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From Broadway to Bethpage Black, New York was built on the backs of Europeans 🇪🇺
#TeamEurope | #OurTimeOurPlace

It was a thrill to be given the job of shooting adidas’ campaign for the launch of next year’s World Cup ball - ‘Trionda’.

To photograph one World Cup winning legend would have been a thrill, but to shoot 8 in the same frame was quite surreal. All credit to adidas for that logistical masterclass.

@adidas @FIFAWorldCup

A big thank you to Michael and Janine at @adidas and to Nadia, Luke, Matt and Cal at @the_midnight_club - it was an honour.

It was a thrill to be given the job of shooting adidas’ campaign for the launch of next year’s World Cup ball - ‘Trionda’.

To photograph one World Cup winning legend would have been a thrill, but to shoot 8 in the same frame was quite surreal. All credit to adidas for that logistical masterclass.

@adidas @FIFAWorldCup

A big thank you to Michael and Janine at @adidas and to Nadia, Luke, Matt and Cal at @the_midnight_club - it was an honour.

It was a thrill to be given the job of shooting adidas’ campaign for the launch of next year’s World Cup ball - ‘Trionda’.

To photograph one World Cup winning legend would have been a thrill, but to shoot 8 in the same frame was quite surreal. All credit to adidas for that logistical masterclass.

@adidas @FIFAWorldCup

A big thank you to Michael and Janine at @adidas and to Nadia, Luke, Matt and Cal at @the_midnight_club - it was an honour.

It was a thrill to be given the job of shooting adidas’ campaign for the launch of next year’s World Cup ball - ‘Trionda’.

To photograph one World Cup winning legend would have been a thrill, but to shoot 8 in the same frame was quite surreal. All credit to adidas for that logistical masterclass.

@adidas @FIFAWorldCup

A big thank you to Michael and Janine at @adidas and to Nadia, Luke, Matt and Cal at @the_midnight_club - it was an honour.

It was a thrill to be given the job of shooting adidas’ campaign for the launch of next year’s World Cup ball - ‘Trionda’.

To photograph one World Cup winning legend would have been a thrill, but to shoot 8 in the same frame was quite surreal. All credit to adidas for that logistical masterclass.

@adidas @FIFAWorldCup

A big thank you to Michael and Janine at @adidas and to Nadia, Luke, Matt and Cal at @the_midnight_club - it was an honour.

It was a thrill to be given the job of shooting adidas’ campaign for the launch of next year’s World Cup ball - ‘Trionda’.

To photograph one World Cup winning legend would have been a thrill, but to shoot 8 in the same frame was quite surreal. All credit to adidas for that logistical masterclass.

@adidas @FIFAWorldCup

A big thank you to Michael and Janine at @adidas and to Nadia, Luke, Matt and Cal at @the_midnight_club - it was an honour.

It was a thrill to be given the job of shooting adidas’ campaign for the launch of next year’s World Cup ball - ‘Trionda’.

To photograph one World Cup winning legend would have been a thrill, but to shoot 8 in the same frame was quite surreal. All credit to adidas for that logistical masterclass.

@adidas @FIFAWorldCup

A big thank you to Michael and Janine at @adidas and to Nadia, Luke, Matt and Cal at @the_midnight_club - it was an honour.

It was a thrill to be given the job of shooting adidas’ campaign for the launch of next year’s World Cup ball - ‘Trionda’.

To photograph one World Cup winning legend would have been a thrill, but to shoot 8 in the same frame was quite surreal. All credit to adidas for that logistical masterclass.

@adidas @FIFAWorldCup

A big thank you to Michael and Janine at @adidas and to Nadia, Luke, Matt and Cal at @the_midnight_club - it was an honour.

It was a thrill to be given the job of shooting adidas’ campaign for the launch of next year’s World Cup ball - ‘Trionda’.

To photograph one World Cup winning legend would have been a thrill, but to shoot 8 in the same frame was quite surreal. All credit to adidas for that logistical masterclass.

@adidas @FIFAWorldCup

A big thank you to Michael and Janine at @adidas and to Nadia, Luke, Matt and Cal at @the_midnight_club - it was an honour.

