David Yarrow

The Breakfast Club

2018

Scotland, 2019 Archival Pigment Print on 315gsm Hahnemühle Photo Rag Baryta Paper Each is signed, dated and numbered on the front. Edition Size: 12 Available sizes: 48 x 67 inch...

My Perfect Storm Vik, Iceland - 2024 Archival Pigment Print on 315gsm Hahnemuhle Photo Rag Baryta Paper. Available Sizes: Standard 33" x 76" Unframed 48" x 91" Framed Edition o...

My Perfect Storm Vik, Iceland - 2024 Archival Pigment Print on 315gsm Hahnemuhle Photo Rag Baryta Paper. Available Sizes: Standard 33" x 76" Unframed 48" x 91" Framed Edition o...

South Arrica, 2019 Archival Pigment Print on 315gsm Hahnemühle Photo Rag Baryta Paper Each is signed, dated and numbered on the front. Edition Size: 20 Available sizes: 48 x 68 inches 67 x 98 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. "I know 2 things from photographing hyenas. The first is that they have a few idiosyncrasies - they run funny, smell funny and with their oversized heads and large ears, they look dead funny too. Maybe they are just laughing at themselves - a good sign in any mammal. I don't actually think many of us really know exactly what hyenas look like because, they are the least photographed of all the storied animals in Africa. We are not familiar with them as we don’t revere them - indeed to be called a hyena, has become a term of abuse, which seems rather unfair on a species that adds to the rich fauna of sub-Saharan Africa. Hyenas are clearly useful additions to animated films and musicals as they can be demonised and portrayed as the bad guys. But here is the other thing about hyenas which slightly plays towards their stereotyping of being the villains - they don't respect camera equipment...

Iceland, 2018 Archival Pigment Print on 315gsm Hahnemühle Photo Rag Baryta Paper Each is signed, dated and numbered on the front. Edition Size: 12 Available sizes: 48 x 83 inche...

Amboseli, Kenya 2019 Archival Pigment Print on 315gsm Hahnemühle Photo Rag Baryta Paper Each is signed, dated and numbered on the front. Edition Size: 12 Available sizes: 48 x 7...

'Into the Beyond' Limited edition archival photograph. Unframed, hand signed and numbered _________________ Painted pools of light dance across the richly layered mountainscape of t...

'Last Light' Limited Edition (1 of 25) Archival Photograph. Unframed. _________________ Dusk throws on her spotlights, casting deep silhouettes and revealing rich layers in the vast...

Foto fine art in Bianco e Nero di Manhatthan, New York scattata a Marzo 2008 dall'Empire States Building. Edizione Limitata di 10# Stampata in edizione limitata in una tiratura ...

Foto fine art in Bianco e Nero di Manhatthan, New York scattata a Marzo 2008 dall'Empire States Building. Edizione Limitata di 10# Stampata in edizione limitata in una tiratura ...

This photo was taken on March 1998 in New York and it printed on Hahnemühle Photo Rag 308 paper - 50x 50 . Black & White

A stand of spinous silver birch gather, shining white against the inky night... Over a three-year period, Goodall has visited areas of British forest and moorland to make images that he refers to as being 'more akin to fairytale than documentary'. There is indeed an unreal quality to the images, and this is perhaps a result of using artificial lighting; it reminds one of those spooky, unnaturally lit forests we see in the movies. In the absence of any natural illumination (save for a few that include the moon), scenes are lit as if they are in a studio setting. This results in imagery that feels eerily unfamiliar; transporting the viewer from the recognisable landscape into a kind of liminal netherworld - it's the landscape, but not as we are used to seeing it. Goodall responds to this observation by speaking about the possibility of the darkness being seen as a metaphor for the unconscious mind; the 'light' of consciousness illuminates the known forms of tree and rock, but beyond these certainties lies the unknown. When your eyes have little information, your imagination takes over and fills in the gaps." - Jasper Goodall...