The Robbers
Durango, Colorado – 2025
Archival Pigment Print
“We know this dramatic stretch of train track in the San Juan Mountains of Colorado as intimately as any stretch of railway in the world. I think I know it better than my train journey in the UK between London and our home in Devon. Over the years this familiarity has allowed us to fully commit to our craft.
Nothing is possible without the support of the owners of the steam train and the narrow-gauge railroad; the management and then the train drivers themselves. It is a team effort and each year the level of mutual trust has circled upwards and allowed us to push boundaries creatively. We choose to film here in the winter, as low temperatures help with the breadth of visuals.
When the pressured steam is trapped between the engine and the towering escarpment, it can only escape upwards and climb the cliff face. At 7000 ft in the winter, the steam will then fall back to earth as sleet or snow. There is then the possibility that at this most dramatic of settings, the train is just a bit part in a chaotic and otherworldly scene of ice, snow, steam and smoke. We have learnt how to momentarily create a little bit of hell high up in this formidable canyon and who better to bring into this narrative than a couple of uncompromising train robbers.
Our particular thanks to Al Harper, Jeff Johnson and Russell Heerdt of the Durango & Silverton Narrow Gauge Railroad.”
Available sizes
Large: Edition of 12 + 3 AP
- Image Size: 70″ x 56″ in (178 x 142 cm)
- Framed Image: 85″ x 71″ in (216 x 180 cm)
Standard: Edition of 12 + 3 AP
- Image Size: 47″ x 37″ in (119 x 94 cm)
- Framed Image: 62″ x 52″ in (157 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.
Trainspotting
Durango, Colorado – 2025
Archival Pigment Print
“In 1860, a group of prospectors ventured into the San Juan Mountains seeking riches. They discovered gold and silver deposits along the Animas River, naming the area “Baker’s Park”. Despite news of the discovery spreading, the Civil War, and the fact that the land belonged to the Ute Indians, delayed miners from returning until the early 1870s.
But in 1874, Silverton’s town site was established, quickly becoming the hub of numerous mining camps. Alongside miners, the town attracted the attention of a Denver railroad company with the ambition to build a track up this formidable canyon.
Eight years later, the inaugural train from Durango, operated by the Denver & Rio Grande Railroad, arrived in Silverton. This extraordinary achievement was a testimony to the ability of 19th century engineers. By 1883, Silverton boasted a population of 2,000, featuring 400 buildings, including two banks, five laundries, 29 saloons, hotels, and the notorious red-light district, Blair Street.
The beauty and grandeur of the canyon up to Silverton makes the railroad one of the world’s great visual treats.
In this shot, we staged a robbery high up in the canyon. We know our angles and our lighting and we know the cowboys we can trust on top of that historic train.”
Available sizes
Large: Edition of 12 + 3 AP
- Image Size: 56″ x 57″ in (142 x 145 cm)
- Framed Image: 71″ x 72″ in (180 x 183 cm)
Standard: Edition of 12 + 3 AP
- Image Size: 37″ x 38″ in (94 x 97 cm)
- Framed Image: 52″ x 53″ in (132 x 135 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.
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.
Bison DeChambeau (B&W)
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.
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.
Telluride's Happy Gilmore (B&W)
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 Asmus Contemporary’s private art shuttle. Please inquire.
007 (Colour)
GLENCOE, SCOTLAND – 2025
Archival Pigment Print
The entrance to the Glencoe pass in Scotland offers a volcanic amphitheatre in all weather conditions, but at the denouement of a snow storm there is a haunting menace to Buachaille Etive Mor, the cone shaped monolith that rises vertically to the west of the A82. This is a place where many bad things have happened over the years and the rawness of the topography gives a symbolic nod to that. Glencoe is not a place of lavender fields and sun kissed meadows; it is a primeval geological aberration of granite rock.
The pass is one of the most arresting visuals in the UK and I have filmed up here many times over the years. Of course, I am far from alone and the celebrated film director – Sam Mendes – chose Glencoe as a key location for Skyfall in 2012. I am sure his decision was influenced by the fact that the Fleming family has, for four generations, lived in the region and Ian Fleming himself spent many a day in the shooting lodge just 45 miles down the road to Glen Etive. This is most emphatically Bond country.
From the single-track West Highland Way running parallel to the main road, we were able to offer a sense of journey to Bond’s DB5 and the other props came to mind quite naturally. At first light, the red telephone box certainly popped against such a formidable backdrop and we had made sure the lighting inside the box was functional. That made all the difference and we are again reminded that it’s often the small things.
The strongest photographs have an emphatic sense of place and conveying this was acutely necessary to do justice to both the destination and the Bond parody. We did get lucky with the weather and also, I want to thank the Fleming family and the Alba police force for their help with this project. It was not a bad few days to spend in pursuit of my craft.
Available sizes
Large: Edition of 12 + 3 AP
- Image Size: 47” x 103” in (119.4 cm x 261.6 cm)
- Framed Image: 62” x 118” in (157.5 cm x 299.7 cm)
Standard: Edition of 12 + 3 AP
- Image Size: 31” x 69” in (78.74 cm x 175.3 cm)
- Framed Image: 46” x84” in (116.8 cm x 213.4 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.
007
GLENCOE, SCOTLAND – 2025
Archival Pigment Print
The entrance to the Glencoe pass in Scotland offers a volcanic amphitheatre in all weather conditions, but at the denouement of a snow storm there is a haunting menace to Buachaille Etive Mor, the cone shaped monolith that rises vertically to the west of the A82. This is a place where many bad things have happened over the years and the rawness of the topography gives a symbolic nod to that. Glencoe is not a place of lavender fields and sun kissed meadows; it is a primeval geological aberration of granite rock.
The pass is one of the most arresting visuals in the UK and I have filmed up here many times over the years. Of course, I am far from alone and the celebrated film director – Sam Mendes – chose Glencoe as a key location for Skyfall in 2012. I am sure his decision was influenced by the fact that the Fleming family has, for four generations, lived in the region and Ian Fleming himself spent many a day in the shooting lodge just 45 miles down the road to Glen Etive. This is most emphatically Bond country.
From the single-track West Highland Way running parallel to the main road, we were able to offer a sense of journey to Bond’s DB5 and the other props came to mind quite naturally. At first light, the red telephone box certainly popped against such a formidable backdrop and we had made sure the lighting inside the box was functional. That made all the difference and we are again reminded that it’s often the small things.
The strongest photographs have an emphatic sense of place and conveying this was acutely necessary to do justice to both the destination and the Bond parody. We did get lucky with the weather and also, I want to thank the Fleming family and the Alba police force for their help with this project. It was not a bad few days to spend in pursuit of my craft.
Available sizes
Large: Edition of 12 + 3 AP
- Image Size: 47” x 103” in (119.4 cm x 261.6 cm)
- Framed Image: 62” x 118” in (157.5 cm x 299.7 cm)
Standard: Edition of 12 + 3 AP
- Image Size: 31” x 69” in (78.74 cm x 175.3 cm)
- Framed Image: 46” x84” in (116.8 cm x 213.4 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.