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The photograph is elevated rather than weakened by the negative space and the bear’s anonymity. Since 2011, I have spent more than 30 days shooting in Svalbard, and this is my favorite image of a polar bear in this part of the Arctic. Indeed, the more I look at it, the prouder I am. As my fellow Scottish photographer and friend the great Harry Benson once said, “Great images can never be repeated.” Others will decide if this is a great image, but it certainly won’t be repeated. The distinctive pads on the sole of his foot immediately grab the eye. The central pad, which resembles the Nike “swoosh,” is the epicenter of a photograph that owes its differentiating content entirely to this right foot. The image is made complete by its own lack of completeness; the storytelling is started by the camera and finished by the viewer. We are asked to finish the story, not just read it, and the spartan economy of the narrative helps along the way. Less is more in the Arctic. 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Penguins head-on offer a different perspective, and a ground position adds stature to the subject. There was no depth of field available that day, and the vast majority of the images were cluttered and messy—except, thankfully, this one.\u003cbr\u003e\u003cbr\u003e\nThe penguins look like a cohesive unit, and there is a touch of menace to their swagger. They are clearly the\nwise guys of the beach. The penguin\non the right may have watched the odd Joe Pesci movie: “You think I’m funny?”\nI have always had a fascination with mobster films such as Goodfellas, The Untouchables, The Road to Perdition, and The Departed, and perhaps at a subconscious level this draws me to American cities such as Chicago. South Georgia is a long way from the South Side of Chicago, but this photograph brings them closer in my visual imagination.\u003cbr\u003e\u003cbr\u003e\nThere is a slight paradox with penguins in that while they live at the bottom of the world, they are a little overphotographed. 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In size and texture, these beasts offer a visual overload to match any animal I have photographed. Straight out of a winter fairy tale, they are a cross between a Rastafarian and a large bison - a potent cocktail - and fitting that this colossus of an animal can be extremely dangerous.\u003cbr\u003e\u003cbr\u003e The challenge for any filmmaker is to get close enough to do justice to their primeval features. I first tried near the tiny airport base of Kangerlussuaq in Greenland but was never able to get within 200 yards. Then I tried in Dovrefjell, Norway where some of the most acclaimed winter filming work has been done with the species. I did better, but again, on my visit, proximity was a real issue.\u003cbr\u003e\u003cbr\u003e Our desk research finally led us to the Yukon in Northern Canada where there seemed to be more practical opportunities. 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Every day, scores of tourists stop outside the grand entrance to take photographs and there is no doubt that it is a destination in itself.\u003cbr\u003e\u003cbr\u003e    I wanted to photograph the grand entrance in 1960s period styling as a nod to the time that Gunter Sachs and Brigitte Bardot were holding court and helping make St Moritz the most glamorous winter resort on earth.\u003cbr\u003e\u003cbr\u003e    I hope others think this photograph has a sense of place and a sense of time. 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Some have come close and we do regularly work with people who dance on the edge of permitted behaviour, but we held out looking for the perfect picture. Breaking Bad was an epic, game changing series and anything that borrows the name must be visually appropriate as well as eye grabbing and powerful.\u003cbr\u003e\u003cbr\u003e I had long sensed that the concept of filming with Cindy Crawford in a Californian Biker Bar had potential, especially if the bikers had a palpable sense of menace and trouble. I knew that she could more than hold her own in playing bad ass and therefore there could be unity across the ensemble, irrespective of the apparent rogue member. I need a collective, not six or seven individuals.\u003cbr\u003e\u003cbr\u003e The interior of Joshua Tree Saloon in the town of the same name, offered a great canvas on which to paint this story and as always there was a jeweller’s eye attention to detail. 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If those tracks head to a station whose architectural character adds a further layer to a story, then so much the better.\u003cbr\u003e\u003cbr\u003e This austere old stop - called Ospizio - is saddled in the majestic mountains in the Bernina Pass connecting St Moritz to Italy. The station is an isolated monolith, gate-crashing one of the great railway journeys in the world. When I first stumbled across this grey and rocky outpost, I felt a visceral surge of creativity. I knew there was a powerful and authentic shot here and I don’t often get that feeling. This is the highest railway station in Europe.\u003cbr\u003e\u003cbr\u003e My leaning was to shoot in the winter, as snow would complement the harsh and undecorated grey buildings.  The Bernina Pass is surely personified by its harsh winter, not its glorious summer. This is James Bond country.\u003cbr\u003e\u003cbr\u003e The proximity of St Moritz in the Engadin Valley below prompted me to contrast the harshness and timelessness of the location with the glamour for which St Moritz has long been famous. The celebrated Norwegian model - Frida Aasen - was perfect for the role and the styling was on point; the railway platform was her 1970s stage. She looked sensational in cold conditions in one of the great mountain passes in Switzerland.\u003cbr\u003e\u003cbr\u003e Alone in such an extreme location, we could have been forgiven for playing to a sense of vulnerability, but that was never my direct.  She owns St Moritz and she hasn’t even got there. Besides, she has a big old St Bernard to show her the way.\u003cbr\u003e\u003cbr\u003e This project was a logistical challenge, but when I see the final print and Frida’s face, it was so worthwhile.  