Paris 1998. Munich 2024. Boston 2026.

No Scotland, No Party.

Join us for an evening of entertainment hosted by Fred MacAulay on the eve of Scotland’s first World Cup game for 10,217 days. We are thrilled and honoured to have Susan Boyle, Skerryvore, Nathan Evans & the Saint Phnx Band, and Johnny Mac & The Faithful as part of our perfomer list - with more acts to be announced soon.

All proceeds from the evening will benefit Street Soccer Scotland - in an evening that celebrates our great Nation and the achievement of this team, there is no more suitable organisation to benefit.

Limited tickets still available at NoScotlandNoParty2026.com

Cypress Point

This location is not, of course, the famous Californian golf course that bears the title’s name, but a lone cypress tree set in the geometric harmony of the Tuscan countryside just south of Siena.

In my view three things elevate this photograph: the first is the cypress tree itself.  We scouted long and hard to find an isolated one that could hold sovereignty over all that lay around it. Many locations in Val d’Orcia are over photographed - but not this one ​- it’s private land and we filmed in partnership with the farmer. It’s as good a tree as we have ever had in a picture.

The second is that the driver, Kelsey Merritt, very much owns the shot despite being less than 0.5% of the entire image. That is quite an achievement when the competition for attention is either the bucolic charm of this part of Italy or the 1955 Ferrari 121LM that in its first year recorded the highest speed ever in Mille Miglia when driven by Piero Taruffi. On the route from Rome to Brescia, he averaged 189kph.

Kelsey’s hair is perfectly styled for this composition and I thank our good friend, Larry King of London, for doing such a great job at 4 am. I am reminded again that it’s always the small things that turn a decent photograph into a very special one. She not only looks fantastic but plausibly local.

The third dynamic is the early morning mist which cloaks the valleys in the background. This often happens in May in the Tuscan countryside, but it is far from a given.  It’s something that we can wish for, but we can’t really plan for, because the lead time in production is longer than reliable mist forecasts tend to be. But we can narrow the odds in our favour by shooting over a four-day stretch and always being ready at 5 am with all props in place. This was the one morning when the ducks were in line.

There is no lofty ambition in this narrative - I simply wanted to toast the indelible outline of the Tuscan countryside and celebrate its historical marriage with Ferrari which was cemented by the Mille Miglia car race. I marvel at the rich beauty of the world we live in and that is something I find hard not to celebrate in my work.

Cypress Point

This location is not, of course, the famous Californian golf course that bears the title’s name, but a lone cypress tree set in the geometric harmony of the Tuscan countryside just south of Siena.

In my view three things elevate this photograph: the first is the cypress tree itself.  We scouted long and hard to find an isolated one that could hold sovereignty over all that lay around it. Many locations in Val d’Orcia are over photographed - but not this one ​- it’s private land and we filmed in partnership with the farmer. It’s as good a tree as we have ever had in a picture.

The second is that the driver, Kelsey Merritt, very much owns the shot despite being less than 0.5% of the entire image. That is quite an achievement when the competition for attention is either the bucolic charm of this part of Italy or the 1955 Ferrari 121LM that in its first year recorded the highest speed ever in Mille Miglia when driven by Piero Taruffi. On the route from Rome to Brescia, he averaged 189kph.

Kelsey’s hair is perfectly styled for this composition and I thank our good friend, Larry King of London, for doing such a great job at 4 am. I am reminded again that it’s always the small things that turn a decent photograph into a very special one. She not only looks fantastic but plausibly local.

The third dynamic is the early morning mist which cloaks the valleys in the background. This often happens in May in the Tuscan countryside, but it is far from a given.  It’s something that we can wish for, but we can’t really plan for, because the lead time in production is longer than reliable mist forecasts tend to be. But we can narrow the odds in our favour by shooting over a four-day stretch and always being ready at 5 am with all props in place. This was the one morning when the ducks were in line.

