Photographing Avoca Silo Art

About the Artwork

Avoca Silo Art is one of the most unusual public-art installations in Victoria because the artwork changes after dark.

Painted by Warrnambool artist Jimmi Buscombe, the silo features native wildlife from Victoria's Pyrenees Ranges and was designed to draw attention to threatened species found in the region.

The principal subjects are an Australian Barking Owl and a Brush-tailed Phascogale.

The Barking Owl occupies the Station Street side of the silo, while the Brush-tailed Phascogale is on the opposite, railway-facing side.

What makes Avoca particularly unusual is its use of glow-in-the-dark paint.

During daylight the Barking Owl appears as a highly detailed wildlife mural set against the Pyrenees landscape.

After dark, visitors can activate installed lights that charge special glow paint incorporated into the artwork.

When the charging lights switch off, elements including the owl's eyes, a starburst sky and parts of the Pyrenees landscape glow against the darkness.

An interactive glow wall at the base of the artwork also allows visitors to temporarily create their own patterns using light from a torch.

This makes Avoca a rare silo-art location where photographers should seriously consider making two separate visits to the artwork: one during daylight and another after dark.

Artwork / Subjects

Australian Barking Owl

The Australian Barking Owl is the dominant subject on the Station Street side of the silo.

The bird is depicted at enormous scale while retaining the fine characteristics of a wildlife portrait.

During daylight, concentrate on:

The complete owl.
The eyes.
Beak.
Individual feather patterns.
Feet and talons.
The relationship between the bird and the painted landscape.

The enormous scale provides an interesting reversal of conventional wildlife photography: instead of using a telephoto lens to enlarge a distant bird, the subject already towers above the photographer.

Brush-tailed Phascogale

The opposite side of the silo features the Brush-tailed Phascogale.

This small Australian marsupial is another native animal associated with the Pyrenees region.

Its inclusion broadens the artwork beyond the more immediately recognisable Barking Owl and reinforces the conservation theme of the project.

The phascogale is on the railway-facing side of the silo, so it requires a different viewing position from the principal owl mural.

Photograph the complete animal first, then look for tighter compositions of:

The face.
Eyes.
Fur.
Feet.
The distinctive brush-like tail.

Pyrenees Ranges

The painted Pyrenees landscape is more than a decorative background.

It connects the wildlife subjects with the country in which they occur and provides the lower visual foundation of the Barking Owl mural.

At night, parts of this area become an interactive glow wall.

Starburst Sky

One of the most unusual elements is largely hidden during daylight.

Glow-in-the-dark paint has been incorporated into a starburst sky behind the Barking Owl.

Once charged by the installed floodlights and viewed in darkness, the glowing sky changes the appearance of the mural dramatically.

This should be treated as a separate photographic subject rather than merely as a night-time version of the daylight photograph.

Interactive Glow Wall

The lower Pyrenees section incorporates an interactive area that can respond to concentrated light from a torch.

Visitors can use light to create temporary marks and silhouettes on the glow surface.

For photographers, this creates opportunities for experimental photographs that would be impossible at most silo-art locations.

Artist

Jimmi Buscombe is a Warrnambool-based artist particularly recognised for highly detailed wildlife murals.

His work frequently depicts Australian native animals at a scale that allows viewers to appreciate characteristics that would normally be difficult to observe.

Work on the Avoca silo began in March 2021.

The project was commissioned by Avoca Community Arts & Gardens and was designed not only as public art but also to increase awareness of rare and threatened wildlife found in the Pyrenees region.

Avoca became particularly significant within Australia's silo-art movement through the incorporation of glow-in-the-dark paint and an interactive night-time experience.

Photographing the Artwork

Avoca should ideally be photographed in two distinct sessions.

During daylight, concentrate on the artwork itself, the wildlife subjects, the silo structure and the surrounding railway precinct.

After dark, return for the glow-in-the-dark elements and night experience.

Complete Barking Owl Mural

Begin on the Station Street side with an establishing photograph of the complete Barking Owl mural.

Include enough of the silo and surrounding ground to communicate the scale of the artwork.

Try several camera positions before settling on the final composition.

Moving farther away and using a moderate focal length generally produces more natural proportions than standing close to the silo with an ultra-wide lens.

Barking Owl Details

Change to a longer focal length and photograph the mural as though it were a wildlife subject.

Concentrate on:

Eyes.
Facial expression.
Beak.
Feather patterns.
Feet.
Transitions between the bird and background.

Brush-tailed Phascogale

Walk to the appropriate public viewpoint on the railway side to photograph the Brush-tailed Phascogale.

Do not cross active railway infrastructure or enter restricted railway land to obtain a better camera position.

Use the established public access and pathway associated with the railway-station precinct.

