I haven’t been able to bring myself to listen to this interview I did with Radio New Zealand Nine to Noon .
I probably should, seeing it’s the most in-depth interview I’ve done, but I hate listening to my own voice.
This was recorded while I was still working full time in between weekend urbex adventures. It was in between a job, and we had to find a quiet public space to have the phone interview.
We parked at the end of an industrial area, and I walked across a couple of parks to get to a football field where I waited for the call to come through from New Zealand.
I was actually starting to get a little bit nervous so I started walking laps while waiting to do the interview. When it was time to record, I hadn’t stopped walking laps!
Kathryn obviously picked up on something and during the interview and asked if I was moving around. My cover was blown! Can you tell in the audio that I’m walking?
In the end, it was a good chat, we got into urban exploration, histories, communities and photography of course, and I’m very thankful to Radio New Zealand for taking an interest in my work.
You can listen to the full interview here
I had a chat with Angus Patterson from Insomniac. Angus has been a friend of mine from quite a while back now, dating back to a time when I wasn’t too old to feel out of place in nightclubs. Sign of the times.
While my passion for the nightlife has long since gone, that of Angus is still alive and well, and he continues to write and review music, venues and events on a regular basis.
A few years ago, Angus moved to Berlin reutilizing old buildings and infrastructure, re-adapting redundant industry into modern society is commonplace.
One perfect example of this is Berlins Berghain nightclub. Once an old, inefficient power station which was converted into one of the world’s best known and most exclusive nightclubs. It’s easy to see where the comparison is going with this, right?
While this scenario is unlikely to become a reality for White Bay Power Station when you look at the space and the scale from within the disused, hundred-year-old building, it’s easy to imagine what could become.
Oh, if only I had several hundred million dollars and a government willing to sell off what is probably the most exclusive piece of unused land in all of Australia.
To Angus’ article, click here.
Creators reached out for an interview in February, so we had a chat about all things Lost Collective.
This feature for Creators was right at the start of Lost Collective when the project was just three months old and receiving local and international recognition. I think I had three major features in this week alone!
It was a very exciting thing to see the pictures being so well received and connecting with so many people on a personal level. Especially people who are connected to the places I shoot in one way or another, be that former workers, residents, visitors, patrons etc.
It’s nothing short of amazing to see people recounting stories of real life history from their experiences in the very rooms that appear in the photographs displayed.
I touched on some of the work I’ve done recently, as well as what I have in the pipeline, including a trip to Japan where there is certainly no shortage of abandoned buildings.
As I mention in this Creators article the creme de la creme of abandoned Japanese buildings would easily be Gunkanjima, otherwise known as Hashima or Battleship Island. A long deserted coal mining facility off the coast of Nagasaki which was once the most densely populated place on earth
The island is a sprawling urbex wonderland, left untouched for decades. You can see more about Gunkanjima here .
Mould creeps down from the ceiling of the decaying control room of the White Bay Power Station in New South Wales, yet a bright white light streams through the window.
The scene is bleak and haunting for photographer Brett Patman, whose new project aims to capture historical abandoned buildings before they’re gone.
His Lost Collective project focuses on nature’s reclamation of abandoned spaces like old hospitals, power stations, gasworks, and slaughterhouses.
To read the article, click here.
Creators is VICE’s arts and culture vertical, covering every aspect of modern creativity.
Curbed called all the way from New York to talk with me about Lost Collective and shooting industrial relics and abandoned factories.
The interview was part of “Behind the Lens”, which looks at architectural photographers both professional and amateur, examining how they got their start, stories from their portfolios, and tricks to capturing great design.
I have to admit that I had never even heard of Curbed before they reached out for this interview. I’m glad they did in the end, Curbed has since become one of my favourite websites.
Given the quality of the content they post and the other creative minds they interview, it was quite humbling to have Curbed think of me for this interview.
Like many who find themselves entranced by sprawling factories, deteriorating buildings, and abandoned industrial sites, Syndey-based photographer Brett Patman was blown away by the scale.
But unlike others drawn to massive relics, Patman had a decent sense of how much of it worked.
A former “fitter and turner,” better known as a machinist, Patman spent hours as a service technician exploring these sites.