This is old Switzerland at its magnificent best. There is nowhere like it.","brand":"David Yarrow","offers":[{"title":"94 x 173 cm (image size) | 132 x 211 cm (framed size)","offer_id":43923381092439,"sku":"DY-PH-Switzerland, St. Moritz-94 x 173 cm (image size) | 132 x 211 cm (framed size)-AR-SI-N\/A","price":37100.0,"currency_code":"CHF","in_stock":true},{"title":"142 x 259 cm (image size) | 180 x 297 cm (framed size)","offer_id":43923381125207,"sku":"DY-PH-Switzerland, St. Moritz-142 x 259 cm (image size) | 180 x 297 cm (framed size)-AR-SI-N\/A","price":44520.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0274\/0553\/files\/yarrow_david_331_switzerland_132x211_2aa2386d-f8f6-4126-b2b3-7723c92f027f.jpg?v=1780584245"},{"product_id":"david-yarrow-the-goats-of-st-moritz","title":"The Goats of St. Moritz","description":"The Goats of St. Moritz\u003cbr\u003eSt Moritz, Switzerland – 2023 \u003cbr\u003e\u003cbr\u003e The great contradiction of St Moritz is that for all its glamour, wealth and club culture, it is a surprisingly inclusive place. The town is homely and welcoming before it is snobbish and elitist. For the cynics, this is unimaginable, but it is the reality and it is part of the fabric that makes the town so magical.\u003cbr\u003e\u003cbr\u003e The artisans and farmers of the Engadin are accorded no less respect simply because they don’t shop at Gucci or lunch at the ski clubs in the mountains. The joy and happiness of living in this amphitheatre is not a tiered system. It envelopes the whole community and the community is better for it.\u003cbr\u003e\u003cbr\u003e These thoughts were not far from my mind when I invited a goat and some farmers into the shoot at the famous Renaissance Bar at Badrutt’s Palace.  They are as much a part of the Engadin community as the technology and finance titans who sip espresso martinis and smoke cigars on the old swivel chairs at the bar.\u003cbr\u003e\u003cbr\u003e I wanted to centre this story around Brigitte Bardot glamour.  After all, she is an integral part of St Moritz’s history. The girls in the frame - Nadine Leopold and Frida Aasen - were magnificent and styled wonderfully by the team and then we just had to fit in the lead staff of Badrutt’s and a few local bar regulars who may or not be Goats in their own world. It was chaos but then again, that bar is never that orderly.\u003cbr\u003e\u003cbr\u003e This will always be a bar I want to go to.  It’s an Agatha Christie set where everyone is innocent until they are not. It is theatre at its Alpine best and one-dimensional resorts like Courchevel cannot compete.","brand":"David Yarrow","offers":[{"title":"94 x 193 cm (image size) | 132 x 231 cm (framed size)","offer_id":43923390431319,"sku":"DY-PH-The Goats of St. Moritz-94 x 193 cm (image size) | 132 x 231 cm (framed size)-AR-SI-N\/A","price":24380.0,"currency_code":"CHF","in_stock":true},{"title":"127 x 262 cm (image size) | 165 x 300 cm (framed size)","offer_id":43923390464087,"sku":"DY-PH-The Goats of St. Moritz-127 x 262 cm (image size) | 165 x 300 cm (framed size)-AR-SI-N\/A","price":31800.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0274\/0553\/files\/yarrow_david_335_the_goats_of_st_moritz_132x231_d637eb2e-1e1a-4a33-b4b0-4fc4525503d0.jpg?v=1780584493"},{"product_id":"david-yarrow-the-new-testament-colour","title":"The New testament (colour)","description":"The New testament (colour)\u003cbr\u003eSouth Sudan - 2022\u003cbr\u003e\u003cbr\u003e This photograph, printed in the London Times on Saturday July 2nd, was taken only four days earlier in South Sudan.\u003cbr\u003e\u003cbr\u003e In retrospect, my photograph Mankind, taken in the same country in 2014, was a stepping stone for me. It was authentic, it had a biblical scale to it and could be looked at for a long time. Haunting and hellish one minute and serene and ethereal the next.\u003cbr\u003e\u003cbr\u003e I knew it would be a mistake to go back and try to copy what I did eight years ago; it would hint at a lack of creative progression and courage. I needed to do better and offer a new story, to go backwards would be damaging at many levels. I had been preoccupied by that fear for some time and I knew I had to be bold when I returned at the end of June 2022.\u003cbr\u003e\u003cbr\u003e The Lakes areas of South Sudan is just about on a map, but way off the grid for most. It is the most basic of existences and the only material source of employment is the cattle camps. In 2014, I filmed near the town of Yirol in a camp on a Nile tributary, but this time I wanted to travel further into the interior and find an even bigger camp on the way to Rumbek. My premise was to play on scale and my leaning was always to go bigger not smaller. The Dinka tribe are the world’s tallest people, their cattle camps are the biggest of their kind and the cattle horns are Jurassic. This is a place to play on the word “big”.\u003cbr\u003e\u003cbr\u003e Whilst I was nervous of treading old ground, familiarity is a friend not a foe, that’s why we often work with the same talent in our storytelling. My sense was that there needed to be even more of a visual overload in the frame and I found it difficult in my preconceptions to escape from the word ‘panoramic'.\u003cbr\u003e\u003cbr\u003e The local chief and the head of police knew where to take me and my security detail knew how to keep me safe. I would go into largely unchartered land where the Dinka had established a camp of over 10,000 cattle. We knew to bring cow medicine to win the crowd and we came with a load from the capital Juba. That was a good call.\u003cbr\u003e\u003cbr\u003e The discomfort of staying in a room costing $5 a night and eating a meal for $2 whilst security costs $1000 a day, is compensated by the comfort of knowing that there is a chance of authenticity. For an artist that is pure gold. I question whether anything is truly novel these days.  All creation is influenced by what we have seen elsewhere, but this terrain is not well trodden.\u003cbr\u003e\u003cbr\u003e I was excited to arrive in South Sudan and even more excited to leave when the job was done. In other parts of Africa, my emotions are much more compressed because it is so mainstream and that is something with which I am increasingly uncomfortable. In my journey, I need to push on and accept challenges and this last week was certainly one.