Railway Precinct

Include several photographs showing the silo in relation to the historic railway station.

These images establish the artwork within Avoca rather than presenting it as an isolated mural.

Railway architecture, tracks, signs, platforms and the restored station provide useful secondary subjects where they can be photographed safely from public areas.

After Dark

Return after dark for the feature that distinguishes Avoca from most other silo-art locations.

Follow the current instructions at the site to activate the lights that charge the glow-in-the-dark paint.

Be prepared before activating the sequence.

Have the camera:

Mounted or stabilised.
Focused.
Composition established.
Exposure approximately determined.

This allows the short period immediately after the charging lights switch off to be used efficiently.

Glow Wall and Light Painting

The interactive glow wall provides an opportunity to experiment with light painting and silhouettes.

A torch can be moved across the glow surface to create temporary patterns.

Alternatively, a person can be positioned between the light source and wall to create a temporary silhouette.

These photographs can provide a useful human and interactive component to a gallery otherwise dominated by large static murals.

Map

Location

Avoca Silo Art
Station Street
Avoca VIC 3467

The artwork is within Avoca's historic railway precinct, opposite the restored Avoca Railway Station.

Published addresses for the silo vary between 2 and 4 Station Street, but navigation to Avoca Silo Art leads to the correct railway precinct.

Google Maps: Avoca Silo Art

Access & Parking

The silo artwork is an outdoor attraction and can be viewed throughout the day.

Parking is available around the railway-station and arts precinct.

The Barking Owl faces Station Street.

The Brush-tailed Phascogale is on the opposite, railway-facing side of the silo and is best approached using the public pathway associated with the station precinct.

Never cross railway tracks or enter railway or silo land that is not designated for public access.

Visitors travelling with caravans, motorhomes or other large vehicles should assess available parking and turning space before entering a confined parking area.

If necessary, park elsewhere in Avoca and return to the railway precinct without the larger vehicle.

Accessibility

The principal Barking Owl artwork can be viewed from close to the parking and public areas without a long walk.

Useful photographs can therefore be made without walking substantial distances or negotiating steep terrain.

The railway precinct contains a mixture of formed paths, parking areas, railway surfaces and older infrastructure.

Photographers using wheelchairs or mobility aids should remain on suitable public paths and assess the surface before moving towards alternative viewpoints.

Current tourism information lists Avoca Silo Art as catering for wheelchair users, although individual photographers should confirm specific requirements if unrestricted access to every viewpoint is important.

The Barking Owl can be photographed from relatively close to a vehicle, making it the easiest of the principal subjects to access.

Best Light

Avoca is unusual because the best photographic visit extends beyond sunset.

Bright Overcast

Bright overcast conditions are excellent for recording the fine detail within the wildlife murals.

Soft light reduces strong highlights and shadows on the curved silo and makes feather and fur detail easier to record evenly.

Directional Sunlight

Lower-angle sunlight can emphasise the cylindrical form of the silo and reveal surface texture.

Examine the complete mural before choosing the final camera position because the curved structure causes light to change substantially across the artwork.

Late Afternoon

Late afternoon is particularly useful when planning to remain for the night experience.

Photograph the artwork and railway precinct in daylight, then use the changing light through sunset and blue hour before beginning the glow-in-the-dark session.

Blue Hour

Blue hour provides an important transition between the daylight and night versions of the artwork.

The deep blue sky can retain enough ambient light to show the silo and surrounding architecture while artificial illumination begins to become visually important.

After Dark

Night is an essential photographic period at Avoca.

The glow-in-the-dark starburst sky and owl's eyes cannot be properly appreciated during daylight.

For a comprehensive photographic record, photograph the same general composition during daylight, blue hour and full darkness.

Nearby

Avoca Railway Station and Gallery 127

The heritage-listed Avoca Railway Station dates from 1876 and forms an important part of the wider arts precinct.

The restored station is home to Gallery 127, which hosts exhibitions by local and regional artists.

Photograph the station both as a subject in its own right and as context for the adjacent silo artwork.

Avoca Heritage Streetscape

Avoca retains a collection of historic buildings associated with the town's gold-rush and agricultural history.

A walk through the town can provide:

Historic architecture.
Shopfronts.
Churches.
Hotels.
Street details.
Public art.

Avoca River

The Avoca River provides a natural photographic contrast to the silo and town architecture.

Look for River Red Gums, reflections, birdlife and quiet river landscapes, particularly in softer morning or late-afternoon light.

Pyrenees Ranges

The surrounding Pyrenees Ranges are an important part of the story represented in the silo mural.

Photographing the real landscape as well as its painted interpretation can help connect the artwork with the environment that inspired it.