There is no lofty ambition in this narrative - I simply wanted to toast the indelible outline of the Tuscan countryside and celebrate its historical marriage with Ferrari which was cemented by the Mille Miglia car race. I marvel at the rich beauty of the world we live in and that is something I find hard not to celebrate in my work.

Mille Miglia

This 1955 Ferrari 121LM was driven by Piero Taruffi at Mille Miglia and Le Mans in its first year, and in the Mille Miglia he drove from Rome to Brescia at an average speed of 189 kph — a record that stands to this day. Thinking of that insane number actually sends a shiver down my spine. The silver fox was clearly not normal.

The route took him through the rolling splendour of Tuscany’s Val d’Orcia and the community of San Quirico d’Orcia, where this photographic homage was taken. He clearly had no time to take in Tuscany’s beauty, whereas I did.

When I visited the town on a location scout, I saw the potential of this bend in the heart of this medieval hilltop village. I sensed that with the right narrative I could find the compositional balance that I yearn for.

There are many people to thank for making this vignette happen, including the local mayor who embraced my idea of recreating a historical moment in motor sport. We needed to work with the locals rather than circumvent them, and each of them helped make this picture special. I wanted a mood that highlighted a zest for life, the value of long friendships, and the energy that comes from collective excitement. All those would have been present in 1955, but it was 2 years later that tragedy struck and the Mille Miglia was discontinued for a period of 20 years.

We were necessarily greedy in our props on this set, as we did not want to be lame. The trailing Ferrari is 1955 Ferrari 750 Monza 0530. It is one of just 32 prototypes built by Ferrari, one of the most beautiful and valued Ferraris in existence. Then in a moment of logistical madness, but creative courage, we brought in a black stallion from Rome to form part of the crowd. We had heard that he could prance in an emblematic Ferrari brand way and could not resist it.

Mille Miglia

This 1955 Ferrari 121LM was driven by Piero Taruffi at Mille Miglia and Le Mans in its first year, and in the Mille Miglia he drove from Rome to Brescia at an average speed of 189 kph — a record that stands to this day. Thinking of that insane number actually sends a shiver down my spine. The silver fox was clearly not normal.

The route took him through the rolling splendour of Tuscany’s Val d’Orcia and the community of San Quirico d’Orcia, where this photographic homage was taken. He clearly had no time to take in Tuscany’s beauty, whereas I did.

When I visited the town on a location scout, I saw the potential of this bend in the heart of this medieval hilltop village. I sensed that with the right narrative I could find the compositional balance that I yearn for.

There are many people to thank for making this vignette happen, including the local mayor who embraced my idea of recreating a historical moment in motor sport. We needed to work with the locals rather than circumvent them, and each of them helped make this picture special. I wanted a mood that highlighted a zest for life, the value of long friendships, and the energy that comes from collective excitement. All those would have been present in 1955, but it was 2 years later that tragedy struck and the Mille Miglia was discontinued for a period of 20 years.

We were necessarily greedy in our props on this set, as we did not want to be lame. The trailing Ferrari is 1955 Ferrari 750 Monza 0530. It is one of just 32 prototypes built by Ferrari, one of the most beautiful and valued Ferraris in existence. Then in a moment of logistical madness, but creative courage, we brought in a black stallion from Rome to form part of the crowd. We had heard that he could prance in an emblematic Ferrari brand way and could not resist it.

Scotland showed its very best colours last week — spring sunshine and Loch Lomond, Gleneagles and Edinburgh looked magnificent. More importantly, 3 consecutive nights of Charity dinners highlighted that Scots give generously to those less fortunate. Empathy is alive and kicking north of the border. Together the events for Debra and Social Bite raised £2.5m — an astonishing amount and testimony to the integrity and importance of both charities.

The David Yarrow Family Foundation has its heart and soul in Scotland and we are honoured to just play a small role. We are delighted that kind people allowed our work to raise over £300,000 during the course of the week.

The DYFF’s next big event is in Boston on 12th June — please continue to get in touch re tickets — it’s 90% sold now.