He had been an amateur photographer for years—streetscapes, street art, “all the normal things everyone would photograph”—before curiosity got the better of him, and he turned his lens on the country’s industrial heritage.
After shooting inside an abandoned denim factory, he was hooked, and soon started Lost Collective, a website, Instagram account, and Facebook page dedicated to documenting images and stories of factories, plants, and other abandoned workspaces.
Curbed spoke with Patman about the meaning of “ruin porn,” the best way to capture larger-than-life subjects, and the benefits of asking politely instead of scaling fences.
To read the interview, click here.
Since 2004, Curbed has been an integral part of the online housing industry, and by providing analysis, coverage, and insight, Curbed applies an editorial lens to the onslaught of information.
Yen Magazine was one of the first publishers ever to talk to me about Lost Collective, which is quite exciting for me because I love Yen.
For the record, contrary to the first paragraph of this article, I never actually break into abandoned buildings.
The article is mostly featured around the White Bay Power Station Lost Collective gallery.
In a sense, I owe a lot to this article for the reach that Lost Collective has been able to achieve. This was one of the first publications who took the story and shared it, generating a wave of interest in the project in early 2016.
From there, Lost Collective came to the attention of a bunch of publications, both locally and internationally and I guess it all snowballed from there.
It’s funny looking back on this now and seeing how much my own editing style has progressed from what it was when this article went live to now, (you can compare with pictures from this blog post to the Yen Magazine article).
Here’s an excerpt from the article.
Raise your hand if you’ve ever wanted to break into an old, creepy abandoned building to take photos. Or is that just us? Photographer Brett Patman gets it, which is why his Lost Collective project involves so many spaces and structures that look like the setting for a zombie movie that hasn’t been made yet.
This series of images was taken inside White Bay Power Station at Rozelle, in Sydney’s Inner West foreshore area. Built in 1917 and decommissioned in 1983, it’s a pretty creepy spectacle, especially because of details like the games room, still featuring pool tables and other recreational facilities used by the station’s workers.
To see the article, click here.
Yen celebrates all the wonderful thinkers, makers and do-ers in the world. Across print and digital, for switched-on, smart, creative cookies who love to be inspired. Covering fashion, beauty, art, photography, entertainment, homes, travel and wellbeing.
Online art magazine iGNANT got in touch early 2016 to talk about Lost Collective. Another amazing publication who helped share the story from the very beginning.
It was pretty exciting stuff to be featured alongside some of the world’s most talented upcoming artists.
I had to have a laugh at some of the feedback from the Facebook post. I guess it is no surprise that not everyone loves HDR.
Here’s some of my personal favourites –
Please iGNANT shows us no such HDR photos.
2006 called, it wants its Flickr photos back.
HDR post process should be illegal.
Everyone’s a critic huh?
I think HDR is one of those things that has been through a period of being so overdone by everyone (including myself), that it became a dirty word by default.
While I certainly believe people’s criticisms of HDR can be valid, it’s like anything other creative outlets, there can still be good when there is bad.
There is no shortage of terrible music out there but you wouldn’t stop listening altogether because someone made a trap remix of Gangnam Style right?
I guess for my comparison to make sense the internet would need to be flooded with terrible remixes of Gangnam Style. For all I know, it probably is!
Anyway, check out some excerpts from the article below.
From an old power station to a forgotten hospital, the images depict decaying places in dark tones with an eerie atmosphere.
In an exclusive statement about the project, Patman says: “I’ve been shooting abandoned buildings for five years. I think they provide really interesting subject matter that often has rich history attached.
The images are quite powerful and have the ability to engage entire communities in a discussion about the past, present and future of the buildings.”
To read the article on iGNANT, click here .
iGNANT is an award-winning online magazine featuring the finest in art, design, photography, fashion and architecture. iGNANT is passionate about bringing you a curated selection of the most captivating work from both established creatives as well as emerging talents.
Smith Journal reached out to have a chat to me about Lost Collective and the White Bay Power Station gallery in particular.
This was the first in a series of rolling features that really helped make an impact and propel Lost Collective into one of the best known online catalogues of abandoned places.
It was really from this article in Smith Journal, that all the media requests began to roll in and I guess the rest after that is history.
I really love Smith Journal. I’m a regular reader myself and I’ve found some other amazing Urbex artists through reading such as Soviet Innerness and Danila Tkachenko .
