The Natural World

DAVID YARROW PHOTOGRAPHY

ABOUT YA R R O W D a v i d Ya r r o w w a s b o r n i n G l a s g o w, S c o t l a n d i n 1 9 6 6 . H e t o o k u p p h o t o g r a p h y

w o r l d a n d h i s l i m i t e d e d i t i o n w o r k s r e g u l a r l y s e l l a t h i g h p r i c e s a t S o t h e b y ’s

at an early age and as a 20-year-old found himself working as a photographer

and other auction houses.

f o r T h e L o n d o n T i m e s o n t h e p i t c h a t t h e Wo r l d C u p Fi n a l i n M e x i c o C i t y.

O n t h a t d a y, D a v i d t o o k t h e f a m o u s p i c t u r e o f D i e g o M a r a d o n a h o l d i n g t h e

D a v i d ’s p o s i t i o n i n t h e i n d u s t r y h a s b e e n r e w a r d e d w i t h a w i d e r a n g e o f

Wo r l d C u p a n d , a s a r e s u l t , w a s s u b s e q u e n t l y a s k e d t o c o v e r t h e O l y m p i c s

advisor y and ambassadorial roles. He is an ambassador for WildArk and

and numerous other spor ting events. Many years later David established

T h e K e v i n R i c h a r d s o n Fo u n d a t i o n . A s t h e E u r o p e a n a m b a s s a d o r f o r N i k o n ,

himself as a fine ar t photographer by documenting the natural world from

D a v i d h a s b e e n i n t e g r a l t o t h e c o m p a n y ’s m o s t a n t i c i p a t e d c a m e r a r e l e a s e

new perspectives and the last nine years have been career- defining.

o f t h e l a s t d e c a d e . I n D e c e m b e r 2 0 1 7 h e s h o t LV M H ’s “ D o n’ t C r a c k U n d e r P r e s s u r e” c a m p a i g n w i t h C a r a D e l e v i n g n e . I n M a r c h 2 0 2 2 D a v i d b e c a m e a n

D a v i d ’s e v o c a t i v e a n d i m m e r s i v e p h o t o g r a p h y o f l i f e o n e a r t h i s m o s t

ambassador of Berenberg Bank. In the spring of 2020, David was appointed

distinctive and has earned him an ever-growing following amongst ar t

a G l o b a l A m b a s s a d o r f o r B e s t B u d d i e s – o n e o f A m e r i c a’s m o s t e s t a b l i s h e d

collectors. His large monochrome images made in Los Angeles are on display

c h i l d r e n’s c h a r i t i e s . I n 2 0 2 0 , D a v i d b e c a m e a n a m b a s s a d o r f o r A f r i c a n

in leading galleries and museums across Europe and Nor th America. He is

C o m m u n i t y a n d C o n s e r v a t i o n Fo u n d a t i o n a n d p r e s e n t e d h i s w o r k i n t h e

now recognised as one of the best-selling fine ar t photographers in the

E n d a n g e r e d R a n g e r s v i r t u a l f u n d r a i s e r.

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FIELDS OF GOLD A constant challenge in my work is how to capture the soul of a subjec t whilst conveying a sense of place. I t is a complex alchemy and one that is easier to address with the war wounds of failure. I am not the first person to wrestle with this - it is integral to filmmak ing and still photography. In fac t, it is perhaps the biggest sk ill of all. For masters of film, such as Steven Spielberg, R idley Scott and, of course, Mar tin Scorsese, their innate ability to do this was transcendental.

This is such a simple pic ture and it was not hard to take once the subjec t matter was in place. I wanted the whole image to smell of the Serengeti without marginalising the star of the show. The ratio seems about right and there was enough wind to add just a little ex tra layer to the narrative.

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HORSEPOWER The stallions I worked with on this

James

shoot in Devon are magnificent.

invented steam engines in the

Front on and in full flight, they are

late 18 centur y - figured out a

full of muscle and yet at the same

mathematical

time exude elegance. I can’t think

horses to engine power. Thus the

of another animal that manages

term horsepower was invented.

this balance so well. Little wonder

Looking at this image, I understand

their aesthetics have been the

why he chose a horse.

focus of ar tists for centuries.

