published Loose Joints, March 2022

Richmond’s elegiac, sombre ode to a coastal stretch of the Bristol Channel poetically weaves together lives hit by decades of austerity, food poverty and isolation.

Along this twenty-mile stretch of one of the world's longest coastal mudflats, Richmond’s Love Bites encounters those attempting to find meaning and pleasure within an unforgiving environment. Beneath everyday photographs of food banks, punks, pleasure arcades, swingers’ clubs, shelters and new-build houses, Love Bites finds a waning unease to his subjects, a listless microcosm of post-austerity, post-Brexit Britain. Richmond allows these tensions to simmer on the surface: food poverty, isolation, commercial decline, housing precarity, homelessness, unfulfilled desire and longing mingle in the overcast, wide skies of the channel and its flat, sprawling coastline.


Continuing in a long line of British photographers that weave poetry and lyricism into social documentary projects, Richmond uses a delicate colour palette and sympathetic lens to capture the everyday realities of isolation and desire in this corner of Southwest England.

 "Without being deliberately political, the book paints a portrait of commercial decline and struggle. That said, Richmond’s portrayal isn’t by any means a negative one: it simmers with humanity, longing, and a lyrical sort of beauty.”

AnOther Magazine

"in each solemn gaze or drizzly seascape, each empty hotel room or deserted arcade, there is a lingering ambiguity that both enthrals and unsettles. Such scenes are unfixed stories; springboards that invite viewers to contemplate things that may have happened, or may still happen”.

Dazed Magazine

"Photography allows a flow between certainty and uncertainty. It usually means that the questions an image produces outnumber its answers. The connecting thread running through this book is a collective lament for those who never enjoyed the glory of the Empire but must endure the “cost of living crisis” exacerbated by Brexit. Given the context, it’s hard not to interpret the lone slice of cake behind a café counter as a metaphor for the crumbs left by the one percent and its enabling system".

Elephant Magazine


"Richmond works in a disarmingly complex way. Attracted to the margins of society, in both the U.S. and his native U.K., he explores those parts of the social fabric that are wearing thin and beginning to fray. He works in a quasi-cinematic way, using the still image as a kind of “freeze frame” from a much larger conceptual narrative. The photographs are deeply informed by his understanding of contemporary film. The open-ended narrative hints and cues in Richmond’s photographs are deeply moving in psychological and emotional terms."

"These pictures are both fresh and true. In looking at this region in a genuinely novel way, he makes pictures that get to the heart of the emotional tenor of the place, and is consistently able to tease out vital truths from the most “commonplace” subject matter. This is his special skill."

Keith F. Davis, Senior Curator of Photography, The Nelson-Atkins Museum of Art



"In many of the photographs Richmond appears to engage in a type of visual game: not just by deconstructing visual stereotypes such as the cowboy, but also by referencing iconic photographs taken in this photogenic part of America. This visual referencing is most apparent in the final image of the book which bears a striking similarity to Garry Winogrand’s infamous 1957 black and white photograph of a toddler standing in the driveway of a suburban house in New Mexico. In Richmond’s version of this dystopian scene taken in Utah, the toddler is replaced by builders’ tools and a bush in the foreground of Winogrand’s famous image is now a stack of pre-grown lawn yet to be planted on the front yard of the house. To the back of the house there is the desert. The symbolism of this image is clear: the post-war dream of suburban living, perhaps still alive when Winogrand took his photograph, can now be revealed as an artificial construct that has more in common with a show home. Since it is the final image of the book, the symbolism it conveys is all the more powerful.”


"He has found those lonely in-between places where the American West dream has seemed to fizzle and become something much less. I am left wondering about his subjects; the faceless cowboys, the old biker, the young boy and others captured in a pensive moment".

The PhotoBook>

“Richmond exerts a tight control on narrative, hinting at several, often conflicting stories beneath the surface. The further we delve into the pioneer/cowboy myth, the more its threads unravel....".

Lucy Davies, Telegraph art and photography critic

"Richmond's washed-out colour palette,– as well as the cast of intriguing characters that pepper his photographs – are extremely cinematic in feel, so it is unsurprising to discover that film was a key starting point for the photographer …culminating in a dreamy new publication, Last Best Hiding Place, resonating with a stirring sense of remoteness."

AnOther Magazine

“in an exploration of place, but also the people who belong there, Richmond captures an enigmatic vision of the American West”.

Independent on Sunday

“I feel profoundly touched by these images that radiate a certain futility and hopelessness that I sometimes feel liberating. There’s nothing pretentious, no showing off – the people portrayed do not pose for the photographer. And the few who do, like the woman in a bar in Deadwood, South Dakota, do not make an effort in order to make a favourable impression. That’s the way I am, the woman seems to say. It’s this unpretentiousness that attracts me, and that I warm to”.

F Stop Magazine

"Richmond’s book show Western towns that are slowly deflating; the storefronts are permanently for rent and the local bar invites dust as it if were a paying customer. With Last Best Hiding Place, the photographer captures the underlying beauty of the mythical West".

GUP Magazine

“No picturesque buffalo roam in Richmond’s landscapes. Here, we see the ghost of rugged cowboys’ past, now a weathered old man still standing tall; there, the modern analogue of Gunsmoke’s pretty Miss Kitty, updated with a tattoo sleeve and a Budweiser sign.

The un-peopled landscapes of this book, no less than its human subjects, are bound to take root in your memory long after you’re done leafing its pages and closing the cover”.

Un-Titled Project Magazine

144 pages
Cloth hardcover
30 x 24cm
65 colour plates
Language English
Printed and bound in Germany

ISBN 978-3-86828-603-8

Essay by Jörg Colberg
Design: Mark Tappin
Publisher: Kehrer Heidelberg Berlin


Publishing dates 2015:
EU May
UK June
US November

ca. 35.00 GBP

100 Special Editions, 100 GBP
10 Collector's Editions, 850 GBP



Copies 1-100 come with a signed and numbered certificate, with a signed analogue 10x8 inch print (one of three).
Price £100

1.3.jpg1.2.jpg 1.1.jpg


Signed and numbered certificate, with a signed analogue 16x12 inch print (from a choice of three), in an embossed clamshell box.
Price £850



© for all images on this site belongs to Tim Richmond. All work is protected by copyright