THE 2025 PHOTONIQUE BLOG -

THE WRIGHT CYCLE CENTRE IS GONE AND DUNCAN AGE 51 AND THREE QUARTERS WAS HERE

April 27, 2025 by infomatique

USHER’S ISLAND ON THE LIFFEY

Recently, a photograph of mine prompted some comments regarding the recurring appearance of seemingly childlike graffiti around Dublin City that reads “Duncan Age 51 3/4”. The commenters, along with myself, had noticed this peculiar inscription with great frequency.

Before delving into potential interpretations of this “Duncan” graffiti, it’s worth providing some context about Usher’s Island, as it is the location that is featured in this series of photographs.

Usher’s Island: A Historical Overview

Usher’s Island is a section of the Dublin Quays situated between Mellows Bridge and the James Joyce Bridge. For many years, a bicycle shop, the Wright Cycle Centre, operated here. However, as you noted, this premises is now occupied by Mr Gearbox Mr Clutch.

The name “Usher” has deep roots in Dublin, associated with a prominent family involved in the city’s commerce and civic life for centuries. In the late 16th century, John Ussher built a significant residence called Bridgefoot House in this area. The gardens of this former house now lie beneath Usher’s Island and Usher’s Quay.

Interestingly, this location is linked to the early history of printing in the Irish language. While some accounts suggest the very first book printed in Irish was produced on this property in 1571 – an alphabet and Christian catechism financed by John Ussher – other sources indicate the first such book was printed later, in Louvain, Belgium in 1611. Furthermore, it was John Ussher’s son, Sir William Usher, who funded the first printing of the New Testament in Irish. The precise details of this early printing remain somewhat unclear and would require further historical investigation to confirm definitively.

Over time, the Usher family’s focus shifted away from direct trade as they became more gentrified.

Usher’s Island Today

Today, Usher’s Island forms part of the bustling Dublin Quays, characterised by a mix of commercial and residential properties.

Notable Buildings: Number 15 Usher’s Island

The most significant building on Usher’s Island is undoubtedly Number 15. This late 18th-century Georgian townhouse, built around 1775 for a grain merchant named Joshua Pim, holds considerable cultural importance. It served as the home of James Joyce’s grand-aunts in the 1890s and is famously the setting for his short story “The Dead”, featured in his 1914 collection Dubliners.

Recognised for its architectural, artistic, and cultural significance, Number 15 is a protected structure. It has previously functioned as a museum or gallery. Recent proposals to convert the building into apartments have faced objections from heritage organisations like An Taisce, underscoring its national cultural value as a well-preserved example of a Dublin Georgian townhouse that significantly contributes to the historic character of the South Quays.

The Former Wright Cycle Centre

As you correctly mentioned, the Wright Cycle Centre was indeed located on Usher’s Island, specifically at Units B & C, Pier 19. Online information confirms that it offered bicycle and e-scooter sales and repairs. However, it appears to have ceased trading at this location, as observed.

Recent Closures of Bicycle Shops in Dublin

It is worth noting a recent trend of bicycle shop closures in Dublin, including the Wright Cycle Centre. Several factors may contribute to this:

Difficult Trading Conditions: Reports cite “difficult trading conditions” as a key factor, exemplified by the recent closure of ThinkBike after 26 years of business.
Changing Work Patterns Post-COVID: The increase in remote working may have reduced demand for commuter bikes and related services from physical shops.
Increased Competition: Online retailers and larger stores often offer more competitive pricing, impacting independent bicycle shops.
Rising Costs: Increased costs for rent, utilities, and stock can pose significant challenges to the profitability of smaller businesses.
E-bike Specialisation: The growing popularity of e-bikes requires specialised servicing knowledge and equipment, which some traditional bike shops may lack.
While cycling’s overall popularity and infrastructure have improved, these broader economic and retail trends can still significantly affect individual businesses.

The Enigma of “Duncan Age 51 3/4” Graffiti

The recurring graffiti “Duncan Age 51 3/4” presents an intriguing puzzle within Dublin’s urban landscape. Its seemingly amateurish style, described as if done by a child, and its unusual message set it apart from typical street art.

