The large-scale monochromatic wild Alaskan grizzly bear photograph entitled ’Funnel Creek’ is an archival work on paper featuring by legendary wildlife photographer and humanitarian, David Yarrow. The photograph was taken during an expedition to Alaska in 2016 where Yarrow was able to get up close with the massive bear, fresh from catching fish in the water. The fine art details and moody landscape in black and white create a striking and fierce visual of a powerful animal in a natural habitat. This limited edition work is of very few in existence and is signed, dated, and numbered on the lower front corners. The work comes in a sleek custom made black frame with light cream matte and top tier protective glass. Yarrow shares of his experience taking the photograph, “What is the key to having an edge in my genre of photograph in 2016? It cannot purely be technical camera fluency as that would enfranchise photographers across the globe – many of whom doubtless know their camera guide appendix far better than me. Nikon may have made me an ambassador, but not on the basis of my understanding of page 239 of the manual. Of course an innate sense of compositional balance and unerring focusing ability helps, as does a literacy in the language of light. But again, whilst this may narrow down the field, none of these skills are uncommon. I am always conscious of the fact that in 2016, everyone is a photographer. My firm contention is that the key to taking transcending photographs in the field, is access to great content and this comes from research, perseverance, occasional bouts of bravery and most of all logistical excellence. These variables collectively morph into one goal – “precision’”. Without an obsession with precision, the game is down to luck and luck, by definition, is a leveller. I take issue with those that say wildlife photography is about luck, because as I grow older (and looking in the mirror I see that I have aged a great deal camping in Alaska over the last 10 days), I can reasonably argue that research and logistical excellence tilt the odds in the favour of the applicants. I want to be the best – why settle for anything less in this trade? This is not ego talking, it is natural to be the best you can be. To succeed will not be about me learning about new functions on the camera, it will be through a constancy in my commitment to homework. Alaska is the perfect example of this dynamic. To go on photographic assignment there is much more a test of map work, spontaneity, people skills and quick thinking than it is of photographic prowess per se. To do a good job in this remarkable wilderness requires a respect for logistics – indeed that is what a lead photographer in the true wild must be – a logistics expert. Let’s start with a simple check. Google “Best places to photograph grizzly bears in Alaska” and there will be about 30 options articulated. The favourite places are designed for “weekend warrior” cameramen. Brooks Falls in Katmai for instance is effectively a zoo – with heavy park warden presence and soulless viewing stands. There is no joy for me in a place like this – and I did pop in to seek that confirmation this week. I am better than sitting on a stand with a long lens along with 40 amateurs. Kodiak Island has a huge number of bears, but because big game hunting is legal there, the bears are skittish and sometimes dangerous. Hallo Bay – site of the Disney Film “Bears’” has let the success go to their heads and the bear viewing is overrated, expensive and too accessible. They also regulate far too heavily. I know, I spent two days there last week being told where to sit. That is like asking Liam Gallagher not to swear. Most of Google’s 30 favorite places, hold no visceral grip on me – they are main-stream and dull. Setting up sensible and practical remote control positions leans me towards remote river banks and the summer salmon runs. Each river has its own unique salmon run and the times not only vary between rivers over a 12 week period, but each river has a different pattern each year. If the salmon run a specific river starts on July 22nd one year, they could run 7 – 10 days either side of it the next year. This requires a need to be spontaneous and be on the ground picking up grass roots detail. “How are the fish running” became my opening gambit the second half of July. I am no fisherman either. Over these last 10 days, I have had one picture in mind – a wide angle remote control shot of a big bear on a river’s edge. Something immersive and very close. But the 2016 season has not been predictable – berries have been plentiful and bears love berries as much as salmon, so traffic in some rivers has been abnormally light. But bush plane by bush plane I narrowed down my focus to an area I knew well – 70 miles south of Illiamut on the Alaskan Peninsula. We deliberately flew very low over Funnel Creek earlier in the week and saw at least six adult bears fishing up river and so we touched down in the tiny village of Illiamut to discuss logistics. Every village in Alaska has a landing strip. The next day, we were dropped off by float plane on a tiny lake to walk the four miles through tundra and the river itself to the precise area where we had seen the bears. It is not for the faint hearted as these are big bears and it is the true wild.”
David Yarrow, born 1966 in Scotland, took up photography at an early age, as a 20-year-old he found himself working as a photographer for The London Times on the pitch at the World Cup Final in Mexico City. On that day, he took the sensationalized picture of Diego Maradona holding the World Cup and, as a result, was subsequently asked to cover the Olympics and numerous other high profile sporting events. Many years later, David established himself as a fine art photographer by documenting the natural world from new perspectives and the last nine years have been career-defining for his mark on the world of contemporary fine art photography. David Yarrow’s evocative and immersive photography of life on earth is most distinctive and has earned him an ever-growing following amongst art collectors and celebrities. His distinct large monochrome images made in Los Angeles are on display in leading galleries and museums across Europe and North America. Yarrow is now recognized as one of the best-selling fine art photographers in the world and his limited edition works regularly sell at high prices at Sotheby’s and other auction houses. In September 2019, Rizzoli published their second book by David Yarrow, with a personal foreword written by global NFL star Tom Brady and thoughtful afterword written by, American cultural icon and supermodel, Cindy Crawford. All royalties from the book have been donated to conservation charities Tusk, in the UK and WildAid, in the US. Yarrow's position in the industry has been rewarded with a wide range of advisory and ambassadorial roles. Yarrow is an ambassador for WildArk and The Kevin Richardson Foundation, and the European ambassador for Nikon. Yarrow has been integral to Nikon's most anticipated camera release of the last decade. In December 2017, he shot LVMH’s latest “Don’t Crack Under Pressure” campaign with Cara Delevingne. In January 2019, he was appointed as a global ambassador for UBS. In the spring of 2020, Yarrow was appointed a Global Ambassador for Best Buddies – one of America’s most established children’s charities. Yarrow became an ambassador for African Community and Conservation Foundation and presented his work in the Endangered Rangers virtual fundraiser. At the start of 2020, Yarrow was in Australia documenting the devastating bush fires that have destroyed communities, wildlife, and wildlands. Using the striking images that he captured of the effects of the fire, he launched the #KoalaComeback Campaign to support the recovery efforts in Australia. The campaign raised over $1.4m, as Yarrow continues to work for humanitarian causes, his steadfast determination continues to make positive change for the benefit of global awareness. In present day, Yarrow continues to create stunning imagery with lasting global impact and archival quality that speaks to his reverence for the art of photography in capturing the wonders of the world.