In the pristine wilderness of snow-covered landscapes, patience isn't just a virtue—it's a necessity. World-renowned photographer David Yarrow knows this better than most, having spent countless hours waiting in the snow for those rare, perfect moments when nature's elements align to create something truly extraordinary; the perfect snow shot.

The art of winter photography is a delicate dance with the elements, where success hinges on a stong understanding of weather patterns and the courage to face brutal conditions. While most retreat indoors during winter snow storms, Yarrow ventures out, knowing that in the wake of nature's fury is opportunity. He speaks of these moments with the wisdom of someone who has endured countless false starts and near misses, all in pursuit of that perfect snow shot.

For Yarrow, the holy grail arrives in those fleeting hours after a major storm passes—those rare days each year when fresh snow blankets the landscape and soft, forgiving light paints the scene. These are the moments photographers dream of ... when the harsh winter wilderness transforms into an untouched canvas of white snow. But capturing these moments requires more than good timing; it demands meticulous planning, constant weather monitoring, and the ability to adapt when Mother Nature inevitably throws a curveball ... or a snowball.

The challenges are numerous: melting snow under a bright sun that ruins the pristine landscape, the race against time during clear, cold days, and the battle to capture detail through falling snow. Yet it's precisely these challenges that make Yarrow's winter photography so compelling—each image represents not just artistic vision, but a testament to perseverance in the face of nature's most demanding conditions.

Here are three iconic snow images from David Yarrow, accompanied by his personal narrative ... grab a hot cup of tea and enjoy, without having to brave the cold and snow yourself!

IT'S A WONDERFUL WORLD

December 12th at Sorrel Sky Gallery, 419 West Broadway, New York, NY 

David Yarrow will be at Sorrel Sky New York for a winter show just in time for the holidays. Don't miss this opportunity to meet Yarrow before the New Year begins. Hear him talk about his latest travels and images, get your book signed, and decide which piece will go home with you. 

"This portrait, taken in the heart of the Siberian winter, is elevated by the weather conditions at the time. On a clear sunny day, it would have been a decent image, but it is the falling snow and the flat light that deliver the needed mood and the sense of place.

I have been deliberating about photographing a Siberian tiger in the habitat that defines it for several years, but North China - where I took this image – had, until recently, been out of bounds for foreigners since Covid. Even now, it is not the most welcoming of places. It’s a long way from home, English tongues are rare and, in the winter, it can offer indecently low temperatures.

I recognised that I would need to allocate a good amount of time in the north to wait for the snowfall. Siberian winters are extremely cold, but it does not snow that often. There are many hours spent killing time in a hotel room but the accommodation is much more comfortable than it used to be. It is such a long way from home and there is little merit planning for a three-day visit anyway. It’s an odd job sometimes: I probably invested about 120 hours, including travel time, for two six-second windows of opportunity.

On this trip I worked closely with the Chinese authorities and, in retrospect, this brief encounter was only possible because of the help of two or three extremely influential Chinese people. I am reminded that access is a key word in photography and this is normally achieved by investing in people. My charm offensive with my Chinese contacts was several months long. My team knows who they are and their stature within China, but no one else needs to know.

The question that I will be asked about this picture will simply be “how on earth did you get it?”. My answer would be two-fold. I was in a bespoke vehicle with a lower window opening, smaller than a tiger’s head, but larger than a camera lens. The second part of the answer is more important: it was by showing China and the Chinese some respect. Without that, there was no chance. I know some people will criticise me for working with a country with a questionable record in conservation, but life is too short and I am an artist first and foremost." — David Yarrow

"I only photograph bison in the snow. It is their toughness that defines them and their thick coats seem to make so much more sense on a bitingly cold winter’s day. They are not the easiest of animals to film and every year in Yellowstone there is at least one incident of a bison charging a park visitor who has got too close or has been in the wrong place at the wrong time.

This picture was taken in the plains of America, as opposed to somewhere heavily regulated like Yellowstone and the big bull moving speedily in my general direction offers a different and fresh perspective from my previous work with this beast of an animal. These types of immersive, ground-up photographs are only possible when working in collaboration with seasoned ranchers and we would not recommend this angle of view in most bison situations. They are unpredictable animals and when spooked, they can be deadly.

I like to convey size and scale in all that I do. I always feel a need to communicate clearly whatever the subject and this approach is embedded in the creative processing. This adult male bison weighs over 1000kgs - so about the same weight as 10 American footballers together. He is a monster of an animal and I think the second bison in the distance helps to give a sense of this." — David Yarrow

"During our travels in America, we have learnt a great deal about cowboys. The difference between someone who can ride competently and a true working cowboy may ostensibly appear marginal, but in extreme conditions, a chasm appears.

To work a horse in -20 degrees, in two feet of fresh snow, whilst holding a weapon in one hand, appearing totally at ease, is a bridge too far for 99% of riders. So, on this set in Norwood, Colorado we knew we had to work with the best of the best. Ty Mitchell on the left is as authentic a Texan cowboy as they come and it is no surprise to us that he will soon be on set for three months with Martin Scorsese. I don’t think Scorsese will be disappointed with any aspect of Ty’s character. It will not be Ty’s first rodeo, Anthony Bourdain featured him when Parts Unknown visited West Texas and Marfa.

To his right, Michael Malone is a local rancher from Colorado and he immediately impressed us with his understated confidence and ability to play to a role. I fancy he could ride a horse sidesaddle whilst totally stoned and I sense such a challenge may have been put to the test once or twice. We welcomed him to the team with open arms.

In my mind, the key variable in this photograph is the light. On a sunny winter’s day, with snow on the ground, I believe the best light is actually in the first three or four minutes when the sun raises its head and touches the subject. 10 minutes after sunrise is too late as the sun is too harsh on the subject. In those initial minutes, the sun can be behind the camera and give the cameraman huge flexibility. In this case, the flexibility I needed was a very fast shutter speed." — David Yarrow

IT'S A WONDERFUL WORLD

December 12th at Sorrel Sky Gallery, 419 West Broadway, New York, NY