Chakola Shack
Provenance
- Camera
- NIKON D810
- Lens
- 80.0-400.0 mm f/4.5-5.6
- Settings
- 320mm · f/8.0 · 1/1600 · ISO 1000
- Paper
- Ilford Galerie Smooth Cotton Rag 310 gsm
A small timber shack stands in open bush. The walls are weathered grey, the timber bleached by sun and rain over many years. A corrugated iron roof, heavily rusted, sits over the structure. The interior is visible through gaps in the decaying walls.
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
- Chakola Shack
- Series
- A Place to Call Home
- Catalogue
- PCH-014
- Process
- Giclée
- Captured
- 27 December 2016
- Camera
- NIKON D810
- Lens
- 80.0-400.0 mm f/4.5-5.6
- Aperture
- f/8.0
- Shutter
- 1/1600 s
- ISO
- 1000
- Focal length
- 320 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
The Chakola Shack stands in the Australian bush, its split timber walls long since bleached to grey by decades of sun and rain. A rusted corrugated iron roof, the kind that replaced bark and wooden shingles across rural New South Wales from the mid-nineteenth century onward, shelters what remains of the interior. Structures like this one were built by selectors and smallholders working country that was hard to hold and harder to leave. When the land could no longer sustain a family, the buildings stayed behind. Photographed in 2016 as part of the A Place to Call Home series, which documents abandoned rural structures across the Snowy Monaro region and Hunter Valley.
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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