Home In The Valley
Provenance
- Camera
- NIKON D810
- Lens
- 80.0-400.0 mm f/4.5-5.6
- Settings
- 400mm · f/8.0 · 1/200 · ISO 100
- Paper
- Ilford Galerie Smooth Cotton Rag 310 gsm
A weatherboard farmhouse in open paddock, verandah structure collapsed. Corrugated iron lifts from the roofline at the eaves. A brick chimney stands intact at one end. Dry grass surrounds the building on all sides. Low rolling hills visible in the background.
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
- Home In The Valley
- Series
- A Place to Call Home
- Catalogue
- PCH-001
- Process
- Giclée
- Captured
- 16 December 2016
- Camera
- NIKON D810
- Lens
- 80.0-400.0 mm f/4.5-5.6
- Aperture
- f/8.0
- Shutter
- 1/200 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
A weatherboard farmhouse sits in open paddock, the verandah gone at one end, corrugated iron pulling away from the roofline. The brick chimney is the most intact thing left. Dry grass runs to the base of the walls and out across the flat to the hills behind. Timber-framed selector's cottages like this one were the physical result of the Robertson Land Acts of 1861, which opened Crown land to selection at £1 per acre and drew families onto blocks of 40 to 320 acres across rural New South Wales. By the late nineteenth century, drought, rabbit plague, and falling wool prices had already begun thinning out the communities that built them.
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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