A photograph acts as a springboard for the viewer on a narrative journey. Stories revealed, true or imaginary.
In a seaside hotel lobby a woman stares out at a wet English day; Billy’s 2nd place Karate trophy in 1987; a transvestite enjoying a quiet cup of tea; a cowboy checking in at a motel on the way to who knows where…
Places can seem alone, like people, filled with melancholy.
My inspiration to photograph started in the 70’s watching movies such as Days of Heaven Terrence Malick’s tribute to vast open spaces; The Deer Hunter Michael Cimino and Vilmos Zsigmond’s vision of steel town America that was as stunning as tragic; Jack Nicholson bouncing off Karen Black in Five Easy Pieces; and continuing to this day with films such as Paul Thomas Anderson’s The Master, Andrea Arnold’s Fish Tank, and Darren Aronofsky’s The Wrestler. Auteur movies that ask as many questions as they answer.
I have seen no reason to stop loading film in my cameras, accepting the limitations of straight photography, whilst embracing the truthful analogue "moment". The content of the photograph is paramount, and yet the delicate tonality of the print leaving my darkroom is crucial to an appreciation of the image.
Internationally acclaimed photographer Tim Richmond applies his unique aesthetic to a range of work that covers landscape, documentary, fashion, portraiture and travel. Wherever his inspiration takes him, across the USA, throughout Europe or his native England, his photographs are imbued with narrative strands.
He has photographed for major publications including L'Uomo Vogue, Vogue, Vanity Fair, The Telegraph Magazine, Wonderland, Port, World of Interiors and made films for Nowness.
In recent years he has concentrated on long-term projects, from Last Best Hiding Place (2007-2014) published in 2015, to on-going series Love Bites, Winn Dixie amongst others.
His photographs are in many American and European private collections.