In the end, it turned out to be a nice little article, a short and sweet interview written covertly at my work desk under the watchful eye of my hovering boss, for the job that I no longer work for.
Maybe the fact that I did all my interviews this way (well I went outside for the phone interviews) contributed to the reason that I don’t work there anymore.
Who knows? Who cares? It was a shit job anyway.
You don’t have to travel to the former USSR or Detroit to get your abandoned porn fix: as Brett Patman’s photos show, there’s plenty of it right here in Australia if you know where to look.
Brett spends his spare time shimmying into the nation’s once-bustling buildings for his Lost Collective project, which he uses as a way to capture what he calls our “lost history” before it fades away for good. His photos, like the above image taken from inside Sydney’s White Bay Power Station, are equal parts creepy and beautiful, and remind us that the structures we create continue to exist, long after we’ve left them.
Check out the Smith Journal article here .
Smith Journal , is a quarterly, Australia-based publication that takes unexpected, interesting, funny and sometimes complicated stories and tells them the way you would to a bunch of friends at the pub.
Capture Magazine was the first publication that ever contacted me for an interview. Not long after posting the first White Bay Power Station Gallery, Marc Gafen got in touch to discuss how the shoot all came about and how it felt to be inside such a coveted building.
This is really the very beginning of where Lost Collective came to the fore. Before this feature in Capture Magazine, it was really just a hobby that I never really thought would go anywhere. After being granted such rare access to a building as amazing as White Bay Power Station, I knew I needed to create something to showcase my pictures, and from there Lost Collective was born.
When this gallery initially went live the whole project revolved around a facebook page. Clearly, it’s come a long way since then.
Below is an excerpt from the article in Capture Magazine.
Brett Patman may well be the luckiest person in Sydney. No, he didn’t win the lottery, although some photographers might think that he had. Patman is one of a very select few who have been allowed access to Sydney’s White Bay Power Station, having wondered what it looks like for as long as he could remember.
The site had been was in operation from 1917 until 1983, and ever since then, it’s been entirely off-limits, notwithstanding the once in a Blue Moon “open days”, where visitors were able to peer into some of the buildings through Perspex windows. The site has been earmarked for a $2 billion transformation, so the historical value and importance of this series is certain to increase dramatically.
To the full feature in Capture, click here.
Capture Magazine is Australia’s leading magazine for pro photographers. It covers all aspects of running a successful photography business, from equipment, studios and techniques, to staffing, marketing, copyright and legal issues. It reaches the whole photographic community, including editorial, advertising, wedding, photojournalism, events, fashion and portrait photographers, plus assistants and aspiring students – the pros of the future.
Stoney Roads saw my the Lost Collective gallery of White Bay Power Station and almost instantly reached out, drawing comparisons to one of Germany’s most famous nightclubs Berghain.
Initially, when the gallery was going viral, the comments were a mix of heritage aficionados, locals who had always wondered and urban explorers. But I knew the moment when this article went live just by watching the thread of comments.
The thread of comments from the Facebook Gallery where the images were first published, went through a noticeable shift of talking about the historical aspects, to noting that the building was outside the boundary of Sydney’s lockout laws.
Imaginations were running wild as to what could become of such an amazing space. I think this train of thought is however shared by quite a few others including some big name players, so I think this dream is an unlikely one.
Lost Collective has created an amazing gallery for the long abandoned (like these places too) White Bay Power Station in Rozelle, Sydney. The heritage listed former coal-fired industrial station stretches across a huge 38000m2 and, let’s be frank, with a bit of restoration, a Funktion One sound system, some killer DJs, would be Sydney’s answer to Tresor or Berghain.
In the words of the Lost Collective photographer Brett Patman:
“I was lucky enough to be given a tour by Steve, the site security guard of White Bay Power Station of who I have to give huge thanks to for his patience over this 5.5 hour shoot and also for keeping me entertained with his stories about all the would-be intruders he has protected the building from since 1995.”
To read the article in Stoney Roads, click here .
Founded in 2007, Stoney Roads is the quintessential stop for everything Dance Music. With a pack of hungry writers, we set out to curate the current Dance scenes from a young, witty and sharp outlook.