Abattoir Managers Quarters
Provenance
- Camera
- NIKON D810
- Lens
- 80.0-400.0 mm f/4.5-5.6
- Settings
- 400mm · f/6.3 · 1/1600 · ISO 640
- Paper
- Ilford Galerie Smooth Cotton Rag 310 gsm
A low timber cottage rests in a hollow, its corrugated iron roof rusted to a deep brown-red. Scrub has closed in on three sides. Power lines cross the ridge above. A dirt track climbs away behind the building. No movement visible. The structure sits alone in the frame, surrounded by encroaching vegetation.
Open edition
Printed to order, no fixed quantity. Each print is hand-signed by the photographer.
Limited edition
A fixed number of prints exist. Once sold, the edition closes permanently. Each print is individually numbered and signed.
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In situ





Print datasheet
- Title
- Abattoir Managers Quarters
- Series
- A Place to Call Home
- Catalogue
- PCH-005
- Process
- Giclée
- Captured
- 26 December 2016
- Camera
- NIKON D810
- Lens
- 80.0-400.0 mm f/4.5-5.6
- Aperture
- f/6.3
- Shutter
- 1/1600 s
- ISO
- 640
- Focal length
- 400 mm
- Paper
- Ilford Galerie Smooth Cotton Rag 310 gsm
- Paper size
- 290 × 200 mm
- Location
- Rural New South Wales and ACT, Australia
- Authenticity
- C2PA verified provenance →
- Recognised by
- Highly Commended in Multimedia at the 2016 National Trust of Australia (NSW) Heritage Awards
About this print
A timber cottage with a rusted corrugated iron roof sits low in a hollow in rural New South Wales, scrub pressing in from every side and a dirt track climbing the hill behind it. Power lines cross the ridge above, the only evidence of a connection to somewhere else. Selector's cottages like this one went up across the Monaro and Hunter Valley from the 1860s onward, built quickly on small blocks by families who wagered everything on the land. Many did not last a generation. The buildings that remain are what that gamble left behind.
Brett Patman
The series
A Place to Call Home
A series of rural homesteads from the Snowy Monaro region of southern New South Wales, with a few from the Hunter Valley. Most were family homes left behind when a generation moved to town; others when the land could no longer be worked. The buildings are smaller than the industrial sites that anchor most of Lost Collective and tend to be older. Most are timber-framed.
Print sizes
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