Moonambel and the Pyrenees Wine Region

The country around Moonambel provides vineyards, rolling hills, rural landscapes and views towards the Pyrenees.

It makes a worthwhile extension for photographers interested in agricultural landscapes rather than public art alone.

Maryborough

Maryborough offers an impressive collection of nineteenth-century architecture, including its substantial railway station, as well as public art and goldfields heritage.

It can be combined with Avoca as part of a broader Central Goldfields photographic trip.

Beaufort

Beaufort provides historic streetscapes, railway heritage and nearby rural landscapes and is a logical photographic stop when travelling between Avoca and Melbourne via the Western Highway.

How to Get There

From Melbourne

Avoca is approximately 180 kilometres north-west of Melbourne.

A common route is via the Western Freeway towards Ballarat and then through the central Victorian goldfields towards Avoca.

Allow approximately 2.5 hours of driving, depending on traffic and the chosen route.

From Ballarat

Ballarat is the nearest major regional city and is approximately one hour from Avoca by road.

It is a useful starting point for a broader photographic exploration of the Pyrenees and Central Goldfields.

From Maryborough

Maryborough lies east of Avoca and provides another useful regional accommodation and service centre.

The journey can easily be combined with photography of Maryborough's railway station and heritage architecture.

From Avoca Town Centre

The silo is within the town's railway precinct on Station Street and only a short distance from the centre of Avoca.

Follow signs or navigation for Avoca Silo Art or Avoca Railway Station.

By Rail

Although the silo stands beside Avoca's historic railway station, the station is now primarily part of the town's heritage and arts precinct.

Photographers relying on public transport should check current regional coach and rail connections before travelling.

Caravans, Motorhomes and Large Rigs

Avoca is readily accessible by sealed regional roads.

Visitors travelling with caravans, motorhomes and larger recreational vehicles should assess the immediate railway-precinct parking before entering with a long combination.

Where turning or parking space is limited, use suitable parking elsewhere in town rather than obstructing local traffic or railway access.

Techniques used

Techniques

Kit used

My kit

Where to Stay

Avoca is the preferred base if the glow-in-the-dark silo is the main photographic objective.

Staying locally makes it easy to photograph the mural during daylight, return after dark and then revisit the district the following morning.

Maryborough and Ballarat provide substantially larger accommodation choices for photographers incorporating Avoca into a broader Goldfields trip.

Photographic Recommendations

Wide-Angle Lens - e.g. 16-35mm

A wide-angle lens is useful for showing the complete silo within the railway and arts precinct.

It can also be useful after dark where the objective is to include the glowing artwork together with the surrounding night environment.

Avoid automatically standing very close to the silo at the widest focal length because this can exaggerate perspective and alter the apparent proportions of the wildlife subjects.

Standard Zoom - e.g. 24-70mm

A standard zoom is likely to be the most useful general-purpose lens at Avoca.

Where sufficient working distance is available, moderate focal lengths provide natural-looking proportions while retaining enough flexibility to photograph both complete murals and environmental compositions.

Telephoto Lens - e.g. 70-200mm

A telephoto lens is strongly recommended.

Treat the murals almost as conventional wildlife subjects and use the longer lens for:

Owl eyes.
Beak.
Feathers.
Phascogale face.
Fur.
Brush tail.
Paint and surface details.

Tripod

A tripod is particularly useful at Avoca because night photography is an important part of the experience.

Use it for:

Blue-hour photographs.
Glow-in-the-dark photography.
Long exposures.
Repeated daylight/night compositions.
Light painting.
Architectural photographs.

Remote Release or Self-Timer

A remote release or camera self-timer helps prevent camera movement during longer night exposures.

Fast Lens

A relatively fast lens can be useful for photographing the glow effect without excessively long shutter speeds or very high ISO settings.

This is particularly helpful if people are included within the night composition.

Torch

A torch is useful photographic equipment at Avoca.

Apart from helping photographers move safely after dark, a torch can interact with the glow wall to create temporary patterns and silhouettes.

Tilt-Shift Lens

A tilt-shift lens is not essential but can be useful for a technically controlled photograph of the tall silo.

Keep the camera level and use upward shift rather than tilting the camera sharply upwards.

This reduces converging verticals and preserves the proportions of both the silo and painted wildlife.

Drone Photography

An aerial view could show the relationship between the silo, historic railway precinct and Avoca township.

However, the location includes railway infrastructure, buildings, roads and public areas.

Before flying, check current CASA airspace requirements, landowner permission, railway considerations and separation requirements from people and property.

Do not assume that take-off or landing is permitted simply because the artwork is outdoors.

Controlling Perspective

Perspective control is important when photographing the Avoca silo.

Standing close to the structure and pointing an ultra-wide lens sharply upwards can make the base of the silo and lower parts of the artwork appear disproportionately large.

