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David Yarrow
Don't Pay the Ferryman (Colour) by David Yarrow

2025

Price Upon Request
Price Upon Request
Price Upon Request
Price Upon Request
Price Upon Request
Price Upon Request
Price Upon Request
Price Upon Request
Price Upon Request
Price Upon Request

About the Item

Don't Pay the Ferryman (Colour) by David Yarrow Eresfjord, Norway – 2025 Archival Pigment Print Also Available in B&W. Standard Edition of 12, 3 AP, 1 EP Image Size: 37” x 44” in (94 cm × 112 cm) Framed Image: 52" x 59" in (132 cm × 150 cm) Large Edition of 12, 3 AP, 1 EP Image Size: 56” x 66” in (142 cm × 168 cm) Framed Image: 71" x 81" in (180 cm × 206 cm) Price includes David Yarrow's custom black ash frame with white linen archival mat and UV protective acrylic. David Yarrow's narrative for "Don't Pay the Ferryman": “This would be a decent location for a shoot in the middle of summer, but in the winter, after a foot of fresh snow, it becomes a blowout location. Finding and locking down permits for remote spots like this is an integral part of our work; in a single frame, there is no mileage for a lame backdrop. It matters not one bit that there isn’t a hotel within 50 miles – that, in fact, is a positive. The 1948 Porsche 356 works perfectly as a prop too; its curves and the female model’s curves have a harmony that then visually elevates the harsh right angles of the austere ferry ramp. There is a calm serenity to the photograph, despite the props being an unlikely fusion of Stuttgart, Paris and Pittsburg. These are the days in winter we long for – days when a storm ends and there is fresh snow on the ground and flat light. Our props and cast are in place and we can just leverage the opportunity. It probably only happens to us once or possibly twice a season, simply because the lead time for production is too long to plan around the weather and therefore when it does happen, it is largely just luck. All we can do, when we are presented with an opportunity like this, is to try and make the most of it. There are many mundane days in the field when the weather does not cooperate and these perfect days are the payback days. Chris de Burgh’s cult song from 1982, Don’t Pay the Ferryman, seemed a wry title for this photograph.“ -David Yarrow Provenance: From the collection of the artist.
  • Creator:
    David Yarrow (1966, Scottish)
  • Creation Year:
    2025
  • Dimensions:
    Height: 37 in (93.98 cm)Width: 44 in (111.76 cm)Depth: 2 in (5.08 cm)
  • Medium:
  • Period:
  • Condition:
  • Gallery Location:
    Chicago, IL
  • Reference Number:
    1stDibs: LU388317294032

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1953 (Colour)
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1953 (Colour) Lake Tahoe, California - 2024 Archival Pigment Print on 315gsm Hahnemuhle Photo Rag Baryta Paper. Available Sizes: Standard 37" x 58" Unframed 52" x 73" Framed Edition of 12 Large 56" x 87" Unframed 71" x 102" Framed Edition of 12 "Ferrari was a great opportunity, but it demanded scouting for a location that was its aesthetic equal. The more grand the ambitions with a ‘tableaux’, the more vulnerable each of the constituent parts are to a sense of dragging the end photograph lower. Location scouting is an integral part of our working year, as storytelling rarely blossoms in a contextual vacuum. The idea of using tall snow berms to frame the Ferrari and then offering a period James Bond type narrative, was not a new addition to our conceptual idea factory. It had been knocking around the edges for some time, but we simply did not know exactly where to find narrow roads shouldered by walls of snow 10 foot high. Weather patterns do not give the filmmaker the luxury of forward planning in something so specific and we need to plan well in advance. What we did know is that these visuals tend to occur towards the end of the ski season at high altitude in both Europe and America. It is uneconomic to snowplough small private roads with further winter storms around the corner, but equally, as soon the spring thaw accelerates, the snow berms on ploughed roads lose their height and grandeur. There was some precision required on timing and my intuition suggested that this was a shot for the third week of April, whether the location was in the Alps, the Rockies or the Sierra Nevada Mountain range. We knew we would be filming in America after Easter and our research concluded that the ski area that tends to have the most amount of spring snow in the US is the Sierras. Historically the mountains above Lake Tahoe get dumped on in March and the snow above 7000 ft can still be very deep in mid-April. To shoot in California rather than Colorado was a big call, but we felt it gave us the best chance and the best access. The snow season runs late in Lake Tahoe. Our team based themselves out of the old railroad town of Truckee, California and with the help of some properly informed mountain men...
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