\u003cbr\u003e\u003cbr\u003e There is about a 40-minute window for this kind of image; basically, the time between the cows returning to camp in late afternoon and half an hour before sunset. The hope, of course, is that there is direct sunlight. On a dull day with full cloud cover, the light can’t bounce off the smoke quite like it does here. Meanwhile, there was some maths involved in determining the best height for the ladder that travelled 500 miles with us; too low and there would not be enough depth and too high and we would lose immersion.\u003cbr\u003e\u003cbr\u003e And so, to the name, The New Testament. It struck me that evening in the cradle of Mankind, that the sensory overload in front of me was a metaphor. As our world spins ever faster, with kids addicted to celebrity culture and social media, students cancelling history and adults divided on so many issues, the world of the Dinka cattle camps has never really spun.","brand":"David Yarrow","offers":[{"title":"66 x 178 cm (image size) | 104 x 208 cm (framed size)","offer_id":43923403538519,"sku":"DY-PH-The New testament (colour)-66 x 178 cm (image size) | 104 x 208 cm (framed size)-AR-SI-N\/A","price":31800.0,"currency_code":"CHF","in_stock":true},{"title":"97 x 262 cm (image size) | 135 x 300 cm (framed size)","offer_id":43923403571287,"sku":"DY-PH-The New testament (colour)-97 x 262 cm (image size) | 135 x 300 cm (framed size)-AR-SI-N\/A","price":39220.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0274\/0553\/files\/yarrow_david_281_the_new_testament_color_104x208_2eef354b-b719-47d2-8376-035ed7ab6556.jpg?v=1780584590"},{"product_id":"david-yarrow-winter-wonderland","title":"Winter Wonderland","description":"Winter Wonderland\u003cbr\u003e Telluride, Colorado – 2023\u003cbr\u003e\u003cbr\u003e Just occasionally it all comes together and this particular morning in the San Juan Mountains of Colorado, we had our moment. Everything did indeed come together and I will hold this photograph close to my heart. It is a strong compositional balance and the light allows it to transcend.\u003cbr\u003e\u003cbr\u003e This all came down to the team working very quickly from 4 am: the stylists; hair and make-up and, of course, the plane crew. I knew that as soon as the sun rose the ethereal nature of the light would be lost and our window of opportunity would be gone. The sun could hit the top of the mountains but no more.\u003cbr\u003e\u003cbr\u003e The glorious Dc3 plane, which participated in D Day, had been flown in 48 hours earlier to avoid the snowstorm which had cleared by about 4 am of the day of the shoot and my plan was for that to form the middle ground, with the grandeur of the mountain behind. br\u0026gt;\u003cbr\u003e There were challenges: it was extremely cold and we also needed to work with red tape because Telluride airport is commercial and the runway crew were righty prioritising snow clearing before accommodating a film crew. Everything had been agreed long in advance, but the snowstorm threw a curve ball in front of us.\u003cbr\u003e\u003cbr\u003e My team did everything they could to encourage the airport manager to let us onto the runway as soon as possible and charm and appreciation ultimately prevailed with time running up.\u003cbr\u003e\u003cbr\u003e This was one of the first images I took that morning and every minute after that the light became less kind. It was taken just after 7 am.\u003cbr\u003e\u003cbr\u003e Josie Canseco looks fabulous and full of winter mischief. She is a total professional as it was minus 20 degrees and she manages to maintain a sovereignty and a sexuality that can be difficult to evoke under those conditions.\u003cbr\u003e\u003cbr\u003e I asked the pilot to keep the propellors on to add a dynamism and sense that Josie was merely being dropped off. Good call, I think.","brand":"David Yarrow","offers":[{"title":"94 x 135 cm (image size) | 132 x 173 cm (framed size)","offer_id":43923435028567,"sku":"DY-PH-Winter Wonderland-94 x 135 cm (image size) | 132 x 173 cm (framed size)-AR-SI-N\/A","price":34980.0,"currency_code":"CHF","in_stock":true},{"title":"142 x 206 cm (image size) | 180 x 244 cm (framed size)","offer_id":43923435061335,"sku":"DY-PH-Winter Wonderland-142 x 206 cm (image size) | 180 x 244 cm (framed size)-AR-SI-N\/A","price":42400.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0274\/0553\/files\/yarrow_david_403_winter_wonderland_125x213_0d66ad44-2a2f-497e-b971-33522d891045.jpg?v=1780584859"},{"product_id":"david-yarrow-dancing-on-ice","title":"Dancing on Ice","description":"Dancing on Ice\u003cbr\u003e St. Moritz, Switzerland – 2024\u003cbr\u003e\u003cbr\u003e The lake below the celebrated and historic Swiss community of St Moritz has been hosting sports events for 150 years; sailing in the summer months and, of course, all sorts of activities on the ice in the winter, the most spectacular and famous of which, is the White Turf racing festival held over three consecutive Sundays in February.\u003cbr\u003e\u003cbr\u003e I have been to St Moritz during this period several times over the years and the photograph I have had in mind to celebrate these fairy-tale races has never been possible because the weather hasn’t played ball. I wanted to visually glorify the amphitheatre as much as the racing itself and this required fresh snow. After a thaw, any winter town can look unexceptional, whereas after a snowfall it can look like a Disney movie or a winter wonderland from the pages of a story book.\u003cbr\u003e\u003cbr\u003e St Moritz is a sunny place and the sun facing slopes of the town and the surrounding trees can get a little messy and green after just one day of sun. From the far side of the lake, all the iconic grand hotels such as Badrutt’s Palace and the Kulm Hotel stand out, in all their glory along with the church spire and the famous old mountain railway. There can surely be no more glamorous a backdrop for a horse racetrack in the world, so long as there is fresh snow.\u003cbr\u003e\u003cbr\u003e But my needs were even more demanding than fresh snow. There had to be not just recent snow, but no falling snow, and then, if possible, I did not want the sun to be out, as, by the time the races started at 11.30am, the winter sunshine would make everything too stark. I struggle to tell a story in harsh light, as the aggressive tonal range can detract from what the artist wants to say. But I also wanted depth, so that there were layers in the photograph from the horses up front to the cable car high in the mountains in the background. To do this needed light, but just flat winter light.