78 Degrees North II, Archival Pigment Print, 2017, ed. 12, 180 x 259 cm
I should start by saying that I have generally been disappointed by my own work with polar bears in Svalbard. I haven’t tended to do them or their habitat justice. This is a “Giants’ Kingdom” and my images from previous trips have been too marginal to do either the giants or their kingdom justice. Luck evens itself out, but nature can seem cruel in its distribution of content and in this barren archipelago, I don't recall many favours until June 2017. This year, however, I did have some luck and came home with three images. There is no doubt in my mind that this photograph of a big male polar bear lends weight to the contention that wildlife photography does not need to be reportage - it can be art. The photograph is elevated by the negative space and the bear’s anonymity rather than weakened by it. Since 2011, I have spent over 30 days shooting in Svalbard and this is my favourite 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 is certainly not going to be repeated. The eye is immediately grabbed by the detail we recognise but have perhaps never seen - the distinctive pads on the sole of his foot. The central pad, that resembles the Nike style “swoosh”, is the epicentre 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 the story and the spartan economy of the narrative helps us along the way. Less is more in the arctic - its beauty is in its simplicity and the enormity of the white detail. It is not a noisy place - in fact it is characterised by the lack of noise. The image pays homage to that variable - it conveys a true sense of place. This is not a natural human habitat - it is in fact our final frontier. The irony was that it was the very last of a sequence of 60 images I took of the polar bear. A second after this moment, this most solitary of predators was over the horizon and our paths will never again cross. I did not press the trigger with this image in mind - it was such an intense 15 minutes that it would be most disingenuous to suggest that it was preconceived. The heart was beating too fast to consider creating art - these moments just sometimes happen. It was only when I returned to the ship, that I realised I had an extremely evocative photograph.
David Yarrow was born in Scotland and is currently based in London. David Yarrow is known for travelling the world’s remotest regions to capture compelling images of nature as we‘ve never seen it before, and is redefining wildlife photography in the process.
His monochrome photographs are bursting with life, vitality and movement, yet the majority of Yarrow’s subject matter, from rampaging bull elephants in Kenya to Inuit hunters and Bornean orangutans, is living on the brink of extinction. This is nature at its most majestic – and its most fragile.
Yarrow’s unorthodox camera angles and unique shooting methods transport the viewer right into the heart of the action; with split-second timing, he crystallises a single instant of drama into an image so immersive that it cannot be viewed in just a few moments. These are photographs to linger over.