Reclaimed Home
Provenance
- Camera
- NIKON Z 7
- Lens
- 250.0-560.0 mm f/5.6
- Settings
- 420mm · f/8.0 · 1/500 · ISO 640
- Paper
- Ilford Galerie Smooth Cotton Rag 310 gsm
Sunlight falls across a decaying interior through a broken window. Vines cover the walls and spread across the floor. Timber surfaces show advanced weathering. The room is otherwise empty, contents long removed.
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
- Reclaimed Home
- Series
- A Place to Call Home
- Catalogue
- PCH-017
- Process
- Giclée
- Captured
- 21 December 2018
- Camera
- NIKON Z 7
- Lens
- 250.0-560.0 mm f/5.6
- Aperture
- f/8.0
- Shutter
- 1/500 s
- ISO
- 640
- Focal length
- 420 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 broken window lets in the only light, and the vines that have worked through the walls and across the floor have been doing so long enough to look like wallpaper. The dwelling is one of the rural homesteads photographed across New South Wales for the A Place to Call Home series, buildings that housed selector and grazing families across the Snowy Monaro and Hunter Valley. The Robertson Land Acts of 1861 gave families the right to select up to 320 acres of Crown land; many took the gamble, built their homes in slab timber and galvanised iron, and worked the land until the drought, the wool price, or the next generation made staying impossible.
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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