Wherever possible:

Move farther away from the silo.
Keep the camera reasonably level.
Try focal lengths around 35-70mm before using an ultra-wide lens.
Use a tilt-shift lens where technically corrected verticals are important.
Check the proportions of the painted animal rather than simply whether the complete silo fits within the frame.

This is particularly important with the Barking Owl because distorted proportions can make the lower body appear much larger than the head.

Perspective does not always need to be corrected completely.

Deliberate upward convergence can communicate the enormous scale of the artwork, provided that it is a conscious photographic decision.

Suggested Photographic Sequence

Arrive during the afternoon.
Walk around the railway and arts precinct before unpacking all the equipment.
Make an establishing photograph.
Show the Barking Owl silo within the railway precinct.
Make a perspective-controlled photograph.
Move farther back and use a moderate focal length where possible.
Photograph the complete Barking Owl.
Use a telephoto lens for details.
Photograph the eyes, beak, feathers, feet and painted landscape.
Photograph the Brush-tailed Phascogale.
Use the appropriate public pathway and viewpoint on the railway side.
Make detailed phascogale photographs.
Concentrate on the face, fur and distinctive tail.
Photograph Avoca Railway Station.
Include Gallery 127 and the wider arts precinct where appropriate.
Explore Avoca.
Use the remaining daylight for the town's heritage architecture, river and other photographic subjects.
Return before sunset.
Set up the strongest Barking Owl composition while there is still enough light to work easily.
Photograph the transition through sunset.
Photograph blue hour.
Balance the remaining blue sky with artificial illumination around the precinct.
Prepare for the glow sequence.
Mount the camera, focus and determine the approximate exposure before activating the lights.
Activate the glow-in-the-dark artwork.
Photograph the glowing starburst sky and owl's eyes.
Make several exposures as the intensity of the glow changes.
Experiment with the interactive glow wall.
Try simple light-painted patterns and a human silhouette.
Finish with a wide night photograph.
Show the glowing artwork within the dark railway precinct.

How Long

A casual daylight visitor could see the principal Barking Owl mural in approximately 15-20 minutes.

That would miss much of what makes Avoca unusual.

Allow approximately 45-60 minutes for a good daylight record of the Barking Owl, Brush-tailed Phascogale and railway precinct.

Allow approximately 1.5-2 hours for a comprehensive daylight photographic session using several focal lengths and exploring the surrounding arts precinct.

For the complete Avoca Silo Art experience, plan to return after dark.

A combined afternoon, sunset, blue-hour and night session can easily occupy 3-4 hours.

One night in Avoca is worthwhile if the silo is an important photographic objective.

This avoids having to drive elsewhere immediately after completing the night session and provides time to photograph Avoca and the Pyrenees district the following morning.

Priority Photographs

Complete Barking Owl silo within the Avoca railway precinct.
Perspective-controlled daylight photograph of the complete Barking Owl mural.
Complete Barking Owl.
Owl face and eyes.
Beak detail.
Feather detail.
Owl feet and talons.
Painted Pyrenees landscape.
Complete Brush-tailed Phascogale.
Phascogale face and eyes.
Phascogale fur detail.
Distinctive brush tail.
Artwork and heritage Avoca Railway Station in the same environmental composition.
Avoca Railway Station.
Gallery 127 and arts precinct.
Late-afternoon Barking Owl.
Blue-hour silo.
Same composition photographed during daylight and after dark for comparison.
Glowing owl eyes.
Glow-in-the-dark starburst sky.
Glowing Pyrenees landscape.
Complete glow-in-the-dark mural.
Interactive glow-wall pattern.
Human silhouette on the glow wall.
Wide night photograph showing the glowing silo within the railway precinct.

Artwork Information table

Location	Avoca, Victoria
Artwork	Avoca Silo Art / Barking Owl
Artist	Jimmi Buscombe
Work commenced	March 2021
Principal subject	Australian Barking Owl
Other subject	Brush-tailed Phascogale
Theme	Native wildlife, threatened species, conservation and the Pyrenees landscape
Special feature	Glow-in-the-dark starburst sky, owl eyes and interactive glow wall
Precinct	Avoca railway and arts precinct, including heritage railway station and Gallery 127
Address	Station Street, Avoca VIC 3467
Viewing	Outdoor artwork; daylight and night visits recommended
Recommended general lens	Standard zoom - approximately 24-70mm
Detail lens	Telephoto - approximately 70-200mm
Night equipment	Tripod, remote release/self-timer and torch
Specialist equipment	Tilt-shift lens useful but not essential for perspective-controlled photographs
Suggested daylight photography	1.5-2 hours
Complete photographic visit	Afternoon through night, approximately 3-4 hours