7 JULY 2024
THE YOUNGER PERFORMERS – NEPAL IRELAND DAY CELEBRATION
7 JULY 2024
Original Images By A Real Street Photographer
by infomatique
7 JULY 2024
by infomatique
COUNTY KILDARE
The National Seminary at Saint Patrick’s College in Maynooth, County Kildare, Ireland, is a significant institution with a rich history dating back to 1795. It has been a centre of religious education, serving the church in Ireland by training candidates for the priesthood.
Difference between the National Seminary and the University Campus
Saint Patrick’s College comprises both the National Seminary and the Pontifical University. However, these two entities, while sharing the same campus, are separate institutions with distinct roles. The National Seminary focuses on the formation of priests, while the Pontifical University specialises in the study of theology and philosophy and related areas.
Buildings of Interest
One of the most impressive buildings on the campus is the College Chapel. This the principal chapel of the college is considered one of the most beautiful places of worship in Ireland. Built between 1875 and 1891, the chapel has 454 carved stalls, making it the largest of its kind in the world. The chapel’s spire, added in 1895 to commemorate the college’s first centenary, stands at 273 feet. This makes it the tallest building in Leinster.
Another significant building is Rhetoric House, built in 1834. Formerly a residential house for trainee priests, it now hosts the Department of History.
The Grounds
The campus of Saint Patrick’s College is renowned for its beauty. The grounds are home to iconic buildings and exceptional landscapes, providing a serene environment for both study and reflection.
The Cemetery and the Ghost Story
The college cemetery is a significant part of the campus, with marked graves of past students and faculty. However, it is also associated with a chilling ghost story. The tale revolves around a room known as the ‘Ghost Room’ in Rhetoric House. In the mid-19th century, two young seminarians reportedly took their own lives in this room, nineteen years apart. The room has since been bricked up, but the story of its haunting past continues to intrigue visitors and students alike. Some stories claim that there were three suicides but I cannot find any supporting evidence.
These stories, while intriguing, are part of the rich tapestry of history and tradition that makes Saint Patrick’s College a unique institution. It’s important to remember that these tales represent a small part of the college’s long and distinguished history of education and service.
More About The Ghost Room – I wrote This In May 2021
After a previous rain-shortened visit, I returned to Maynooth on a sunny afternoon and had the opportunity to explore the University Campus, including its intriguing cemetery
It may surprise many visitors to discover that Maynooth College has its own graveyard. The cemetery can be found past the Junior Garden on campus.
While the College was founded in 1795, the first to be buried in the new College Cemetery was Rev Francis Power from Cork, the College’s first Bursar, Vice President, and Professor of French from 1802, who died in 1817. Four members of the College staff, who died before 1817, were buried in Laraghbryan Cemetery on the Kilcock Road, west of the Campus.
There are a number of students, Sisters and staff resting in the College Cemetery. Many of the students died of consumption, as tuberculosis was called at the time. The Sisters of Charity of St Vincent de Paul provided the healthcare for students and staff. The most recent burial was that of Maurice Dunne from Tralee (1939 – 2009). He had worked in the College since 1961 and died on his 70th birthday.
[Note: I noticed two new graves today 17 May 2021 which indicates that the cemetery is still used as intended].
Years ago I came across the following story: “If you visit Maynooth today, you might come across an old building on the campus called Rhetoric House. You might notice that one of the windows on the top floor is boarded-up and you might wonder why. If you ask someone, they will tell you this is The Ghost Room. Many years ago, students who went to Maynooth would live on the top floor of the building. There was one young man who was assigned to sleep in Room No.2. One day, when he didn’t show up for lectures, his friends went looking for him. They found his dead body lying in a pool of blood on the floor of Room No.2 with his throat slit from ear to ear. Clutched in his hand was a bloody razor and it appeared that he had taken his own life. Ireland was a Catholic country and, at the time, suicide was seen as a terrible sin.”
“The matter was hushed up by the college and the student was buried in an unconsecrated part of the college cemetery, away from the other graves.”
As you may have guessed, according to local legend, a strikingly similar tragedy is said to have occurred again the following year [note: according to the records the deaths were nineteen years apart]. Some claim, that three people died in a similar manner while in the same room. The official records indicate that the two students are buried within the walls of the graveyard and there is no mention of a third student.
by infomatique
THIS IS NOT A REVIEW
I started out with the Sony NEX-5 and had no real problem with the fact that there was no EVF. Later I purchased a Sony A7R and loved using the EVF and never used the screen for photography. Eventually I decided that I would never get a camera that did not have a top class EVF. As soon as it became available I purchased a Sony FX30 and until it arrived I did not realise that it did not have an EVF. After using it for more than a year I have formed the view that Using an EVF and depending only on a back screen/back-panel encourages two different styles, equally valid, of photography.
