American Primeval (Colour)
Yellowstone National Park – 2025
Archival Pigment Print
“There is just enough movement in this ice monster’s front feet to offer a sense of menace. Whilst I felt in no immediate danger, and was in full compliance with Yellowstone’s safety guidelines, this was a big bull and his ice coat made him a formidable presence.
There are only so many days in the winter when the morning weather conditions in Yellowstone allow a bull bison to involuntarily morph into a primeval ice monster. The morning must be exceptionally cold (certainly below minus 10º F) to allow the steam rising from the thermal springs and rivers to ice cake all matter nearby, including bison. There are fewer days like this in the National Park than there used to be.
The complication is that the exceptionally cold days tend to be clear, high-pressure days and we must therefore find the bison before the sun takes hold of the light.
This is a mythological beast of great presence and power and to be in his company was rather surreal. By 10 am, he was presumably back to being a normal bison, albeit a large one, but by then we had long gone and were warming ourselves up in a frontier town saloon bar and convincing ourselves that we had not just gate crashed a Game of Thrones set.”
– David Yarrow
Available sizes
Large: Edition of 12 + 3 AP
- Image Size: 60″ x 56″ in (152 x 142 cm)
- Framed Image: 75″ x 71″ in (191 x 180 cm)
Standard: Edition of 12 + 3 AP
- Image Size: 40″ x 37″ in (102 x 94 cm)
- Framed Image: 55″ x 52″ in (140 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 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.
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.
Black Magic (B&W)
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.
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.