Farmstead
Provenance
- Camera
- NIKON D810
- Lens
- 80.0-400.0 mm f/4.5-5.6
- Settings
- 230mm · f/11.0 · 1/2500 · ISO 1000
- Paper
- Ilford Galerie Smooth Cotton Rag 310 gsm
A single-storey timber farmstead in an advanced state of decay. Walls of weathered slab timber lean and split. Window openings stand empty, frames gone or rotted. Dormant grass fields extend to the horizon beyond the structure. No roof covering is visible. The surrounding land is open and flat.
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
- Farmstead
- Series
- A Place to Call Home
- Catalogue
- PCH-004
- Process
- Giclée
- Captured
- 25 December 2016
- Camera
- NIKON D810
- Lens
- 80.0-400.0 mm f/4.5-5.6
- Aperture
- f/11.0
- Shutter
- 1/2500 s
- ISO
- 1000
- Focal length
- 230 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 timber walls have given up their fight with the elements, splitting along the grain and pulling away from their posts. Empty window openings stare out over fields that have gone dormant. This is the kind of building a selector could put up in two to three weeks, using a maul and wedge to split eucalyptus slabs tangentially along the grain, dropping them between grooved posts. It was a practical shelter against the Monaro wind and cold, and when the land or the economics stopped working, the building was simply left behind.
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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