\u003cbr\u003e\u003cbr\u003e I woke that Sunday morning in town in February 2024 and saw my chance.  It was still snowing, but the forecast was for it to stop by 11 am.  The odds were always so low - one could wait many years to get these conditions on one of the three Sundays in February.  But on 11 February 2024, it was all there for me and I took my chance. It’s fair to say that I have been thinking about my camera settings for many years on this shot.\u003cbr\u003e\u003cbr\u003e The photograph would not have been possible without the collaboration of Dennis Schiergen, who has been at the helm of the White Turf - either as a jockey or now as its lead official - for many years. He loves the image and that makes me happy. I guess it is visually arresting, but all I was doing was photographing what was in front of my camera; I was not doing anything special. It was my view of St Moritz that was exceptional.\u003cbr\u003e\u003cbr\u003e Anyone that knows St Moritz well can look at this image for a long time and tell their own stories of misadventures somewhere in the frame. We are all storytellers and I think this photograph will elicit many a tale of winters past.","brand":"David Yarrow","offers":[{"title":"61 x 198 cm (image size) | 100 x 236 cm (framed size)","offer_id":43923446628439,"sku":"DY-PH-Dancing on Ice-61 x 198 cm (image size) | 100 x 236 cm (framed size)-AR-SI-N\/A","price":29680.0,"currency_code":"CHF","in_stock":true},{"title":"79 x 262 cm (image size) | 117 x 300 cm (framed size)","offer_id":43923446661207,"sku":"DY-PH-Dancing on Ice-79 x 262 cm (image size) | 117 x 300 cm (framed size)-AR-SI-N\/A","price":37100.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0274\/0553\/files\/yarrow_david_421_Dancing_on_Ice_100x236_20copy.jpg?v=1780585106"},{"product_id":"david-yarrow-driving-home-for-christmas","title":"Driving Home for Christmas","description":"Driving Home for Christmas\u003cbr\u003eCalifornia - 2024\u003cbr\u003e\u003cbr\u003e“\u003cbr\u003e\u003cbr\u003eI had this photograph in my mind for a good year or two before I took it. Mountain roads with snow tunnels this high are not easy to find and even then, filming on them can be a logistical challenge as there are always going to be other cars on the road. \u003cbr\u003e\u003cbr\u003eOur research led us to a mountain area near Lake Tahoe that always has high accumulation of snow throughout the winter. But my ambition of bringing in a 1953 Ferrari and a wolf to the set took the production effort to a challenging level. The car was worth around $12m and we certainly didn’t need any accidents, but we simply had to use it; it is so beautiful.\u003cbr\u003e\u003cbr\u003eMy default position is to make my work as attention grabbing as possible - and since I tend to make photographs rather than take them - the key is always in the preparation. As I saw the frame develop in my head, I imagined this is a colour photograph, as the burgundy of the Ferrari would pop against the white of the snow; if there was a bend in the road, we could use that to make the backdrop as uniform as possible.\u003cbr\u003e\u003cbr\u003eI guess this photograph has a fairytale vibe and that was my intent. She is simply driving home for Christmas.\u003cbr\u003e\u003cbr\u003eBrooks Nader is so good to work with; she is family to us and smashes every role we give her.","brand":"David Yarrow","offers":[{"title":"94 x 155 cm (image size) | 132 x 193 cm (framed size)","offer_id":43923446923351,"sku":"DY-PH-Driving Home for Christmas-94 x 155 cm (image size) | 132 x 193 cm (framed size)-AR-SI-N\/A","price":34980.0,"currency_code":"CHF","in_stock":true},{"title":"142 x 234 cm (image size) | 180 x 272 cm (framed size)","offer_id":43923446956119,"sku":"DY-PH-Driving Home for Christmas-142 x 234 cm (image size) | 180 x 272 cm (framed size)-AR-SI-N\/A","price":42400.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0274\/0553\/files\/yarrow_david_467_driving_home_for_christmas_132x193_f4512745-ad69-4f08-b465-dddaefe792c4.jpg?v=1780585146"},{"product_id":"david-yarrow-driving-home-for-christmas-colour","title":"Driving Home for Christmas (Colour)","description":"Driving Home for Christmas (Colour)\u003cbr\u003eCalifornia - 2024\u003cbr\u003e\u003cbr\u003e“\u003cbr\u003e\u003cbr\u003eI had this photograph in my mind for a good year or two before I took it. Mountain roads with snow tunnels this high are not easy to find and even then, filming on them can be a logistical challenge as there are always going to be other cars on the road. \u003cbr\u003e\u003cbr\u003eOur research led us to a mountain area near Lake Tahoe that always has high accumulation of snow throughout the winter. But my ambition of bringing in a 1953 Ferrari and a wolf to the set took the production effort to a challenging level. The car was worth around $12m and we certainly didn’t need any accidents, but we simply had to use it; it is so beautiful.\u003cbr\u003e\u003cbr\u003eMy default position is to make my work as attention grabbing as possible - and since I tend to make photographs rather than take them - the key is always in the preparation. As I saw the frame develop in my head, I imagined this is a colour photograph, as the burgundy of the Ferrari would pop against the white of the snow; if there was a bend in the road, we could use that to make the backdrop as uniform as possible.\u003cbr\u003e\u003cbr\u003eI guess this photograph has a fairytale vibe and that was my intent. She is simply driving home for Christmas.\u003cbr\u003e\u003cbr\u003eBrooks Nader is so good to work with; she is family to us and smashes every role we give her.","brand":"David Yarrow","offers":[{"title":"94 x 155 cm (image size) | 132 x 193 cm (framed size)","offer_id":43923447021655,"sku":"DY-PH-Driving Home for Christmas (Colour)-94 x 155 cm (image size) | 132 x 193 cm (framed size)-AR-SI-N\/A","price":34980.0,"currency_code":"CHF","in_stock":true},{"title":"142 x 234 cm (image size) | 180 x 272 cm (framed size)","offer_id":43923447054423,"sku":"DY-PH-Driving Home for Christmas (Colour)-142 x 234 cm (image size) | 180 x 272 cm (framed size)-AR-SI-N\/A","price":42400.