The choice between using an electronic viewfinder (EVF) versus relying solely on the rear screen for photography is a fascinating topic. Let’s explore the nuances of these two approaches and how they impact your photographic experience.
Electronic Viewfinder (EVF): The Eye-Level Connection
What Is an EVF?
An EVF is a small display located at the top of the camera body, where you would typically find an optical viewfinder in traditional film cameras.
It provides a real-time preview of the scene, showing exactly what the camera sensor captures.
EVFs simulate exposure, white balance, and other settings, allowing you to compose and adjust your shot without taking your eye off the viewfinder.
Advantages of Using an EVF:
Precision: An EVF offers precise framing and composition. You see exactly what the sensor sees, including exposure adjustments.
Stability: Holding the camera to your eye provides stability, reducing camera shake.
Brightness and Clarity: EVFs are bright, even in low light, and offer high resolution.
Focus Aids: Features like focus peaking and magnification assist with manual focus.
Drawbacks of EVFs:
Battery Drain: EVFs consume power, affecting battery life.
Lag: Some EVFs have a slight lag, especially in low-light conditions.
Disconnect from the Scene: When using an EVF, you’re less aware of your surroundings. It’s like looking through a tunnel.
Rear Screen (LCD): The Versatile Canvas
What Is the Rear Screen?
The rear LCD screen is the large display on the back of the camera.
It serves as both a viewfinder and a playback screen for reviewing images.
Advantages of Relying on the Rear Screen:
Versatility: The screen is flexible—you can tilt it, swivel it, or even use it for selfies.
Connection to the Environment: By using the rear screen, you remain aware of your surroundings. It’s like having an open window to the world.
Touch Controls: Many screens are touch-sensitive, allowing quick adjustments and menu navigation.
Drawbacks of the Rear Screen:
Visibility in Bright Light: Sunlight can make the screen hard to see.
Stability: Holding the camera away from your body can lead to more camera shake.
Composition Challenges: Framing can be less precise, especially when shooting at odd angles.
Two Valid Styles of Photography
EVF-Driven Style:
Focused Precision: EVF users tend to be meticulous about composition, exposure, and focus.
Immersive Experience: The EVF isolates you from distractions, allowing deep concentration.
Ideal for Critical Work: Portrait, macro, and studio photographers often prefer EVFs.
Rear Screen-Driven Style:
Fluid and Reactive: Rear screen users adapt quickly to changing scenes.
Documentary and Street Photography: Capturing candid moments, street scenes, and dynamic events.
Embracing Imperfection: The rear screen encourages spontaneity and experimentation.
Conclusion
Both styles are valid—it’s a matter of personal preference and the context of your photography. Some photographers switch between them based on the situation. Ultimately, the best camera is the one that complements your creative vision, whether you’re peering through an EVF or framing shots on the rear screen
by infomatique
A QUICK HISTORY AND A FEW GEMS
Dublin’s Chancery Street holds a wealth of history, from its origins as Pill Lane to its current mix of old and new. Recently, I explored this fascinating street on foot, uncovering its stories and observing some changes along the way.
Chancery Street’s original name was Pill Lane, with some sources suggesting the name could relate to a waterway called “The Pill” or could be a reference to apothecaries and physicians once situated nearby. The street was renamed Chancery Street in the late 1800s, reflecting its proximity to the Court of Chancery, a significant legal institution located in the adjacent Four Courts complex.
In the 17th and 18th centuries, Chancery Street was primarily residential. You’d find homes of merchants, professionals, and some grander townhouses. During the 19th century, as Dublin faced population growth and housing shortages, many original houses on Chancery Street were subdivided into tenements. This led to overcrowded living conditions and a decline in the area’s status. In the early 20th century, Dublin Corporation initiated social housing programs. This led to the demolition of some of the old tenements and the construction of new apartment blocks, like Chancery House in the 1930s.
Like many inner-city areas, Chancery Street has faced its share of challenges with urban decay and social issues. However, efforts towards heritage preservation and recent investment in the broader Smithfield area signal a potential for positive transformations in the future.
Sadly, it seems Fegan’s 1924 Cafe, a unique cash-free establishment, is no longer operating. While there’s no official confirmation, online listings suggest it’s permanently closed. Another change is the apparent closure of the longstanding Hughes Bar. It’s a recent development, with limited information available. The arrival of the Hampton by Hilton Hotel signals a shift for the area, replacing a less aesthetically pleasing building. Just across from the former Hughes Bar lies the delightful Chancery Park, a haven worth exploring in more detail (see the dedicated section below).