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Y A R R O W

Watt

-

the

way

Scot

to

who

equate

THE CURE D u r i n g m o s t s u m m e r s , t h e S e r e n g e t i i n Ta n z a n i a i s d e f i n e d b y t h e t r a f f i c a n d some of the serenity of these endless plains can be lost. It is considered the crown jewel of the East African game reser ves and - in my view - deser vedly s o. B u t t h a t s t a t u s c o m e s w i t h a p r i c e - t o u r i s t s a n d j e e p s - h u n d r e d s o f them.

B u t n o t s o d u r i n g t h e C o v i d 1 9 p a n d e m i c o f 2 0 2 0 . We t o o k o n e o f t h e f i r s t international flights in and unsurprisingly found vir tually no one to be here.

The swab testing logistics may be a little tiresome, but the light footprint is offering unprecedented oppor tunities to work alone in the field. In the vastness of the Eastern Serengeti, there are currently few humans and a h u g e n u m b e r o f l i o n s . Fo r t h o s e t h a t a r e h e r e , c o n d i t i o n s f o r f i l m m a k i n g are per fect.

moved, we could adapt quickly without being inconsiderate to the line of sight of others. At about 7.45 am he saw a potential prey and with his eyes full of intent, he set off from the rocks above us. I had my chance, when he was still higher than my camera.

The angle and the line of the rock face work for me, but the real bonus is his rockstar aesthetics. He would not look out of place headlining at G l a s t o n b u r y w i t h T h e C u r e . I t ’s a n a p p o s i t e n a m e f o r 2 0 2 0 .

This is such a simple pic ture and it was not hard to take once the subjec t matter was in place. I wanted the whole image to smell of the Serengeti without marginalising the star of the show. The ratio seems about right and there was enough wind to add just a little ex tra layer to the narrative.

We s a t w i t h t h i s s t u n n i n g b i g m a l e l i o n o n t h e U t a f i t i k o p j e s f r o m s u n r i s e one morning. No other jeeps were anywhere in the region and so when he

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BLACK BEAUTY

Borana in Kenya offers some of the most raw and dramatic scenery in East Africa - rolling plains are

who know what they are talking about. As I grow older, I recognise the importance of knowing what I am

interspersed with forests, steep hills and craggy rock faces. The most famous spot of all is, of course, Pride

talking about.The success of Kenyan farmers in Borana brought new residents from Europe and even more

Rock of The Lion King fame. For the 2019 remake, the Disney crew spent eight weeks filming in Borana - quite

horses. But not just any horses - champion racehorses. To photograph them at altitude in Borana was a great

an investment of time for an animated film. Last week I was very honoured to be asked to shoot the new

thrill - their muscled bodies set against the plains below offer the artist every chance.

Land Rover Defender on this location - it is a filmmaker’s El Dorado.

I want to thank Michael Spencer for all his support and help over the years. No man knows more about old In 2007, the Dyer farming family made a decision to commit all retained earnings from commercial activities

colonial Africa and no man has given back more - it is integral to his soul to be loyal to his roots and in Borana

on Borana to support the increased costs of conservation. Borana and Lewa together now boast the most

he has found his spiritual home. Michael and Sarah’s stunning racehorses add another dimension to one of

successful rhino conservancy in Kenya. Poaching is a thing of the past in this part of Kenya and much of the

my favourite places in East Africa.

credit belongs to second and third generation farming families like the Dyers and the Craigs in Lewa,

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66 DEGREES NORTH

Developing a concept that ticks the boxes creatively and then executing that concept are emphatically two

much like Yellowstone in Wyoming, is not to be taken for granted. To be brave and work close to the geysers

different jobs, which is why making a picture is a longer process than taking a picture. Many years ago, the

needs permits and guides.

exceptional work of British photographer Tim Flach, drew my attention to the hot springs of Myvatn in the north of Iceland. This remote area is geologically angry and in deep winter it is fairly inhospitable, but in the

But in 2022, we finally had our rewards. The weather plays such a big role in the field; no more so than up

summer, it becomes something of a tourist resort for the local Icelandics and all too crowded for how we

here at 66 degrees north where the Norse Gods granted my wish for strong winds and good light. It was

operate. We would always choose inhospitable over crowded.

the wind that amplified the trail of steam and allowed me to work a comfortable distance from the source without losing the effect. It was then up to me to work the strong late afternoon light to the best of my

I have filmed here in the winter in the past, but struggled to do justice to the uniquely raw ecosystem.

advantage.