NoScotlandNoParty2026.com

Scotland showed its very best colours last week — spring sunshine and Loch Lomond, Gleneagles and Edinburgh looked magnificent. More importantly, 3 consecutive nights of Charity dinners highlighted that Scots give generously to those less fortunate. Empathy is alive and kicking north of the border. Together the events for Debra and Social Bite raised £2.5m — an astonishing amount and testimony to the integrity and importance of both charities.

The David Yarrow Family Foundation has its heart and soul in Scotland and we are honoured to just play a small role. We are delighted that kind people allowed our work to raise over £300,000 during the course of the week.

The DYFF’s next big event is in Boston on 12th June — please continue to get in touch re tickets — it’s 90% sold now.

NoScotlandNoParty2026.com

NEW podcast episode is up! “How to Simplify Your Life in 2026 — New Tips from Anne Lamott, Claire Hughes Johnson, David Yarrow, and Diana Chapman”

Many of us feel like we’re drowning in invisible complexity. So I wanted to hit pause and ask a simple question: What are 1–3 decisions that could dramatically simplify my life in 2026?

To explore that, I invited five long-time listener favorites: Anne Lamott, Claire Hughes Johnson, David Yarrow, and Diana Chapman.

Please enjoy!

Bohemian Rhapsody

When we filmed a retro skiing story outside the Woody Creek Tavern, the VW van we used that day resonated with the locals and the photograph sold out. It played to the lore of a freewheeling, liberal Aspen.
 
So, we brought the same van back and this time played to a summer bohemian narrative. My preconception involved a Fleetwood Mac vibe and a sense of a 1970s hipster lock-in at the Woody Creek Tavern. Most of all, I just wanted to be playful and allow for a character-rich tableau. There had to be a sense that we were looking at largely untamed people.
 
Period photographs like this need layers to tell the full story and in my experience, a sense of location is often a most necessary component. The WCT is such a legendary location and brings an immediate sense of vice and mischief to the set. I am not sure I can think of another location in Aspen that could command such a clear throwback storyline. That is a useful asset for a storyteller and ties all the other components together.
 
 We are very lucky to have become friends with the owners of the WCT - Craig and Samantha Cordts-Pearce and to have partnered with them on several occasions in the past few years. They know my team well and know that we can run up a bar bill. It is such a happy place and I think that always filters down to the cast members we bring. This is a place to have a good time and celebrate life.
 
My instincts were to have the colours in this picture desaturated - this gives a faded vintage warmth to the print - a bit dreamlike. After all, the 70s were something of dream for most of the clientele at The Woody Creek Tavern.

Bohemian Rhapsody

When we filmed a retro skiing story outside the Woody Creek Tavern, the VW van we used that day resonated with the locals and the photograph sold out. It played to the lore of a freewheeling, liberal Aspen.
 
So, we brought the same van back and this time played to a summer bohemian narrative. My preconception involved a Fleetwood Mac vibe and a sense of a 1970s hipster lock-in at the Woody Creek Tavern. Most of all, I just wanted to be playful and allow for a character-rich tableau. There had to be a sense that we were looking at largely untamed people.
 
Period photographs like this need layers to tell the full story and in my experience, a sense of location is often a most necessary component. The WCT is such a legendary location and brings an immediate sense of vice and mischief to the set. I am not sure I can think of another location in Aspen that could command such a clear throwback storyline. That is a useful asset for a storyteller and ties all the other components together.
 
 We are very lucky to have become friends with the owners of the WCT - Craig and Samantha Cordts-Pearce and to have partnered with them on several occasions in the past few years. They know my team well and know that we can run up a bar bill. It is such a happy place and I think that always filters down to the cast members we bring. This is a place to have a good time and celebrate life.
 
My instincts were to have the colours in this picture desaturated - this gives a faded vintage warmth to the print - a bit dreamlike. After all, the 70s were something of dream for most of the clientele at The Woody Creek Tavern.

A celebration of Rory McIlroy’s Career Grand Slam at Giant’s Causeway, Northern Ireland.

An honour to have been a part of this - thank you @rorymcilroy.

Drill, Baby, Drill

Southwest of Midland, Texas, the Permian oil basin has a sugar coating of green. This is well irrigated agricultural land and whilst there may be an abundance of oil below the surface, it is the rich green from the cotton fields that is visible.

