David Yarrow Scottish, b. 1966
The Girl on the Ferry (Color), 2025
Archival Pigment Print
Available in two sizes:
Standard - 41 x 92 inches
Large - 49 x 118 inches
Standard - 41 x 92 inches
Large - 49 x 118 inches
Edition of 12 plus 3 artist's proofs
Signed, editioned and dated on bottom recto
The Girl on the Ferry SYLTE, NORWAY - 2025 The concept of this photograph was some time in the planning and its execution certainly marks a step forward in our...
The Girl on the Ferry
SYLTE, NORWAY - 2025
The concept of this photograph was some
time in the planning and its execution
certainly marks a step forward in our
ambition levels. I believe there is merit
in committing to a story and not being
spooked by the cost of production if
something special is coming together.
We have made mistakes in the past
by looking at costs without looking at
opportunity. The biggest mistake I can
make is to curb ambition and not attack.
We do not enjoy offering more of the
same and there is a palpable commitment
to try and surprise.
The Porsche 356 convertible on the
ferry was manufactured in 1948 and
the ferry is the oldest still operating in
Norway - coming into service all of 125
years ago. I immediately recognised the
visual potential of this improbable union
when they met each other at the ferry
quay in the remote village of Sylte in the
Norwegian mountains south of Molde.
The ferry crew, with an average age of
80, deserved to be fully rewarded for
sailing the Bilfergen through the fjords in
a snowstorm to meet me. Their journey
lasted 12 hours.
The fjords in this area have grandeur
and beauty and no more so than after
the denouement of a meaningful
winter storm. Norwegians are good in
bad weather and we needed all their
celebrated experience of working on icy
roads to get the Porsche and its transit
lorry through the mountains to the meet
point in time. There is only about four
hours of decent light at this time of year
and time was critical.
We had a strong set of cards to play
with that cold morning, but I needed
to prioritise the conveyance of a sense
of place without losing the currency of
having such powerful props. The solution
to the puzzle, which we had anticipated,
was to film in the middle of the fjord
from the deck of another boat of similar
height. If I could get very close to the ferry
and use a wide-angle lens, I could get the
compositional balance that I was striving
for.
The most credit for this photograph
should go to The Girl on the Ferry -
Nadine Leopold - who did an excellent job
of looking warm and graceful on a cold
winter’s morning. That was a big ask.
SYLTE, NORWAY - 2025
The concept of this photograph was some
time in the planning and its execution
certainly marks a step forward in our
ambition levels. I believe there is merit
in committing to a story and not being
spooked by the cost of production if
something special is coming together.
We have made mistakes in the past
by looking at costs without looking at
opportunity. The biggest mistake I can
make is to curb ambition and not attack.
We do not enjoy offering more of the
same and there is a palpable commitment
to try and surprise.
The Porsche 356 convertible on the
ferry was manufactured in 1948 and
the ferry is the oldest still operating in
Norway - coming into service all of 125
years ago. I immediately recognised the
visual potential of this improbable union
when they met each other at the ferry
quay in the remote village of Sylte in the
Norwegian mountains south of Molde.
The ferry crew, with an average age of
80, deserved to be fully rewarded for
sailing the Bilfergen through the fjords in
a snowstorm to meet me. Their journey
lasted 12 hours.
The fjords in this area have grandeur
and beauty and no more so than after
the denouement of a meaningful
winter storm. Norwegians are good in
bad weather and we needed all their
celebrated experience of working on icy
roads to get the Porsche and its transit
lorry through the mountains to the meet
point in time. There is only about four
hours of decent light at this time of year
and time was critical.
We had a strong set of cards to play
with that cold morning, but I needed
to prioritise the conveyance of a sense
of place without losing the currency of
having such powerful props. The solution
to the puzzle, which we had anticipated,
was to film in the middle of the fjord
from the deck of another boat of similar
height. If I could get very close to the ferry
and use a wide-angle lens, I could get the
compositional balance that I was striving
for.
The most credit for this photograph
should go to The Girl on the Ferry -
Nadine Leopold - who did an excellent job
of looking warm and graceful on a cold
winter’s morning. That was a big ask.