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0274\/0553\/files\/yarrow_david_468_driving_home_for_christmas_colour_132x193_f2ac5362-d109-4893-937c-5940f43b93ee.jpg?v=1780585149"},{"product_id":"david-yarrow-for-your-eyes-only","title":"For Your Eyes Only","description":"For Your Eyes Only\u003cbr\u003e Namibia - 2024\u003cbr\u003e\u003cbr\u003e 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.\u003cbr\u003e\u003cbr\u003e 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.\u003cbr\u003e\u003cbr\u003e 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. \u003cbr\u003e\u003cbr\u003e 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.\u003cbr\u003e\u003cbr\u003e 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.\u003cbr\u003e\u003cbr\u003e 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.","brand":"David Yarrow","offers":[{"title":"94 x 201 cm (image size) | 132 x 239 cm (framed size)","offer_id":43923452952663,"sku":"DY-PH-For Your Eyes Only-94 x 201 cm (image size) | 132 x 239 cm (framed size)-AR-SI-N\/A","price":40280.0,"currency_code":"CHF","in_stock":true},{"title":"125 x 262 cm (image size) | 163 x 300 cm (framed size)","offer_id":43923452985431,"sku":"DY-PH-For Your Eyes Only-125 x 262 cm (image size) | 163 x 300 cm (framed size)-AR-SI-N\/A","price":47700.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0274\/0553\/files\/yarrow_david_477_for_your_eyes_only_132x239_ee637a70-2990-4928-9693-395a04960cd7.jpg?v=1780585452"},{"product_id":"david-yarrow-for-your-eyes-only-colour","title":"For Your Eyes Only (colour)","description":"For Your Eyes Only (colour)\u003cbr\u003eNamibia - 2024\u003cbr\u003e\u003cbr\u003e 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.\u003cbr\u003e\u003cbr\u003e 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.\u003cbr\u003e\u003cbr\u003e 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. \u003cbr\u003e\u003cbr\u003e 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.\u003cbr\u003e\u003cbr\u003e 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.\u003cbr\u003e\u003cbr\u003e 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.","brand":"David Yarrow","offers":[{"title":"94 x 201 cm (image size) | 132 x 239 cm (framed size)","offer_id":43923454394455,"sku":"DY-PH-For Your Eyes Only (colour)-94 x 201 cm (image size) | 132 x 239 cm (framed size)-AR-SI-N\/A","price":40280.0,"currency_code":"CHF","in_stock":true},{"title":"125 x 262 cm (image size) | 163 x 300 cm (framed size)","offer_id":43923454427223,"sku":"DY-PH-For Your Eyes Only (colour)-125 x 262 cm (image size) | 163 x 300 cm (framed size)-AR-SI-N\/A","price":47700.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0274\/0553\/files\/yarrow_david_476_for_your_eyes_only_colour_132x239_4fdb2f22-eb9a-4109-a0d1-c7dc3bfceff6.jpg?v=1780585485"},{"product_id":"david-yarrow-frozen-mountain","title":"Frozen Mountain","description":"Frozen Mountain\u003cbr\u003eDinokeng, Montana - 2024\u003cbr\u003e\u003cbr\u003e This photograph, taken in the Spanish Creek region, near Bozeman, Montana, is made by the 18-inch snowstorm that had died out only 12 hours previously.It was late February and locals said that this was the biggest storm of the winter: so we were fortunate to be on site and fully prepared. The snow cover here tends to be less substantial than up towards Big Sky and we needed that snow cover. Whilst there is no more important variable in our planning than rigorous attention to trusted weather forecasts, we sometimes have to acknowledge that luck plays a big role. This was a lucky day.\u003cbr\u003e\u003cbr\u003e I think that any portrait of a bull bison, in which this enormous and emblematic animal is perpendicular to the camera, must be more kinetic than a head on portrait, simply because there is no sense of engagement. The bison is behaving as normal and not reacting to my presence because I was hidden behind a rock. He may have smelt me but he did not see me.\u003cbr\u003e\u003cbr\u003e It’s the small things that can sometimes elevate a picture. In this case, it’s his eye detail and then immediately below his face, the blades of grass caked in frozen snow. There is an emphatic sense of the cold, which is what I always strive for in my bison work. A similar portrait shot in summer would lose zest and a powerful narrative. Fresh snow is certainly a photographer’s friend.","brand":"David Yarrow","offers":[{"title":"76 x 198 cm (image size) | 114 x 236 cm (framed size)","offer_id":43923455672407,"sku":"DY-PH-Frozen Mountain-76 x 198 cm (image size) | 114 x 236 cm (framed size)-AR-SI-N\/A","price":31800.0,"currency_code":"CHF","in_stock":true},{"title":"102 x 262 cm (image size) | 140 x 300 cm (framed size)","offer_id":43923455705175,"sku":"DY-PH-Frozen Mountain-102 x 262 cm (image size) | 140 x 300 cm (framed size)-AR-SI-N\/A","price":39220.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0274\/0553\/files\/yarrow_david_458_frozen_mountain_114x236_2748e3e3-552d-454e-99c6-a61f54056c51.jpg?v=1780585506"},{"product_id":"david-yarrow-hotel-bond","title":"Hotel Bond","description":"Hotel Bond\u003cbr\u003eFurka Pass, Switzerland – 2025\u003cbr\u003e\u003cbr\u003eNo 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 Epoque 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.\u003cbr\u003e\u003cbr\u003eI 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.\u003cbr\u003e\u003cbr\u003eThe 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.\u003cbr\u003e\u003cbr\u003eIf there was ever to be a Bond Hotel - I think it should be here.","brand":"David Yarrow","offers":[{"title":"94 x 170 cm (image size) | 132 x 208 cm (framed size)","offer_id":43923582287959,"sku":"DY-PH-Hotel Bond-94 x 170 cm (image size) | 132 x 208 cm (framed size)-AR-SI-N\/A","price":31800.0,"currency_code":"CHF","in_stock":true},{"title":"142 x 257 cm (image size) | 180 x 295 cm (framed size)","offer_id":43923582320727,"sku":"DY-PH-Hotel Bond-142 x 257 cm (image size) | 180 x 295 cm (framed size)-AR-SI-N\/A","price":39220.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0274\/0553\/files\/yarrow_david_557_hotel_bond_132x208x147.jpg?v=1780586811"},{"product_id":"david-yarrow-hotel-bond-colour","title":"Hotel Bond (Colour)","description":"Hotel Bond (Colour)\u003cbr\u003eFurka Pass, Switzerland – 2025\u003cbr\u003e\u003cbr\u003eNo film franchise has enhanced the fame of specific locations more than Bond. 