Brooding Skies
Provenance
- Camera
- NIKON D810
- Lens
- 80.0-400.0 mm f/4.5-5.6
- Settings
- 100mm · f/6.3 · 1/3200 · ISO 640
- Paper
- Ilford Galerie Smooth Cotton Rag 310 gsm
A derelict timber farmhouse under a heavy, overcast sky. The walls are weathered slab timber, the windowpanes broken or absent. No roof covering is visible. The structure stands without surrounding vegetation crowding the frame. Grey light falls evenly across the facade, with no shadows cast.
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
- Brooding Skies
- Series
- A Place to Call Home
- Catalogue
- PCH-006
- 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
- 1/3200 s
- ISO
- 640
- Focal length
- 100 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 farmhouse stands under a grey, loaded sky in rural New South Wales, its slab walls weathered to the colour of old rope and its windows long since emptied of glass. The Robertson Land Acts of 1861 promised selectors 320 acres at £1 per acre and asked three years' residence in return. Many took the offer; fewer kept the land. Drought and rabbits cut through the Monaro in the 1890s, the wool price collapsed in 1991, and in between, a dozen smaller reversals sent families toward town. What remains is the timber itself, still holding its shape against a sky that looks ready to finish the job.
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
The anatomy view shows what this finish is as a physical object: paper margin, mat band, frame depth, acrylic profile. The comparison strip shows how each size sits relative to the others at true scale. Click a size or a finish to update both.
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