Tag Heuer’s lat­est Don’t Crack Un­der Pres­sure cam­paign shoot in South Africa – com­plete with hun­gry li­ons.

Herworld (Singapore) - - CONTENTS -

David Yar­row, one of the most ac­claimed wildlife pho­tog­ra­phers in the world, took Tag Heuer’s Don’t Crack Un­der Pres­sure cam­paign seriously: He shot Bri­tish ac­tress/ model Cara Delev­ingne with hun­gry li­ons in South Africa. For more about their col­lab­o­ra­tion, turn the page.

Delev­ingne on Yar­row:

“I am fa­mil­iar with David’s work. I think he is an in­cred­i­ble pho­tog­ra­pher. His pic­tures of an­i­mals and crea­tures around the world are strong and beau­ti­ful. He is in­cred­i­ble and so pro­fes­sional, so I felt com­pletely at ease. He also has a great sense of hu­mour, which made the ex­pe­ri­ence fun.”

Hang­ing with the big cats:

“I ac­tu­ally can’t be­lieve this is part of my job; the an­i­mals are in­cred­i­ble and the whole ex­pe­ri­ence has been re­ally great. I was so ex­cited to see all the an­i­mals [at the wildlife sanc­tu­ary] that I didn’t have time to be afraid. I’ve al­ways had a great love for an­i­mals since I was a kid. Li­ons are so strong and peace­ful at the same time. If peo­ple had to take one thing away from this, I hope it would be to re­spect an­i­mals and their habi­tats.”

Yar­row on Delev­ingne:

“She’s a rock star. She’s got so many fa­cial ex­pres­sions and her per­son­al­ity can change very quickly. She’s, of course, stun­ningly beau­ti­ful and has ex­tra­or­di­nary eyes. That’s the best thing, be­cause I’m an eye per­son. When I’m pho­tograph­ing an an­i­mal, if the eyes aren’t sharp, it’s very dif­fi­cult to get an in­sight into its soul. So the first thing I look at all the time are the eyes, and Cara has to­tally in­tox­i­cat­ing eyes, so from my per­spec­tive, that was al­ways go­ing to be the cen­tre of the pro­ject.

“I hope when peo­ple see this pic­ture at the air­port, in a mag­a­zine or on a bill­board, they might just go ‘My good­ness, look at that’, and it just stops them in their tracks. It’s very dif­fi­cult in these times for one still im­age to grab peo­ple’s at­ten­tion and hold it – but I think this im­age will. It is a great shot be­cause you have a tri­an­gle of souls in the pho­to­graph: The soul of the pho­tog­ra­pher; most im­por­tantly, Cara’s soul and her look; and also the look, soul and the per­son­al­ity of the lion.”

How they nailed the shot:

“We did the shoot in the morn­ing. I tend to do bet­ter in the morn­ing. Also, the lion would be hun­grier – if you’ve got a lion that’s eaten a lot, get­ting him to go through the same [shots] can be quite a lot [to ex­pect]. In the af­ter­noon, we moved the three cages so that it would pro­vide a new route for the lion, which would al­low him to ap­pear from behind Cara’s head and look right at me.”

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