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Our 12-year friendship has forged exceptional trust and we both know how to get the best out of each other. There is no way we could have taken this image a few years back - we have learned and iterated. Panthers are dangerous and safety and creativity had to find a balance.  At all times I was working from the cage.\u003cbr\u003e\u003cbr\u003eThe key to me in this one off portrait is the position of the pupils in the panther’s eyes. They equate to less than 1\/400th of the total photograph but they elicit a proper sense of menace. A bit lower down in the eye and his menace is lost. It is about the smallest of details and today’s cameras, in low light, are high performing enablers.\u003cbr\u003e\u003cbr\u003eI think the cinematic format is perfect for this photograph. After all, the term Black Panther elicits heavy Hollywood vibes. 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Their hit rate may be less than 20%, but that still means they should catch a salmon within a couple of minutes of a period of frenzied fishing. The old, experienced bears tend to have a higher success rate and go about the whole process with a nonchalance born out of historically high hit rates.\u003cbr\u003e\u003cbr\u003eThe odds of success for the photographer are far lower than for the bear. There are so many more variables at play and most of them are outside of the cameraman’s control.\u003cbr\u003e\u003cbr\u003eIdeally the bear needs to be close and head on to the camera and that outcome tends to be as much about luck as rigorous predictive analysis. I also much prefer flat, calm light as opposed to strong and directional, whereas the bear doesn’t care one bit.\u003cbr\u003e\u003cbr\u003eThis frame works. The bear is sharp and focused on the job in hand and my angle of view is right. There is clarity and yet some dynamism and the light is flat. It doesn’t often happen and when it does, it is always satisfying.","brand":"David Yarrow","offers":[{"title":"94 x 97 cm (image size) | 132 x 135 cm (framed size)","offer_id":43923609845847,"sku":"DY-PH-Gone Fishing-94 x 97 cm (image size) | 132 x 135 cm (framed size)-AR-SI-N\/A","price":26500.0,"currency_code":"CHF","in_stock":true},{"title":"142 x 147 cm (image size) | 180 x 185 cm (framed size)","offer_id":43923609878615,"sku":"DY-PH-Gone Fishing-142 x 147 cm (image size) | 180 x 185 cm (framed size)-AR-SI-N\/A","price":33920.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0274\/0553\/files\/yarrow_david_578_gone_fishing_132x135_daea16e3-3d1f-463b-8467-2a5e819c915d.jpg?v=1780588123"},{"product_id":"david-yarrow-gone-fishing-colour","title":"Gone Fishing (Colour)","description":"Gone Fishing (Colour)\u003cbr\u003eFunnel Creek, Alaska – 2025\u003cbr\u003e\u003cbr\u003eThe volume of salmon in this river in Katmai, Alaska during late July\/early August pushes the odds in favour of the bear. Their hit rate may be less than 20%, but that still means they should catch a salmon within a couple of minutes of a period of frenzied fishing. The old, experienced bears tend to have a higher success rate and go about the whole process with a nonchalance born out of historically high hit rates.\u003cbr\u003e\u003cbr\u003eThe odds of success for the photographer are far lower than for the bear. There are so many more variables at play and most of them are outside of the cameraman’s control.\u003cbr\u003e\u003cbr\u003eIdeally the bear needs to be close and head on to the camera and that outcome tends to be as much about luck as rigorous predictive analysis. I also much prefer flat, calm light as opposed to strong and directional, whereas the bear doesn’t care one bit.\u003cbr\u003e\u003cbr\u003eThis frame works. The bear is sharp and focused on the job in hand and my angle of view is right. There is clarity and yet some dynamism and the light is flat. 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Sinclair supplied American Airlines with engine lubricant and the advert was a simple play on horsepower. Like many of the commercial adverts of that period, the message lent on the contribution to the war effort. \u003cbr\u003e\u003cbr\u003eThe connectivity between horse and flying machine in the image was visually arresting and told a wonderful story. The creatives behind this piece of advertising art will no longer be with us but deserve great recognition.\u003cbr\u003e\u003cbr\u003eWe started to spitball a few ideas to make our own version of this photograph. Camera capability may have come a long way in the last 80 years, but the nerve to fly 50 feet off the ground in a decent size plane is still not for everyone and we needed to find a pilot who embraced our ambition and would be game enough to join us in this homage to a piece of World War II history.\u003cbr\u003e\u003cbr\u003eWe chose Alpine Airport in West Texas as our location for three reasons. Firstly, the airport sits in a stunning amphitheater with mountains to the west and south of the main runway. Secondly, the owners of the airport seemed to be our kind of people, who want to make things happen rather than find reasons why they should not. Thirdly, there would be no shortage of skilled cowboys in the area who could navigate their way through the horse part of the story.\u003cbr\u003e\u003cbr\u003eOur pilot - Roger Woolsey - is a gem of a guy and used to low flying. His fabulous 1944 A-26 Invader that we used that day was active in The Battle of the Bulge in World War II, so the story came full circle.\u003cbr\u003e\u003cbr\u003eThis project would not have been possible without the help of the decorated Vietnam veteran - General Ron Fogleman - who introduced us to Roger and his team.","brand":"David Yarrow","offers":[{"title":"86 x 175 cm (image size) | 124 x 213 cm (framed size)","offer_id":43923614892119,"sku":"DY-PH-Sinclair Oil-86 x 175 cm (image size) | 124 x 213 cm (framed size)-AR-SI-N\/A","price":56180.0,"currency_code":"CHF","in_stock":true},{"title":"127 x 262 cm (image size) | 165 x 300 cm (framed size)","offer_id":43923614924887,"sku":"DY-PH-Sinclair Oil-127 x 262 cm (image size) | 165 x 300 cm (framed size)-AR-SI-N\/A","price":63600.