Screening Conveyor
Provenance
- Camera
- NIKON D7000
- Lens
- 24.0-70.0 mm f/2.8
- Settings
- 24mm · f/8.0 · 4s · ISO 100
- Paper
- Ilford Galerie Smooth Cotton Rag 310 gsm
A derelict screening conveyor stands in the open air of Hornsby Quarry. The metal frame is heavily rusted across its length. The surrounding quarry landscape is visible behind the structure. No other workers or machinery are present in the frame.
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
- Screening Conveyor
- Series
- Graffiti & Urban Decay
- Catalogue
- GUD-011
- Process
- Giclée
- Captured
- 7 November 2015
- Camera
- NIKON D7000
- Lens
- 24.0-70.0 mm f/2.8
- Aperture
- f/8.0
- Shutter
- 4s s
- ISO
- 100
- Focal length
- 24 mm
- Paper
- Ilford Galerie Smooth Cotton Rag 310 gsm
- Paper size
- 290 × 200 mm
- Location
- Hornsby, New South Wales, Australia
- Authenticity
- C2PA verified provenance →
- Recognised by
- Highly Commended in Multimedia at the 2016 National Trust of Australia (NSW) Heritage Awards
Hornsby, New South Wales, Australia
Map · Mapbox · OpenStreetMap
About this print
A screening conveyor sits idle within Hornsby Quarry, its rusted frame a remnant of nearly a century of dolerite extraction. The quarry operated from around 1905 until 2002, supplying crushed blue metal aggregate for road construction across northern Sydney. Under successive operators including Farley and Lewers and CSR Construction Materials, machinery like this processed approximately 110,000 tonnes of rock per year. After quarrying ceased, the site passed to Hornsby Shire Council and has since been earmarked for rehabilitation as Hornsby Park.
Brett Patman
The series
Graffiti & Urban Decay
Buildings don't stay empty. Once the owners leave, somebody else arrives. Walls that were blank become a record of who came through and when. Graffiti isn't vandalism on these surfaces , it's the only remaining evidence that anyone cared enough to be here.Urban spaces mid-collapse. The gap between what a building was built for and what it became.
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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