David Yarrow Scottish, b. 1966
Wall Street Stories, 2026
Archival Pigment Print
Available in two sizes:
Standard - 52 x 59 inches
Large - 71 x 81 inches
Standard - 52 x 59 inches
Large - 71 x 81 inches
Edition of 12 plus 3 artist's proofs
Signed, editioned and dated on the bottom recto
Wall Street Stories Manhattan, New York - 2026 I was on duty at the Sundance Film Festival in Utah, when forecasts of a massive cross-state winter storm started to hit...
Wall Street Stories
Manhattan, New York - 2026
I was on duty at the Sundance Film
Festival in Utah, when forecasts of a
massive cross-state winter storm started
to hit TV channels. The storm would
stretch North East all the way from
Texas to Boston and what particularly
interested me was the expectation of a
foot of snow in one day in New York City.
I had always wanted to photograph
Manhattan in an intense blizzard and the
fortunate news was the storm was going
to land on a Sunday when most public
areas would be light of working people.
Anyone sensible or anyone following the
new Mayor’s advice would not be leaving
home.
I am familiar with the area immediately
outside the NYSE building, having filmed
there before and recognised its visual
potential in a white out. I had just enough
time to organise our “wolf ” and his
handlers to get up from California, but
speaking engagements restricted me to
flying in on the red eye on Saturday night
and hoping to arrive before JFK shut.
As it was, I made it from Salt Lake City
with a couple of hours to spare and then,
as predicted, the city was hit with the
biggest one-day snowfall since 1905.
These are the opportunities we long
for and thanks to quick thinking and
good logistical back up from my team, I
was exactly where I needed to be. This
was about to be an historic day in the
epicentre of the world.
By about 11am, snow was accumulating
at 2 inches an hour and filming a subject
further than 3 feet from the camera was
challenging. However, the composition
I was looking for would necessitate the
wolf being very close and then working
with my most extreme wide-angle lens.
My preference was for the wolf ’s face
to be caked in snow and the conditions
guaranteed that.
A bonus was that the extreme cold served
to amplify the steam escaping through
one of the nearby maintenance holes.
This added to the visual depth of a New
York story and I knew I could use the
steam to my advantage.
What a morning, and huge thanks to my
friend - the Texan model Holly Graves -
who entered this winter wonderland with
all the energy and enthusiasm that I have
come to expect from her. It was not a day
for precious people; it was a day for those
with a visceral commitment to their craft.
Manhattan, New York - 2026
I was on duty at the Sundance Film
Festival in Utah, when forecasts of a
massive cross-state winter storm started
to hit TV channels. The storm would
stretch North East all the way from
Texas to Boston and what particularly
interested me was the expectation of a
foot of snow in one day in New York City.
I had always wanted to photograph
Manhattan in an intense blizzard and the
fortunate news was the storm was going
to land on a Sunday when most public
areas would be light of working people.
Anyone sensible or anyone following the
new Mayor’s advice would not be leaving
home.
I am familiar with the area immediately
outside the NYSE building, having filmed
there before and recognised its visual
potential in a white out. I had just enough
time to organise our “wolf ” and his
handlers to get up from California, but
speaking engagements restricted me to
flying in on the red eye on Saturday night
and hoping to arrive before JFK shut.
As it was, I made it from Salt Lake City
with a couple of hours to spare and then,
as predicted, the city was hit with the
biggest one-day snowfall since 1905.
These are the opportunities we long
for and thanks to quick thinking and
good logistical back up from my team, I
was exactly where I needed to be. This
was about to be an historic day in the
epicentre of the world.
By about 11am, snow was accumulating
at 2 inches an hour and filming a subject
further than 3 feet from the camera was
challenging. However, the composition
I was looking for would necessitate the
wolf being very close and then working
with my most extreme wide-angle lens.
My preference was for the wolf ’s face
to be caked in snow and the conditions
guaranteed that.
A bonus was that the extreme cold served
to amplify the steam escaping through
one of the nearby maintenance holes.
This added to the visual depth of a New
York story and I knew I could use the
steam to my advantage.
What a morning, and huge thanks to my
friend - the Texan model Holly Graves -
who entered this winter wonderland with
all the energy and enthusiasm that I have
come to expect from her. It was not a day
for precious people; it was a day for those
with a visceral commitment to their craft.