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0274\/0553\/files\/yarrow_david_584_sinclair_oil_124x213_65ba5dc3-b9ef-4cb0-a59e-365a48fd3644.jpg?v=1780588226"},{"product_id":"david-yarrow-sinclair-oil-colour","title":"Sinclair Oil (Colour)","description":"Sinclair Oil (Colour)\u003cbr\u003eAlpine, Texas – 2025\u003cbr\u003e\u003cbr\u003eIn early 2025, I stumbled across a 1942 Sinclair Oil advert featuring a photograph of a cowboy on a horse racing against a low flying American Airlines Douglas Dc7. Sinclair supplied American Airlines with engine lubricant and the advert was a simple play on horsepower. Like many of the commercial adverts of that period, the message lent on the contribution to the war effort. \u003cbr\u003e\u003cbr\u003eThe connectivity between horse and flying machine in the image was visually arresting and told a wonderful story. The creatives behind this piece of advertising art will no longer be with us but deserve great recognition.\u003cbr\u003e\u003cbr\u003eWe started to spitball a few ideas to make our own version of this photograph. Camera capability may have come a long way in the last 80 years, but the nerve to fly 50 feet off the ground in a decent size plane is still not for everyone and we needed to find a pilot who embraced our ambition and would be game enough to join us in this homage to a piece of World War II history.\u003cbr\u003e\u003cbr\u003eWe chose Alpine Airport in West Texas as our location for three reasons. 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Location scouting is such an important part of what we do and this was a good find. I do not believe anyone’s camera has ever been in this spot before, well certainly not with a steam train approaching head on.\u003cbr\u003e\u003cbr\u003eWe set about the logistics of bringing a horse to this inaccessible part of the track and all went reasonably according to plan. The problem we had, was that it would simply not stop raining. The first day was a complete right off as the rain was heavy and unrelenting, but on the second day, at around 9 am in the morning, we had our moment. It was a 20-minute window.\u003cbr\u003e\u003cbr\u003eThe wide range of colors in the frame elevates the photograph and I think it’s as powerful as we could ever have hoped for. The red, the white and the black complement the autumnal patchwork quilt behind. I was, of course, looking to find a way for the smoke to allow both the robbers to “pop” within the frame - not easy, especially for Erica Lawrence on the roof right next to the smoke funnel.\u003cbr\u003e\u003cbr\u003eThat week we were just a crazy bunch of misfits hanging out in the wood cabins of the Smoky Mountains, trying to stay out of trouble and stay dry whilst making some art. The problem, as many know, is that trouble tends to find us. 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Location scouting is such an important part of what we do and this was a good find. I do not believe anyone’s camera has ever been in this spot before, well certainly not with a steam train approaching head on.\u003cbr\u003e\u003cbr\u003eWe set about the logistics of bringing a horse to this inaccessible part of the track and all went reasonably according to plan. The problem we had, was that it would simply not stop raining. The first day was a complete right off as the rain was heavy and unrelenting, but on the second day, at around 9 am in the morning, we had our moment. It was a 20-minute window.\u003cbr\u003e\u003cbr\u003eThe wide range of colors in the frame elevates the photograph and I think it’s as powerful as we could ever have hoped for. The red, the white and the black complement the autumnal patchwork quilt behind. 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A group of male bison charging through heavy snow, directly towards a camera is certainly a rare sight and it always seemed a bridge too far from almost every perspective. The question has always been where and how could this epic scene unfold in front of a camera?\u003cbr\u003e\u003cbr\u003eYellowstone National Park was never going to be the answer.  This sort of collective behaviour does not tend to happen in the park and if it did, there would be zero chance of being in the right place at the right time to film it. It is difficult to break new ground in Yellowstone.\u003cbr\u003e\u003cbr\u003eIn 2020 an American artist, John Banovich, an exceptional talent and good friend, suggested that I approach Ted Turner to see if I could gain access to his stunning 180 square mile ranch - Flying D - saddling Yellowstone and neighbouring Big Sky. This remarkable place is nine times the size of Manhattan and showcases Montana at its most stunning best.\u003cbr\u003e\u003cbr\u003eJohn’s wonderful painting of a group of running bison adorns the wall of the main reception of the exclusive Yellowstone Club and he took his inspiration from spending time at Ted Turner’s ranch.  I recognised that this was a link worth pursuing. Flatteringly, a few months after my initial approach, the Turner team agreed to collaborate in the hope that we could raise money for Ted’s conservation initiatives.\u003cbr\u003e\u003cbr\u003eTed Turner is one of America’s biggest landowners and also one of its most acclaimed conservationists and he reintroduced both bison and wolves into Flying D, one of his three Montana ranches. In mid-winter, his team of ranchers will herd some of the 5,000-resident bison into areas where feeding is easier and this controlled activity creates an opportunity to work a situation.  Just like cowboys herding their cattle in Texas, the skill sets of the Turner ranchers in deep snow are a privilege to watch.\u003cbr\u003e\u003cbr\u003eThe difficulty is that bison in this vast ranch are more skittish of humans on foot than their Yellowstone cousins, who see thousands of tourists every day.   I therefore needed either to be camouflaged or out of sight as they made haste in my direction. Luckily the Flying D team knew of a group of rocks behind which I would be obscured from the bison’s line of sight.