Dalgety Valley
Provenance
- Camera
- NIKON Z 7
- Lens
- 180.0-400.0 mm f/4.0
- Settings
- 400mm · f/8.0 · 1/400 · ISO 100
- Paper
- Ilford Galerie Smooth Cotton Rag 310 gsm
A single decaying structure stands in open valley country. Timber walls, faded and weathered, sit beneath a rusted corrugated iron roof. The surrounding landscape is low and muted, pasture encroaching on the building's footings. No other structures are visible in the frame.
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 Valley
- Series
- A Place to Call Home
- Catalogue
- PCH-034
- Process
- Giclée
- Captured
- 27 December 2018
- Camera
- NIKON Z 7
- Lens
- 180.0-400.0 mm f/4.0
- Aperture
- f/8.0
- Shutter
- 1/400 s
- ISO
- 100
- 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
The Dalgety Valley sits in the southern Snowy Monaro, a stretch of country that was among the earliest pastoral frontiers beyond the settled districts of New South Wales. Squatters established runs here from the 1820s onward; selectors followed after the Robertson Land Acts of 1861 opened up Crown land in 320-acre blocks. The structure in this frame, faded timber and rusted iron returning slowly to the ground, is what that long arc of settlement left behind. Three waves of decline did the rest: the 1890s drought and rabbit plague, the displacement caused by the Snowy Mountains Hydro-electric Scheme in the 1960s, and the collapse of the Wool Reserve Price Scheme in 1991.
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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