Beth Moon

Crele Game

All photographs are platinum/palladium prints. These metals are hand coated on 100% rag cotton water color paper with natural deckled edges and contact printed. Since platinum, like ...

All photographs are platinum/palladium prints. These metals are hand coated on 100% rag cotton water color paper with natural deckled edges and contact printed. Since platinum, like ...

Signed Silver gelatin print Available in two sizes: 11 x 14 inches 16 x 20 inches Also available as an editioned archival pigment print in a larger size, please enquire for details...

Archival Pigment Print on 315gsm Hahnemühle Photo Rag Baryta Paper Each is signed, dated and numbered on the front. Edition Size: 12 Available sizes: 41 x 85 inches 51 x 110 inches All prints are on 315gsm Hahnemühle photo rag Baryta paper and varnished after processing to give both endurance and sheen. Each is signed, dated and numbered on the front. Price includes David Yarrow's custom black ash frame, white archival matting and protective UV acrylic. For unframed, $1,500 will be deducted from the price. David Yarrow has built an unrivaled reputation for capturing the beauty of the planet’s remote landscapes, cultures and endangered animals. Born in Glasgow, Scotland in 1966, he is now an internationally acclaimed fine art photographer and Europe’s best selling wildlife photographer. " This is the first photograph that I have taken of a big Nile crocodile that is strong enough to be released as a print. It’s taken me 30 odd years, but in crocodile years that is nothing. These monsters were around long before man and can live to 100 years old. Big crocs are not easy to capture in a way that conveys their enormity, their primeval menace or indeed their textural magnificence. But this image works and when I saw it in large size at the printers in LA, my heart skipped a beat. It has been worth the wait. I think we pushed a few boundaries here. The picture was made as opposed to taken as I had a preconceived idea of what I was trying to do. The starting point was my acceptance that head on images of crocodiles struggle as there is never enough depth of field with a telephoto to do them justice. The teeth can be in focus, but then probably not their eyes and certainly not their back or tail. I don't like to have my focal point half way back in an image - it creates a tension point if the nearest point of a portrait is out of focus. A head on portrait fails to convey length and length is the key variable. I knew I needed to work at 90 degrees, with the croc perpendicular to the camera. I also wanted to be low and close and I wanted a big crocodile - why on earth photograph...