\u003cbr\u003e\u003cbr\u003eAfter many a failure, and some adjustments to the approach, one gorgeous winter morning in February, we achieved what we set out to do. It was a real team effort and I want to thank John Banovich and the whole Turner Corporation team at the Flying D.","brand":"David Yarrow","offers":[{"title":"64 x 170 cm (image size) | 102 x 208 cm (framed size)","offer_id":43923621216343,"sku":"DY-PH-The Bills (Colour)-64 x 170 cm (image size) | 102 x 208 cm (framed size)-AR-SI-N\/A","price":63600.0,"currency_code":"CHF","in_stock":true},{"title":"94 x 254 cm (image size) | 132 x 292 cm (framed size)","offer_id":43923621249111,"sku":"DY-PH-The Bills (Colour)-94 x 254 cm (image size) | 132 x 292 cm (framed size)-AR-SI-N\/A","price":71020.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0274\/0553\/files\/yarrow_david_603_the_bills_colour_102x208_b9d8a66a-0417-42f1-b342-245afb4ca32a.jpg?v=1780588543"},{"product_id":"david-yarrow-the-lady-of-the-lake","title":"The Lady of the Lake","description":"The Lady of the Lake\u003cbr\u003eEresfjord, Norway – 2025\u003cbr\u003e\u003cbr\u003eThe grey frame of this 1948 Porsche 356 complements the snowy and misty backdrop of this winter’s day. There is a calm tonal balance to the photograph which would not have been possible if the sun had been out. There may not be 50 shades of grey, but there is a good dozen.\u003cbr\u003e\u003cbr\u003eThis is a coveted and highly valuable car and its shape is lauded by car enthusiasts. I knew that I had to capture it in profile on at least one shoot in Norway. This was the location in which to do so.\u003cbr\u003e\u003cbr\u003eWhen we were planning this shoot, we had no idea that the west coast of Norway would be hit by a material early winter snowstorm. We considered this to be a fortunate break so long as we could get the car to the location, which was in an isolated fjord northeast of Molde.\u003cbr\u003e\u003cbr\u003eSnow normally allows the photographer a little more light to play with and importantly it adds another layer to the story with no extra charge. We are big fans of working in the snow, especially in soft or low light. 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I am not the first photographer to be drawn to the almost perfect symmetry and grandeur of this 12,000-foot-tall mountain and I won’t be the last.\u003cbr\u003e\u003cbr\u003eThe foreground had to have some punch and I think the combination of Josie Canseco and her travel companion in a 1953 Ferrari pushes a few boundaries. There is much to look at.\u003cbr\u003e\u003cbr\u003eIt was, however, the weather that made the shot. I needed fresh snow and a clear morning sky; without one or the other, there was no picture to be taken. The light becomes increasingly less kind on a sunny day and we knew that it would all be over by 8 am at the latest. The window of opportunity is less than 30 minutes.\u003cbr\u003e\u003cbr\u003eDuring our week in Jackson, we had low sky and suboptimal light for 95% of the time. But we had one morning of clear sky and we took our chance. It was luck really, but I think we leveraged what we were given and that ultimately is the acid test. This image is now in the bag forever and that’s something to celebrate.\n\u003cbr\u003e\u003cbr\u003eFor those with a visual sensibility, The Tetons set a high bar; there is no mountain range in the Americas I would prefer as a backdrop and the Snake River Valley below offers so much opportunity to build stories. It is an amphitheater that demands a filmmaker’s A game - to be mundane or vanilla would be embarrassing.","brand":"David Yarrow","offers":[{"title":"94 x 115 cm (image size) | 132 x 153 cm (framed size)","offer_id":43923633537111,"sku":"DY-PH-The White Lady-94 x 115 cm (image size) | 132 x 153 cm (framed size)-AR-SI-N\/A","price":42400.0,"currency_code":"CHF","in_stock":true},{"title":"142 x 173 cm (image size) | 180 x 211 cm (framed size)","offer_id":43923633569879,"sku":"DY-PH-The White Lady-142 x 173 cm (image size) | 180 x 211 cm (framed size)-AR-SI-N\/A","price":49820.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0274\/0553\/files\/yarrow_david_610_the_white_lady_132x153_7029ba46-ff1c-4246-80a1-887cb04810cf.jpg?v=1780588778"},{"product_id":"david-yarrow-the-white-lady-colour","title":"The White Lady (Colour)","description":"The White Lady (Colour)\u003cbr\u003eJackson Hole, Wyoming – 2025\u003cbr\u003e\u003cbr\u003eThere is not much I would change with this photograph - it all came together in cold winter light looking out to the much-loved Mount Moran in Grand Teton National Park. I am not the first photographer to be drawn to the almost perfect symmetry and grandeur of this 12,000-foot-tall mountain and I won’t be the last.\u003cbr\u003e\u003cbr\u003eThe foreground had to have some punch and I think the combination of Josie Canseco and her travel companion in a 1953 Ferrari pushes a few boundaries. There is much to look at.\u003cbr\u003e\u003cbr\u003eIt was, however, the weather that made the shot. I needed fresh snow and a clear morning sky; without one or the other, there was no picture to be taken. The light becomes increasingly less kind on a sunny day and we knew that it would all be over by 8 am at the latest. The window of opportunity is less than 30 minutes.\u003cbr\u003e\u003cbr\u003eDuring our week in Jackson, we had low sky and suboptimal light for 95% of the time. But we had one morning of clear sky and we took our chance. It was luck really, but I think we leveraged what we were given and that ultimately is the acid test. 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A prescriptive process pushes against the notion of freedom of expression. Warhol is often credited with the line “art is whatever you can get away with” and whether he actually said that is secondary to the power of the message. Authenticity is everything and it should be a personal crusade.\u003cbr\u003e\u003cbr\u003eI do think, however, that visual harmony within an image is something to strive for if it is available. If there is some stability in the weightings, or even better, a symmetry, the photograph - whatever the subject - can be more pleasing on the viewer’s eye. Chaos works for photojournalists capturing decisive moments, but what I try to do is make pictures as opposed to take them. It is a less relevant and a less noble genre of photography than working on the Foreign News desk and the goals are entirely different.\u003cbr\u003e\u003cbr\u003eThese thoughts were very much on my mind in Yellowstone National Park when working with this lone bison. 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