As always there is an element of knowing how to get it right by initially getting it hopelessly wrong. In particular, this is not a safe place without engaging locals, because the ground underneath,

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Y A R R O W

OVER SEA TO SKYE My primar y goal that squally morning, high on the hills above Lochcarron,

unthreatening as possible.

was to take a por trait of a big stag that would have a sense of place. It was impor tant therefore to work with a lens wide enough to offer enough

I f i r s t s a w t h i s i m a g e a s a b i g p r i n t i n o u r g a l l e r y i n Pa r i s a n d i t g r a b b e d

background detail that those familiar with the region could identify Skye

t h e e y e . T h e r e i s n o t m u c h I w o u l d r e a l l y c h a n g e . E v e n a f e w Pa r i s i a n s

in the background.

recognised Skye in the background.

That side of the quest was less of a challenge than getting close enough to a big stag. They are sk ittish at best, but they were familiar with my fixer – Colin Murdoch – and that was the break that I needed.

W h e n t h e m o m e n t c a m e w i t h t h i s 1 2 p o i n t e r, i t w a s i m p e r a t i v e t o h a v e m y focus pin sharp on his head – without that, there would cer tainly be no picture. The other impor tant factor was that I wanted the stag to look regal and not ner vous. Whilst camera focus is under my control, the posture of t h e s t a g i s l a r g e l y d o w n t o “ t h e g o d s ”. I j u s t h a d t o m a k e m y s e l f a s s m a l l a n d

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S WA N LAKE To t h e b e s t o f m y k n o w l e d g e , I d o n’ t t h i n k t h a t I h a v e e v e r p h o t o g r a p h e d s w a n s w e l l

Russia gave the world Swan Lake and have earned the right to dictate climatic

before – and indeed most images that I do see on Google or elsewhere, struggle to

a s s o c i a t i o n s . J u s t a s D r Z h i v a g o c o u l d n e v e r h a v e b e e n f i l m e d i n t h e s u m m e r, s w a n s

beat the threshold of what is banal. Swans are not uncommon and we all have access

a r e s u r e l y b e s t p h o t o g r a p h e d i n t h e b i t t e r w i n t e r. I t i s t h e w i n t e r t h a t p e r s o n i f i e s

t o t h e S e r p e n t i n e i n L o n d o n o r v i l l a g e p o n d s a c r o s s t h e c o u n t r y. I c a n’ t c o n c e i v e h o w

R u s s i a a n d N o r t h e r n A s i a , n o t t h e s u m m e r.

a picture taken in such a setting that would be evocative or eye grabbing. Swans have The romanticist within me had a preconception of where I could take a strong swan

b e c o m e a n i n a d v e r t e n t a c c o m p l i c e t o l a z y p o s t c a r d p h o t o g r a p h y.

image and today the twin forces of research and luck came together shor tly before This is all ver y harsh on the swan – it is such a majestic bird – with attitude, dignity

8 . 3 0 a m o n t h e f r o z e n i c e o f L a k e K u s s h a r o i n N o r t h e r n H o k k a i d o, J a p a n . M y c e n t r a l

a n d a b o v e a l l g r a c e . Tc h a i k o v s k y o p e n e d o u r e y e s t o t h i s 1 4 0 y e a r s a g o a n d s u b s e q u e n t

premise was that there should be as much white in the picture as possible – white from

generations of celebrated stage choreographers have reinforced our adoration for the

t h e s n o w, w h i t e f r o m t h e i c e a n d o f c o u r s e w h i t e f r o m t h e w h o o p e r s w a n’s p r i s t i n e

swan. The ballet probably forged the notion that swans are at home dancing in the

plume of feathers. The greater the cocktail of whites, the greater the possibility of an

snow and ice – a far more aesthetically pleasing concept than imaging them scrapping

image that could be ethereal as well as evocative. My approach was to create a dream,

around in a muddy park in Berkshire.

not necessarily repor t on reality

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78 DEGREES NORTH The image is made complete by its own lack of completeness – the stor ytelling is star ted by the camera and finished by the viewer.

