatically known for the good things in life. It was a property that offered a complete visual overload.
I saw an opportunity to borrow from that famous old tennis picture and then impose a Palm Beach narrative. The 1970s styling was quite straightforward, but the concept required some wind to lift the tennis player’s skirt in the manner I was hoping for. In time we had our chance and everything else just fell into place.”
-David Yarrow
Available sizes
Large: Edition of 12 + 3 AP
- Image Size: 81″ x 56″ in (206 x 142 cm)
- Framed Image: 96″ x 71″ in (244 x 180 cm)
Standard: Edition of 12 + 3 AP
- Image Size: 54″ x 37″ in (137 x 94 cm)
- Framed Image: 69″ x 52″ in (175 x 132 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.
Deuce (Colour)
Palm Beach, Florida – 2025
Archival Pigment Print
“There is, of course, a tennis picture from the mid 1970s that adorned the walls of many a teenager’s home or a student’s frat house. Its popularity was not just its cheekiness, but also its simplicity. This was the era of Bjorn Borg and Chris Evert and the sport was very much on the rise in the public’s consciousness. It was the start of an era in which tennis landed an integral role within popular culture and the stars themselves often became sex symbols. Tennis was sexy.
When filming our Palm Beach series, I had been given access to a beautiful home on North Country Drive just north of The Breakers. The property faced the Atlantic and the vast verdant lawns stretching to the beach were of Wimbledon standard. Towering palm trees soared to the sky breaking the symmetry and offered a definite sense of place. This was very clearly the ocean front of Palm Beach; a stretch of land emphatically known for the good things in life. It was a property that offered a complete visual overload.
I saw an opportunity to borrow from that famous old tennis picture and then impose a Palm Beach narrative. The 1970s styling was quite straightforward, but the concept required some wind to lift the tennis player’s skirt in the manner I was hoping for. In time we had our chance and everything else just fell into place.”
-David Yarrow
Available sizes
Large: Edition of 12 + 3 AP
- Image Size: 81″ x 56″ in (206 x 142 cm)
- Framed Image: 96″ x 71″ in (244 x 180 cm)
Standard: Edition of 12 + 3 AP
- Image Size: 54″ x 37″ in (137 x 94 cm)
- Framed Image: 69″ x 52″ in (175 x 132 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 Home of Bond
GLENCOE, SCOTLAND – 2025
Archival Pigment Print
Ian Fleming – the creator of James Bond – was the grandson of Scottish financier Robert Fleming, who was a material landowner in the Highlands. One of the most coveted estates in the family was Dalness in Glen Etive, near Glencoe. Before WW2, Ian Fleming spent many days in this most dramatic of locations and this did not escape the attention of British Director Sam Mendes, who used the very same estate and glen as the location for the climax of his 2012 Bond movie – Skyfall. This is Scotland at its untamed best.
The road off the A82 from Glencoe to Dalness attracts camera heavy tourists, in part because of its volcanic beauty, but also because of Skyfall. I was keen to use the exact location where Daniel Craig and Judi Dench had a moment of reflection outside his parked Aston Martin DB5. After that, all hell broke loose.
With the help of the Alba traffic department of the Scottish Police, we were able to secure permits to briefly close the road. We were fortunate with the weather; this is not a blue-sky place and ideally, we wanted some snow and a hint of menace in the sky. There is a mournful beauty to the highlands that is visually compatible with flat light and low cloud. The sky falls low in Scotland. This was a personal shoot for me given my heritage and my early childhood memories of skiing in Glencoe. Every shoot matters, but this one had an edge. The crew all stayed at Dalness and I think that put us in the right spiritual zone to do justice to Ian Fleming.
I want to thank the Fleming family, Torquil McAlpine and Alba for their support and help with this project.
Available sizes
Large: Edition of 12 + 3 AP
- Image Size: 51” x 103” in (129.5 cm x 261.6 cm)
- Framed Image: 66” x 118” in (167.6 cm x 299.7 cm)
Standard: Edition of 12 + 3 AP
- Image Size: 34” x 68” in (86.36 cm x 172.7 cm)
- Framed Image: 49” x 83” in (124.5 cm x 210.8 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.
Skyfall
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.
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.