My walk continued along the tram tracks, bringing me to the Four Courts stop. Beyond the iconic Four Courts building, I found the Dublin District Court County Office with its rather long name, as well as the historic Bridewell Garda Station. Housed in a grand Georgian building, the Bridewell is a fascinating landmark. It opened in 1802 as a prison and carries the historically significant name “Bridewell.” Its Latin inscription, “Fiat justitia ruat caelum” (“Let justice be done though the heavens fall”) adds an intriguing touch.
Further along, the striking tower of St. Michan’s Church caught my eye. This 11th-century church stands as a testament to the deep history embedded in Dublin’s streets. As I approached Smithfield, the atmosphere shifted. The cobbled expanse of Smithfield Square, a former horse market, opened up, showcasing its rich past. The old Jameson Distillery chimney, along with modern additions like the Light House Cinema, highlight the area’s blend of history and vibrancy.
Chancery Park is a relatively small, enclosed park located off of Chancery Street. It provides a welcome green space and a respite from the urban surroundings. The park was designed in the Art Deco style, popular in the 1920s and 1930s. This is evident in its geometric layout, stylised design elements, and the use of materials like brick and concrete. Notable features include a weighbridge “kiosk” building (now used as a community resource), ornamental gates, and a central grassy area with benches.
Chancery Park was built in the 1930s, along with the adjacent Chancery House apartment complex as part of a Dublin Corporation social housing initiative. The park and housing complex were designed by Herbert George Simms, a prominent architect who served as Dublin Corporation’s Housing Architect (1932-1948). Both Chancery Park and Chancery House are considered notable examples of Dublin’s Art Deco heritage, providing a glimpse into Dublin’s social history and the architectural trends of the early 20th century.
by infomatique
MONTPELIER AVENUE AND CLOSE
Today I visited an area known as O’Devaney Gardens and was somewhat surprised by the amount of redevelopment that has taken place since my last visit. I checked my catalogue and discovered that I last visited the area on the 25th February 2021, exactly three years ago, when Covid-19 restrictions still applied.
The development recently won the ‘Living-Housing’ category award at RIAI Awards 2023 for its contribution to high quality housing design. The homes types which consist of 22 houses, 14 duplex and 20 apartments are a varied mix of homes consisting of one, two and three bedrooms that cater to differing living requirements which supports a rich and sustainable community.
The layout of the homes in Montpelier Avenue and Montpelier Close are intended to improve the connectivity with surrounding neighbourhoods, amenities and public transport hubs. The design of the buildings has created a varied streetscape with a rich mix of dwelling types providing high quality housing, inviting public spaces and a walkable neighbourhood.
This new development stands in stark contrast to the area’s previous history and reputation.
Historical Context
The O’Devaney Gardens flat complex was built in the 1950s in Dublin’s North Inner City as a solution to the housing crisis of that period. However, over time the flats fell into disrepair, and the area became known for social problems like crime, poverty, and substance abuse. This legacy created long-term challenges within the community even as other parts of Dublin underwent regeneration.
Challenges and Stigma
The decline of O’Devaney Gardens was a multi-faceted issue. Socioeconomic disadvantage, lack of opportunities, and limited investment compounded challenges like inadequate housing quality. These factors, unfortunately, led to a degree of stigma associated with the area despite many residents being ordinary, hardworking citizens.
The Decision to Regenerate
In recent decades, Dublin City Council made the decision to completely rejuvenate the O’Devaney Gardens area. This was driven by the recognition that simply replacing the flats wasn’t enough – holistic transformation including social supports and modern, mixed-income housing was required to break cycles of disadvantage.
The Redevelopment Plan
The current O’Devaney Gardens redevelopment is an ambitious project. It involves the demolition of the old flats and the construction of over 1,000 new homes, including a significant proportion of affordable and social housing. The plan also includes community facilities, retail spaces, and improved public areas to create a more vibrant and sustainable neighbourhood.
Social Considerations
A key goal of the redevelopment is to foster better social integration and break down negative perceptions of the area. The mix of housing types aims to attract a more diverse population, while community facilities and public space improvements seek to enhance a sense of belonging and opportunity.
Controversy and Concerns
Like any major urban project, the O’Devaney Gardens redevelopment hasn’t been without controversy. Some concerns persist about existing residents being displaced and whether social supports will be adequate to prevent a repeat of past problems. Time will tell how effectively these concerns are addressed and the extent to which the new O’Devaney Gardens will be a success story.