The irony was that it was the ver y last of a sequence of 60 images I took of the polar bear. A second af ter this moment, this most solitar y of predators was over the horizon and our paths will never cross again. 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 hear t was beating too fast to consider creating ar t – these moments sometimes just happen.

I am only too aware that af ter the success in the Sotheby ’s auc tion in New York , there will be a bit of added interest in lot 72 and will probably come under the hammer around 430 UK time. I t is slightly unner ving that m y p r i c e s a r e n o w v e r y m u c h b e i n g w a t c h e d – i t ’s o n l y t a k e n 3 6 y e a r s .

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PEGASUS

This is a big picture, but quite clearly an extremely lucky one. It is said

O c c a s i o n a l l y t h e r e’s a s p l i t s e c o n d o f t i m e w h e n e v e r y t h i n g f a l l s i n t o p l a c e

that luck is the residue of design, but on this occasion, I think it would be

and the end result cannot be better and the frame cannot be repeated.

disingenuous to suggest that we can attribute the capture of a flying horse

This was one such moment and what was most satisfying, was that we were

to a preconceived plan.

wrapped before 90% of the nation was even awake. Our lunch was ever yone e l s e’s b r e a k f a s t .

There is a spit of sand that only appears on Bantham beach near low tide and, with a long lens, the waves can be quite pronounced behind the sand.

When I scouted the site, I noted the potential of the canvas in front of me, but realised timing would be critical.

Given sunrise and low tide were just after 6 am, this meant for an extremely e a r l y s t a r t a n d a c o l d o n e t o o. T h e o n l y a n g l e t h a t w o u l d w o r k f o r m e , w a s t o b e l y i n g i n t h e s h a l l o w s e a w a t e r i n f r o n t o f t h e s p i t . T h e h i g h e r m y b o d y, the poorer the angle, so getting wet was unavoidable. The temperature, with the nor therly wind, was only about three degrees above freezing.

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YELLOWSTONE Ye l l o w s t o n e i s e a r t h’s l a r g e s t a c t i v e g e y s e r f i e l d a n d I was most mindful of this when trying to find a location t h a t e n c a p s u l a t e d t h e p a r k ’s i d e n t i t y a n d c h a r a c t e r. I recognised that I also needed depth – the riddle here was that this required good light and if the trees were a l s o t o b e f u l l o f s n o w, I w a s a s k i n g f o r a d e m a n d i n g c l i m a t i c c o m b i n a t i o n . W i t h o u t f r e s h s n o w, t h e r e w a s n o p i c t u r e h e r e . L u c k i l y o n m y l a s t d a y i n Ye l l o w s t o n e , “ The weather gods” were favourable and then all that was left was the need for some bison to give context and interest.

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NORSE

Tourists star ted to arrive at around

were wrapped before most people w

the way in Iceland. We had a small well.

Skogafoss in southern Iceland is a familiar destination for us,

This photograph should really be cre

we have filmed there a few times over the years and know its

who finished off being absolutely dr

potential and also its challenges. The water fall is aesthetically

tough up in Iceland; he didn’t comp

without equal in Europe and the backdrop offers the chance

whole experience rather enter tainin

of an arresting photograph, especially as the foreground

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gives a platform on which to add narrative. The water fall

When I looked at this image for the f

itself is of little interest to me; it is photographed thousands

I saw the seagull soaring half way u

of times a day by good photographers with good cameras. It

idea that it was there at the time an

must be used as par t of the stor y, not the whole event.

sense of scale to an extraordinar y lo

Y A R R O W

d 9 am, which meant we

were up, but that is often

l window and we used it

edited to the horse farmer

renched. They make them

plain once and found the

ng.

first time on a big screen,

up the water fall. I had no

nd I think it lends fur ther

ocation. That is pure luck.

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C O N TA C T Tiffany Reebals T I F F A N Y @ C H R I S T O P H E R C O L L E C T I O N . C O M 2 9 1 3

L I N D E N

H O M E W O O D ,

A V E N U E A L A B A M A

3 5 2 0 9

W W W . C H R I S T O P H E R C O L L E C T I O N . C O M D A V I D