While her husband, Roy Chapman Andrews, is often remembered as a potential inspiration for the fictional adventurer Indiana Jones, Yvette Borup Andrews' photographic contributions to early visual anthropology, captured during their initial Central Asian expeditions, deserve recognition. Contrary to the typical honeymoon narrative following a 1914 high-society wedding, Yvette and Roy embarked on the American Museum of Natural History's First Asiatic Zoological Expedition, a comprehensive exploration of China, Tibet, and Burma. Yvette served as the official photographer.

Her photographs, published in "Camps and Trails in China" and "Across Mongolian Plains," provide a valuable historical perspective on early 20th-century Central Asian life and demonstrate the American Museum of Natural History's use of photography to engage the public with scientific expeditions.

Born in Paris to an American military attaché, Yvette's upbringing exposed her to European intellectual and aristocratic circles. Before achieving notoriety for her Asian travels, she was a fixture in American social pages, known for her connections, including Princess Victoria Louise. In 1914, amidst the onset of World War I, she married Roy Chapman Andrews, a rising figure at the American Museum of Natural History. Their subsequent 18-month expedition aimed to collect zoological specimens and document the people and landscapes of Central Asia.

The early 20th century saw significant scientific interest in Central Asia across various disciplines. Roy secured funding for the expedition, in part, by promising to search for fossil hominin sites, aligning with the museum director Henry Fairfield Osborn's theories. The New York Times' announcement of their wedding highlighted the adventurous nature of their planned journey. Yvette's role extended beyond accompanying her husband; she was the expedition's primary photographer and an amateur ethnographer. She had developed her photographic skills through studies in Europe and New York, mastering both black-and-white and early color techniques, as well as motion picture photography.

Her photographic series, published in the popular "Camps and Trails in China" in 1918, showcased her expertise. She also contributed six chapters to the book, detailing her experiences and observations. Roy frequently relied on Yvette's journals and photographs for his own publications, acknowledging her contributions. In "Across Mongolian Plains," he explicitly credited her photographic work and journal entries. 

The public was captivated by their photographs and adventurous tales. The press detailed their encounters with wild dogs and bandits, portraying them as daring explorers.

The First Asiatic Zoological Expedition was a success, yielding numerous specimens for the museum and generating public interest. This led to the Second Asiatic Zoological Expedition in 1918, with Yvette again serving as photographer. This expedition focused on Mongolia and North China, laying the groundwork for later fossil-hunting expeditions.

Yvette's photographs served as a crucial link between the expeditions and the public, providing a visual connection to Central Asia. Her work documented daily life, cultural practices, and the expedition's scientific activities. She also depicted the harsh realities of practices like foot-binding. Her images introduced Western audiences to the diverse cultures and landscapes of Central Asia. 

Her photographic equipment included various cameras and a portable darkroom for on-site development. She used both plates and film, favoring plates for detailed work. The expedition also utilized motion picture cameras.

The First Zoological Expedition resulted in a substantial collection of photographs, color plates, and motion picture film. The Second Zoological Expedition marked the end of Yvette's official role as expedition photographer. While she accompanied Roy on later expeditions, her photographic contributions were less prominent. Notably, her and James Shackelford's 1922 images of the Maidari Festival in Urga, Mongolia, hold significant historical and ethnographic value, capturing the last festival of its kind. The decrease of published work from Yvette may be connected to her divorce from Roy in 1931.

Today, Yvette's contributions are often overlooked, overshadowed by her husband's fame and later expeditions. However, her photographs offer a unique perspective on early ethnographic photography and the realities of 20th-century scientific exploration. They serve as a vital record of the people and places she documented.