Looking Down

Provenance

Camera
NIKON D810
Lens
14.0-24.0 mm f/2.8
Settings
14mm · f/9.0 · 1/6 · ISO 100
Paper
Ilford Galerie Smooth Cotton Rag 310 gsm

Looking down through a break in the floor: rusted steel framework and crumbling concrete below, no distinguishing machinery to identify the space.

Edition
Open edition

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.

$100.00 AUD
Size
Type
Colour
Signed, numbered, with COA. Made to order in 10 to 20 business days (framed). Shipped in protective packaging with edition certificate, paper-stock reference and a printed care guide.
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In situ

Looking Down at Ashio Copper Mine, steel framework fills the entire frame, viewed from an elevated gantry looking down.Looking Down at Ashio Copper Mine, steel framework fills the entire frame, viewed from an elevated gantry looking down.Looking Down at Ashio Copper Mine, steel framework fills the entire frame, viewed from an elevated gantry looking down.Looking Down at Ashio Copper Mine, steel framework fills the entire frame, viewed from an elevated gantry looking down.Looking Down at Ashio Copper Mine, steel framework fills the entire frame, viewed from an elevated gantry looking down.
01 PROVENANCE

Print datasheet

Title
Looking Down
Series
Ashio Copper Mine
Catalogue
ACM-014
Process
Giclée
Captured
7 May 2016
Camera
NIKON D810
Lens
14.0-24.0 mm f/2.8
Aperture
f/9.0
Shutter
1/6 s
ISO
100
Focal length
14 mm
Paper
Ilford Galerie Smooth Cotton Rag 310 gsm
Paper size
290 × 200 mm
Location
Ashio, Tochigi, Japan
Recognised by
Highly Commended in Multimedia at the 2016 National Trust of Australia (NSW) Heritage Awards
02 LOCATION

Ashio, Tochigi, Japan

Map · Mapbox · OpenStreetMap

03 THE STORY

About this print

Looking down through one of the working levels at Ashio Copper Mine, the floor of the next level below is visible through a steel grating walkway. Below the grating, machinery, pipework, and cabling sit on the lower floor in the standard mineral-processing-plant layout: a row of cells along one side, a conveyor running between them, the walls clad in steel sheet patched in places. Through the openings between the grating bars, the ore-residue staining on the lower floor is visible. The light falls from a window two levels above, narrowing through the structural openings to reach the lower floor as a thin shaft.

Looking-down views in a plant like this one show how the processing stages stacked vertically inside the building. Ashio was built into the mountainside specifically so gravity could carry the ore through the stages: the mine head at the top, the crushers below, the mills below them, the flotation cells, the refinery, and the dispatch at the bottom. The plant operated from the Furukawa modernisation of 1877 through to the Excavation Department's 1973 closure. The vertical stacking has stood as photographed since, with the working machinery on each level largely as it was on the day of final shutdown.

04 FROM THE FIELD NOTES

Steel framework fills the entire frame, viewed from an elevated gantry looking down into the processing hall. Rust covers every surface. Cross-braces, pipes, and catwalks intersect at sharp angles, layered so densely the structure reads as a lattice. Concrete pads sit on the floor below, stained dark. Mesh walkways span gaps between levels. Daylight enters through clerestory windows and missing roof panels, catching dust on the metalwork.

Brett Patman

Ashio Copper Mine

The series

Ashio Copper Mine

2016 · 24 photographs

Furukawa Ichibei acquired the Ashio mine in 1877 with financial backing from Shibusawa Eiichi. By 1922 the operation had consolidated its three separate ore-processing plants into one. The Tsudō Ore-Dressing Plant, on the Watarase River, was held up at home and abroad as a model facility for metal mines.

View all in this series →

05 SIZE GUIDE

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.

Anatomy · true ratio
TypeSizeWidthHeight
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