When location scouting, I was immediately drawn to this feature and the horizontal skyline accompanying it. The symmetry is only broken by the signs that this is one of the world’s great oil reserves - the Permian contributes over 5% of daily world oil production. Straight dusty roads run through the green fields to the numerous pump jacks that extend to the horizon. It is a Hydrocarbon “War of the Worlds”.

I was reminded of Andreas Gursky’s famous photograph “Rhine” which played to parallel lines, symmetry and spatial distancing and some creative ideas began to marinate in my mind. I also then remembered the PR imagery for the Oscar winning film - Green Book - and I saw how a car story could be told against this most giving of backdrops.

We had access to an outstanding car prop in a 1959 Pontiac Bonneville. This long, iconic American car needs to be photographed in profile to celebrate its length. I sensed that if I filmed with the late afternoon light, the white car would ping against the green and if I was somewhat elevated, the distance compression would work well. There were many factors at play that evening in the cotton fields and I think we played most of them as well as we could.

The result is pure Americana and one of my stronger works over the last few years. It pays homage to a special part of the world and America’s greatest natural asset. Taylor Sheriden’s Landman has made West Texas sexy and I hope the story here endorses that.

We would like to thank Cody Campbell and his alumni friends from Texas Tech for their help in the Permian basin. They are good landmen.

Drill, Baby, Drill

Southwest of Midland, Texas, the Permian oil basin has a sugar coating of green. This is well irrigated agricultural land and whilst there may be an abundance of oil below the surface, it is the rich green from the cotton fields that is visible.

When location scouting, I was immediately drawn to this feature and the horizontal skyline accompanying it. The symmetry is only broken by the signs that this is one of the world’s great oil reserves - the Permian contributes over 5% of daily world oil production. Straight dusty roads run through the green fields to the numerous pump jacks that extend to the horizon. It is a Hydrocarbon “War of the Worlds”.

I was reminded of Andreas Gursky’s famous photograph “Rhine” which played to parallel lines, symmetry and spatial distancing and some creative ideas began to marinate in my mind. I also then remembered the PR imagery for the Oscar winning film - Green Book - and I saw how a car story could be told against this most giving of backdrops.

We had access to an outstanding car prop in a 1959 Pontiac Bonneville. This long, iconic American car needs to be photographed in profile to celebrate its length. I sensed that if I filmed with the late afternoon light, the white car would ping against the green and if I was somewhat elevated, the distance compression would work well. There were many factors at play that evening in the cotton fields and I think we played most of them as well as we could.

The result is pure Americana and one of my stronger works over the last few years. It pays homage to a special part of the world and America’s greatest natural asset. Taylor Sheriden’s Landman has made West Texas sexy and I hope the story here endorses that.

We would like to thank Cody Campbell and his alumni friends from Texas Tech for their help in the Permian basin. They are good landmen.

Florida

Every state in America has its own unique characteristics that shape outsiders’ perceptions: New York is the world’s business epicenter; Texas has cowboys and oil; whilst Alaska is the final frontier. Our cognitive processing tends to elicit visual symbolisms that are consensual - mention the word “Nevada” and we think of gambling in a desert.
 
But Florida is more complicated. It cannot be conveniently categorised or boxed. On the coast is Miami, with its tourist beaches, Art Deco, influencers, pop culture and Hispanic soul. Then up the road is Palm Beach with its genteel “Slim Aarons” high-society life of golf, tennis, bridge and cocktails.
 
The two communities could not be more different in culture and ethnicity.  They only have two things in common: favourable taxes and proximity to America’s Jurassic Park - an untamed territory that remains primeval and largely closed for business. The swamps of Florida were not made for human life, yet they sit within 30 miles of two of the most evolved and desirable places to live in the world. It is as stark a visual dislocation as there can be. 
 
In no part of America does the price of real estate fall quicker than when travelling west from the Atlantic beaches of southern Florida. There are too many insects and far too many dangerous reptiles for sane mankind.
 
