in this issue

hen we think of black-and-white photography, the first images that come to mind are the iconic landscapes of photographers like Ansel Adams or the candid, photojournalistic scenes of everyday life captured by Henri Cartier-Bresson. We don’t typically think of wildlife photography in black-and-white; as a genre, its subjects are usually revealed in full color. So for this year’s. His newly published monograph, (Rizzoli, 2019), features 150 recent photographs, with proceeds being donated to the conservation charities Tusk in the U.K. and WildAid in the U.S. A selection of these images illustrates our interview with Yarrow, “Into The Wild,” in which he explains his reasons for choosing black-and-white for wildlife photography and his preference for using a wider focal length lens rather than telephoto—another unconventional approach.