Unlike much graffiti, which often involves stylised tags or pseudonyms, this inscription includes a full name and a precise age. To understand this phenomenon, it’s helpful to consider the broader context of street art in Dublin.

The Spectrum of Street Art in Dublin: From Murals to Tags

Dublin’s streets showcase a diverse range of artistic expressions. Officially sanctioned murals by celebrated artists like James Earley (known for his work on the Blooms Hotel), the distinctive and often politically charged pieces by Maser (including the well-known “U Are Alive*”), and the holographic style of Aches (exemplified by “Horseboy”) enrich the city’s visual appeal.

Community-driven initiatives like Dublin Canvas further enhance the urban environment by transforming everyday objects like traffic light boxes into miniature artworks, showcasing the creativity of various artists.

Beyond these formal projects lies informal graffiti, ranging from simple tags to stickers with personal or social messages. Even historical inscriptions, such as those in Kilmainham Gaol or remnants of medieval graffiti, contribute to the city’s layered narrative. The motivations behind these diverse forms of urban art are varied, including artistic expression, community engagement, personal statements, acts of rebellion, and the fundamental desire for visibility.

Against this backdrop, the recurring “Duncan Age 51 3/4” graffiti poses a unique question: what is the nature and motivation behind this specific inscription? Is it a form of personal expression, an unconventional art project, or something else entirely?

The specificity of the message is immediately striking. While most tags use pseudonyms or cryptic phrases, the inclusion of a full name and a precise age suggests a highly personal and potentially unconventional motivation. The user’s description of the graffiti’s “poor quality” might indicate that the creator is not part of the established graffiti scene, where skill is generally valued. This suggests the driving force behind this graffiti is likely more personal than artistic or territorial.

Analysing the “Duncan Age 51 3/4” Tag: Form, Content, and Context

The message “Duncan Age 51 3/4” comprises three elements, each potentially significant. “Duncan” is a relatively common name with historical links to Scotland and Ireland, derived from the Gaelic “Donnchadh,” meaning “dark warrior” or “brown-haired warrior.” While the literal meaning may not be relevant, the use of a recognisable name deviates from typical graffiti anonymity.

The word “Age” explicitly clarifies the following number. However, it is the precise age “51 3/4” that is most unusual. The fraction of a year suggests this is not a general identifier but might relate to a specific point in time or a personal milestone deemed important by the creator.

Considering other non-traditional public inscriptions in Dublin offers context. Examples like “Jesus Merrion Joseph” on Merrion Road signs and the altered Canal Road sign reading “anal Toad” illustrate that unconventional public markings are not unprecedented. Similarly, the repetitive “stealth” graffiti in Wexford demonstrates the phenomenon of enigmatic graffiti with unclear motivations.

The constant sightings of the graffiti suggests a deliberate effort to disseminate this message across various locations, a characteristic of tagging aimed at visibility. However, the personal content distinguishes it from typical tags. The unusual precision of the age moves beyond a simple declaration, strongly hinting at a specific personal context or a recurring event tied to this precise age for the individual named Duncan. It is unlikely such detail would be in a traditional tag aimed at recognition within the graffiti subculture or a piece of street art with a broader message. This specificity points to a personal significance connected to this exact age.

Who is Duncan? Exploring the Name and Age in Relation to Graffiti Culture

A key aspect of much graffiti culture is the preference for anonymity or pseudonyms, often to avoid legal consequences for unauthorised public markings and to cultivate a distinct public persona.

The “Duncan” graffiti stands out by explicitly revealing a name and age, prompting questions about the creator’s intentions. Given the precise age, it is more probable that “Duncan” is the individual’s real name and the age is accurate, making the lack of anonymity even more notable.

Graffiti writing is often associated with younger individuals. While older people can participate in street art, someone in their early fifties consistently creating what is described as “poor quality” graffiti is less common within established graffiti circles, where skill and artistic development are typically valued.

The age “51 3/4” may be crucial to understanding the motivation. If the graffiti’s appearance coincided with this age, it could signify a life transition or the start of a personal project. Alternatively, it could be an ongoing way for “Duncan” to mark the passage of time and their presence in the urban environment during this specific life phase. The repeated sightings suggest the graffiti has been present for some time. If “Duncan” began this around their 51st birthday, the “3/4” could represent their progression through the subsequent three-quarters of a year, a personal way of documenting their age or marking a milestone publicly.

