78 Degrees North II
78 DEGREES NORTH II 2017
Archival Pigment Print on 315gsm Hahnemühle Photo Rag Baryta Paper
Each is signed, dated and numbered on the front.
Edition Size: 12
Available in two sizes:
Print Size: 37" x 57"
Framed Size: 48” x 68" (122 cm x 172.8 cm)
PLEASE INQUIRE ABOUT PRICE
Print Size: 56" x 86"
Framed Size: 67” x 97” (170 cm x 246.4 cm)
PLEASE INQUIRE ABOUT PRICE
Framed in David Yarrow's custom black ash frame with white archival mat and UV protective acrylic.
Please contact us at +312.852.8200 for more details about this work.
Or email us at firstname.lastname@example.org
David Yarrow's Statement about 78 DEGREES NORTH II:
I should start by saying that I have generally been disappointed by my own work with polar bears in Svalbard. I haven’t tended to do them or their habitat justice. This is a “Giants’ Kingdom” and my images from previous trips have been too marginal to do either the giants or their kingdom justice. Luck evens itself out, but nature can seem cruel in its distribution of content and in this barren archipelago, I don’t recall many favours until June 2017.
This year, however, I did have some luck and came home with three images. There is no doubt in my mind that this photograph of a big male polar bear lends weight to the contention that wildlife photography does not need to be reportage – it can be art. The photograph is elevated by the negative space and the bear’s anonymity rather than weakened by it. Since 2011, I have spent over 30 days shooting in Svalbard and this is my favourite image of a polar bear in this part of the Arctic – indeed the more I look at it, the more proud I am. As my fellow Scottish photographer and friend, the great Harry Benson, once said “great images can never be repeated”. Others will decide if this is a great image, but it is certainly not going to be repeated.
The eye is immediately grabbed by the detail we recognise but have perhaps never seen – the distinctive pads on the sole of his foot. The central pad, that resembles the Nike style “swoosh”, is the epicentre of a photograph that owes its differentiating content entirely to this right foot. The image is made complete by its own lack of completeness – the storytelling is started by the camera and finished by the viewer. We are asked to finish the story, not just read the story and the Spartan economy of the narrative helps us along the way. Less is more in the Arctic – its beauty is in its simplicity and the enormity of the white detail. It is not a noisy place – in fact it is characterised by the lack of noise. The image pays homage to that variable – it conveys a true sense of place. This is not a natural human habitat – it is in fact our final frontier.
The irony was that it was the very last of a sequence of 60 images I took of the polar bear. A second after this moment, this most solitary 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 heart was beating too fast to consider creating art – these moments sometimes just happen. It was only when I returned to the ship, that I realised I had an extremely evocative photograph.
DAVID YARROW BIOGRAPHY:
Born Glasgow, Scotland in 1966., David Yarrow took up photography at an early age and as a 20-year-old found himself working as a photographer for The London Times on the pitch at the World Cup Final in Mexico City. On that day, David took the famous picture of Diego Maradona holding the World Cup and, as a result, he was subsequently asked to cover the Olympics and numerous other sporting events.
Yarrow’s evocative and immersive photography of life on earth is most distinctive and it has earned him an ever growing following among collectors. He has firmly established himself as one of the bestselling fine art photographers in the world, with the limited edition prints regularly selling at over $70,000 and with recent work selling in the six figures at auction.
At the Sotheby’s photography auction in London in May 2017, Yarrow’s iconic image from South Sudan – MANKIND – was sold for $75,000, the highest of the 100 lots in the show. In April of 2018 year David’s image “The Wolf of Main Street” sold for $100,000 and was the highest bid for piece by a living photographer. Most recently “78 Degrees North” went for an even more impressive $110,000.
In 2016, Rizzoli New York published Yarrow’s latest book – Wild Encounters – with a foreword written by HRH The Duke of Cambridge (Prince William). The book was awarded “Art Book of 2017” by Amazon and has already sold out a second print run. All Yarrow’s royalties from the book continue to be donated to Tusk, the leading British NGO that focuses on animal conservation in Africa.
Philanthropy and conservation are central to David Yarrow’s passion to document the animal and human world in a fresh and creative way. In 2019 charitable donations from the sale of David’s images exceeded $2.5 million.
David Yarrow is brand ambassador for Land Rover and UBS Bank; he is European ambassador for Nikon Camera. In December 2017 he shot Tag Heuer LVMH’s latest “Don’t Crack Under Pressure” campaign with model and actress Cara Delevingne. In January 2019, David collaborated with American icon Cindy Crawford.
In September 2019, Rizzoli published Yarrow's 368 page photography monograph, showcasing 150 of David’s strongest images from the past two years. The book features a foreword written by global NFL star Tom Brady and an afterword written by American cultural icon Cindy Crawford. All royalties from this book will be donated to conservation charities Tusk, in the UK and WildAid, in the US.