Wolumla Sunset
Provenance
- Camera
- NIKON Z 7
- Lens
- 180.0-400.0 mm f/4.0
- Settings
- 240mm · f/8.0 · 1/500 · ISO 100
- Paper
- Ilford Galerie Smooth Cotton Rag 310 gsm
A timber farmhouse with unpainted weatherboards, wood grain visible across the full facade. Open pasture surrounds the building on all sides. A rusted van sits in long grass below the house. A second vehicle is partly visible in the same grass. The sky is open above the low horizon.
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
- Wolumla Sunset
- Series
- A Place to Call Home
- Catalogue
- PCH-028
- Process
- Giclée
- Captured
- 22 December 2018
- Camera
- NIKON Z 7
- Lens
- 180.0-400.0 mm f/4.0
- Aperture
- f/8.0
- Shutter
- 1/500 s
- ISO
- 100
- Focal length
- 240 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 weatherboards on the farmhouse at Wolumla have lost their paint down to bare timber, the grain raised by years of sun and weather. Below the structure, a rusted van and a second vehicle sit half-submerged in long grass, left where they stopped. Timber weatherboard construction of this kind is typical of the selector cottages built across southern New South Wales from the 1880s onward, on small blocks carved out of the larger pastoral runs that had dominated the region for decades before them. The photograph, made in 2018, records a place somewhere between standing and gone.
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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