Motivations Behind Graffiti: Personal Expression and Beyond

Motivations for graffiti and street art are varied, often including establishing identity (“getting up”), artistic expression, social or political commentary, belonging to a subculture, and rebellion against norms.

Given the unusual nature of the “Duncan” graffiti, less conventional motivations should be considered. The precise age could signify a personal event, a significant life stage, or a period of introspection expressed publicly. The repetition and potential evolution of the age suggest a unique form of public diary or a way for “Duncan” to document their existence in the city over time. It’s also possible this is a subtle social experiment or performance art, introducing an unexpected element into the urban fabric. While the “poor quality” might seem to contradict this, repeatedly writing one’s name and age could be a way to feel seen in a large city. The simple message with the precise age might also aim to inject whimsy into the routines of city dwellers.

The “poor quality” of the graffiti might be a significant clue. If artistic recognition or a complex message were the primary goal, more attention would likely be paid to execution. The “poor quality” suggests the focus is on the message itself – the name and age – rather than artistic skill. This combination strongly indicates that the motivation behind the “Duncan Age 51 3/4” graffiti is likely rooted in personal expression, a unique form of public interaction, or perhaps an idiosyncratic way of marking time, rather than a desire for recognition within the traditional graffiti art scene.

Conclusion: Tentative Interpretations and the Ongoing Narrative of Urban Art

Based on the available information, several interpretations of the “Duncan Age 51 3/4” graffiti in Dublin City can be offered. It may be a personal marker for an individual named Duncan, possibly related to turning 51 and documenting their age as the year progresses. It could be an unconventional public diary, a way for Duncan to assert their presence in the urban environment.

Alternatively, it might represent a subtle social experiment, a quiet attempt to gain attention in an anonymous city, or even a touch of urban whimsy. Without direct insight from the creator, the precise motivation remains speculative.

The broader context of urban art reveals diverse expressions, and not all public inscriptions fit neatly into categories of art or vandalism. The “Duncan” graffiti, with its peculiar characteristics, reminds us of this inherent diversity.

Even seemingly “poor quality” or unconventional graffiti contributes to a city’s evolving visual narrative, reflecting individual stories and the human desire to communicate publicly. The ongoing discussion about the role and perception of graffiti highlights the complex relationship between individuals, their urban surroundings, and their chosen methods of interaction. Ultimately, the “Duncan Age 51 3/4” graffiti remains an intriguing enigma within Dublin’s urban landscape. Continued observation might reveal further patterns or changes in the message, potentially offering more clues to its underlying meaning and purpose. The existence of such unique personal expressions underscores the unpredictable and often mysterious nature of urban art, reminding us that even simple markings can offer glimpses into individual narratives and the human impulse to leave a mark on the world.

It’s entirely plausible that the “Duncan Age 51 3/4” graffiti is, in its creator’s mind, something quite simple or even meaningless in a conventional sense. Just like the lyrics of “I Am The Walrus,” which John Lennon himself described as deliberately nonsensical and a bit of a joke, the graffiti could be:

A purely personal act: Perhaps “Duncan” is simply marking their presence, processing a personal milestone in a non-communicative way, or even just experimenting without any intention of conveying a deeper message to others.

A fleeting impulse: It could have started as one instance and then, for reasons only Duncan knows, became a recurring habit without any grand design.

A form of private humour or in-joke: It might have significance only to Duncan or a very small circle of people, and the public observation is an unintended consequence.

An act of rebellion against the norm: Perhaps the very lack of obvious meaning is the point – a small act of disruption in the urban landscape.

Our human tendency is often to seek patterns and meaning, to try and decode the world around us. When confronted with something unusual like this graffiti, our minds naturally try to find a narrative, a reason for its existence and repetition. This is where the risk of over-analysis comes in. We might be projecting our own desire for coherence onto something that is fundamentally random or driven by motivations we can’t possibly fathom.

