Dalgety Blues
Provenance
- Camera
- NIKON D850
- Lens
- 24.0-70.0 mm f/2.8
- Settings
- 27mm · f/8.0 · 1/100 · ISO 100
- Paper
- Ilford Galerie Smooth Cotton Rag 310 gsm
Blue paint peels in long strips from weatherboard walls. Interior rooms hold a layer of fine dust. Light enters through gaps in the structure. Surfaces are bare, no furnishings remain. The building stands in Dalgety, southern New South Wales.
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
- Dalgety Blues
- Series
- A Place to Call Home
- Catalogue
- PCH-046
- Process
- Giclée
- Captured
- 30 December 2018
- Camera
- NIKON D850
- Lens
- 24.0-70.0 mm f/2.8
- Aperture
- f/8.0
- Shutter
- 1/100 s
- ISO
- 100
- Focal length
- 27 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
Fading blue paint peels from an abandoned building in Dalgety, a small Snowy River town on the southern Monaro tableland. Between 1902 and 1903, Dalgety was evaluated as a potential site for Australia's federal capital; the decision ultimately went elsewhere, and the town's trajectory quietly changed from that point. Dust has settled on the empty rooms. The photograph holds what remains: bare walls, peeling paint, and the particular stillness of a place that once expected a great deal more of itself.
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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