Here’s a bit of a sneak peek at something I’ve been working on with Poly Australia . Check out the article from Commercial Real Estate below for one last look at the former Bankstown RSL in all its glory.
This is the old Bankstown RSL Club as it’s never been seen before, in the days before its demolition and replacement next door by a new club, as captured by photographer Brett Patman, whose Lost Collective specialises in taking images of deserted buildings.
Read article here
I loved this article in Commercial Real Estate giving a fascinating insight into the history of Terminus Hotel in Pyrmont.
Image Credit: Noel Butlin Archives , Australian National University , Tooth & Co. Yellow Cards, Terminus Hotel Pyrmont – AU NBAC N60-YC-700
It was actually in the first article by Commercial Real Estate with its report that Terminus hotel was going under the hammer that gave me the idea to make some inquiries with the agent, JLL .
Everything after that is history, but I’m sure glad I asked the question.
Ways Terrace in Pyrmont, Sydney, around the 1920s. Photo: National Library of Australia .
So, over to the article, I do like the way Jack has explained the functions of an inner city working class pub through the years to serve as a meeting place due to an absence of ordinary working class families to have room for people to gather in their homes.
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.
French industry magazine L’usine Nouvelle reached out recently to feature this article on Lost Collective. I have to admit that I’m not entirely sure what the article says, but I think they like my pictures.
It was incredibly humbling to know that somehow, my work has managed to travel all the way to the other side of the globe and has been able to pick up the interest of a french publisher.
How this feature even came about is somewhat of a mystery to me. I never discovered how L’usine Nouvelle found out about me, but the reaction was great and people certainly took interest, so I’m very thankful for that.
This was in the midst of a bit of a media flurry in early 2016 when many publishers had taken an interest in Lost Collective and really contributed to building the profile of the project to what it is today.
Unfortunately, I don’t really have a lot to offer on the article itself given the fact it revolves around what you already see in Lost Collective. It’s more of a feature targeted at the French industrial audience of L’usine Nouvelle.
Through his project “Lost Collective”, the artist photographer Brett Patman revives Australian abandoned places: hospitals, gas factories or power plants.
Below is a Google translation of the actual article itself. Apologies if there are some errors in the conversion, but not being able to speak French myself makes accuracy, in this case, difficult.
The project highlights how nature reclaims once the people leave.
After only three months, its site already hosts several hundred pictures of twenty manufacturing sites around Sydney and its region New South Wales on the east coast of the country.
To read more, 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.
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.