Top Of The Works

Provenance

Camera
NIKON D810
Lens
14.0-24.0 mm f/2.8
Settings
14mm · f/9.0 · 1/5 · ISO 100
Paper
Ilford Galerie Smooth Cotton Rag 310 gsm

The head of the processing plant, where ore from the mine arrived to begin the crushing sequence. From the high vantage point, the full run of the plant is visible across the valley floor below. Furukawa's operation ran this infrastructure from 1877.

Edition
Open edition

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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

Top Of The Works at Ashio Copper Mine, steel staircases climb through two levels of the processing hall.Top Of The Works at Ashio Copper Mine, steel staircases climb through two levels of the processing hall.Top Of The Works at Ashio Copper Mine, steel staircases climb through two levels of the processing hall.Top Of The Works at Ashio Copper Mine, steel staircases climb through two levels of the processing hall.Top Of The Works at Ashio Copper Mine, steel staircases climb through two levels of the processing hall.
01 PROVENANCE

Print datasheet

Title
Top Of The Works
Series
Ashio Copper Mine
Catalogue
ACM-022
Process
Giclée
Captured
7 May 2016
Camera
NIKON D810
Lens
14.0-24.0 mm f/2.8
Aperture
f/9.0
Shutter
1/5 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

From the top of the works at Ashio Copper Mine, the plant drops away in a staircase of concrete and corrugated iron down the mountainside, ending at the Watarase River valley below. The mine head is at the highest point, where ore came out of the Tsūdō shaft and the other working faces. From there, the milling and flotation plant steps down level by level toward the refinery and dispatch areas near the valley floor. The mountain across the valley is bare in patches still, the recovery from a century of smelter fumes uneven across the slopes. Cloud sits in the valley at this elevation. The roofs below run in a continuous corrugated-iron stretch, with the access stairs and conveyor lines linking each level.

The Ashio works was built into the mountainside so that gravity could carry the ore through the processing stages. From the mine head at the top, ore moved down through crushers, mills, flotation cells, and refinery levels to the river below where the product was loaded for transport. The plant was rebuilt and extended several times across the Furukawa modernisation that began in 1877. The Excavation Department closed in 1973, and the works have stood as photographed since. Parts of the site are now open as a tourist attraction; the broader plant is largely inaccessible.

04 FROM THE FIELD NOTES

Steel staircases climb through two levels of the processing hall. Rust bleeds down every railing and handrail. Conveyor frames, heavy steel plate, and tangled pipework crowd the upper gantries. Fallen concrete and rubble cover the ground floor. A cylindrical metal vessel sits in the centre of the open space, half buried in dust. Green foliage presses against broken windows along the left wall. The air looks thick, mineral, still.

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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