The emblematic beast of Florida is the alligator and for the 56,000 students at the University of Florida, life would be different if “Gators” did not exist. The big gators in the swamps are formidable adversaries.
 
This photograph was only captured after considerable research and conversations with those familiar with the location. The camera was controlled remotely, and no one was in danger during this project. Alligators are much more comfortable living in this part of Florida than humans will ever be.

If Florida was fictional, we would laugh at its absurdity. And yet it is very real.

Florida

Every state in America has its own unique characteristics that shape outsiders’ perceptions: New York is the world’s business epicenter; Texas has cowboys and oil; whilst Alaska is the final frontier. Our cognitive processing tends to elicit visual symbolisms that are consensual - mention the word “Nevada” and we think of gambling in a desert.
 
But Florida is more complicated. It cannot be conveniently categorised or boxed. On the coast is Miami, with its tourist beaches, Art Deco, influencers, pop culture and Hispanic soul. Then up the road is Palm Beach with its genteel “Slim Aarons” high-society life of golf, tennis, bridge and cocktails.
 
The two communities could not be more different in culture and ethnicity.  They only have two things in common: favourable taxes and proximity to America’s Jurassic Park - an untamed territory that remains primeval and largely closed for business. The swamps of Florida were not made for human life, yet they sit within 30 miles of two of the most evolved and desirable places to live in the world. It is as stark a visual dislocation as there can be. 
 
In no part of America does the price of real estate fall quicker than when travelling west from the Atlantic beaches of southern Florida. There are too many insects and far too many dangerous reptiles for sane mankind.
 
The emblematic beast of Florida is the alligator and for the 56,000 students at the University of Florida, life would be different if “Gators” did not exist. The big gators in the swamps are formidable adversaries.
 
This photograph was only captured after considerable research and conversations with those familiar with the location. The camera was controlled remotely, and no one was in danger during this project. Alligators are much more comfortable living in this part of Florida than humans will ever be.

If Florida was fictional, we would laugh at its absurdity. And yet it is very real.

Vice

There is a nod to Ridley Scott’s Thelma and Louise in this photograph. The iconic girl power movie from 1991 has been a material prompt for me - especially in terms of using the grandeur of the American West as a layer of narrative in car stories. The addition of police cars to this set makes the nod even more emphatic.

Location scouting is an integral part of visual storytelling and more often than not, a possible location we have discovered during desk work, does not pass the test when we do a site visit. That’s good, as there needs to a be high bar in what we perceive to be a strong contextual background. We are greedy operators when it comes to filling the screen.

The Trona Pinnacles are remote and that always helps to provide some privacy in what we do, especially if we film in the early morning in the off season. I can’t really remember scheduling a shoot in the American West in the summer months; it just gets more complicated.

Road trips are good for team bonding; it gives us time to think and reflect on what we can do better in the creative process. Being out and about in the great American West should always be more productive than sitting behind a desk. I do think I mentally land on some of my better conceptual ideas when looking out from a car window.

Thank you to @josiecanseco for always being a great partner in our projects - there is nobody we would rather road trip with.

Vice

There is a nod to Ridley Scott’s Thelma and Louise in this photograph. The iconic girl power movie from 1991 has been a material prompt for me - especially in terms of using the grandeur of the American West as a layer of narrative in car stories. The addition of police cars to this set makes the nod even more emphatic.

Location scouting is an integral part of visual storytelling and more often than not, a possible location we have discovered during desk work, does not pass the test when we do a site visit. That’s good, as there needs to a be high bar in what we perceive to be a strong contextual background. We are greedy operators when it comes to filling the screen.

The Trona Pinnacles are remote and that always helps to provide some privacy in what we do, especially if we film in the early morning in the off season. I can’t really remember scheduling a shoot in the American West in the summer months; it just gets more complicated.

Road trips are good for team bonding; it gives us time to think and reflect on what we can do better in the creative process. Being out and about in the great American West should always be more productive than sitting behind a desk. I do think I mentally land on some of my better conceptual ideas when looking out from a car window.

Thank you to @josiecanseco for always being a great partner in our projects - there is nobody we would rather road trip with.