The comparison to “I Am The Walrus” is particularly apt because that song actively plays with language and imagery in a way that resists easy interpretation. It became a source of endless speculation for listeners trying to find hidden meanings, even though the creator’s intent was partly to create something deliberately confusing.

So, yes, it’s definitely possible – and perhaps even likely – that we, as observers, are indeed over-analysing the “Duncan Age 51 3/4” graffiti. It could be a simple, personal, or even nonsensical act that has inadvertently caught our attention, prompting a search for meaning where none was intended for a wider audience.

This doesn’t necessarily diminish our curiosity, but it’s a good reminder to consider the possibility that sometimes, things simply are, without a hidden code waiting to be cracked. The mystery might be more about the act itself and our reaction to it than any profound message from “Duncan.”

MARY LAVIN PLACE IS A NEW PUBLIC SPACE BETWEEN LAD LANE AND WILTON PLACE

April 26, 2025 by infomatique

PHOTOGRAPHED BY INFOMATIQUE IN APRIL 2025

Mary Lavin Place: A Landmark Commemoration in Dublin’s Literary Landscape

Mary Lavin (1912-1996) stands as a distinguished figure in Irish literature, celebrated for her profound contributions to the short story genre and her insightful exploration of human emotions and experiences within the Irish context.

Her work, often focusing on the nuances of family life and the inner lives of women, has earned her recognition as a pioneer in women’s writing. A significant moment in Irish cultural history occurred with the naming of Mary Lavin Place, the first public space in Ireland dedicated to an Irish female writer.

This newly established square is situated within the recently completed Wilton Park development, an area overlooking Dublin’s picturesque Grand Canal, nestled between the Leeson Street and Baggot Street bridges in Dublin 2.

This dedication marks a notable shift towards a more inclusive commemoration of the diverse figures who have shaped Ireland’s cultural heritage, as the historical record of public honours has predominantly featured men. Furthermore, the decision to honour a writer in this manner underscores the enduring importance of literature within the cultural fabric of Dublin and the nation.

The official unveiling of Mary Lavin Place took place on Friday, the 18th of October 2024. The launch was officiated by Colm Tóibín, the esteemed Laureate for Irish Fiction (2022-2025). Tóibín’s involvement lent considerable cultural significance to the event, highlighting the national importance of recognising Lavin’s literary achievements. His connection to Mary Lavin extends back to his time at University College Dublin (UCD), where he met her through her daughter, Caroline Walsh. During the launch, Tóibín paid a heartfelt tribute to Lavin’s exceptional talent as a short story writer and her profound influence on Irish culture and society, describing her as a “pioneering figure” and a “genius who walked among us”.

The ceremony was also attended by members of Mary Lavin’s family, including her grandchildren, who expressed their profound gratitude and support for this public acknowledgement of her significant contribution to literature. The fact that the Laureate for Irish Fiction, a prominent contemporary writer, presided over the opening underscores the continuity and enduring relevance of Ireland’s rich literary tradition and Mary Lavin’s esteemed place within it. It is worth noting that the launch date in October 2024 differs from the user’s initial query which suggested a date in April 2025, indicating the importance of consulting multiple sources for accurate information.

The act of naming a public space after Mary Lavin holds significant cultural and historical weight, particularly in Ireland where public commemorations have historically favoured male figures. This gesture serves as a vital step towards redressing this imbalance and celebrating the substantial contributions of women to Irish society.

Mary Lavin was indeed a pioneering force in literature, renowned for her insightful exploration of themes pertinent to women’s lives and her mastery of the short story form. Her notable works include her debut collection, Tales from Bective Bridge, published in 1942, which garnered the prestigious James Tait Black Memorial Prize. Other acclaimed works include Happiness and In the Middle of the Fields.

Lavin’s literary talent earned her international recognition, including prestigious Guggenheim Fellowships in 1959 and 1961, as well as the Katherine Mansfield Prize in 1961. Furthermore, she was honoured with the distinction of Saoi of Aosdána in 1992, the highest accolade in Irish culture.

Niall Gaffney, Chief Executive of IPUT Real Estate Dublin, aptly highlighted the significance of this placemaking initiative, emphasising the desire to create a lasting tribute to Lavin’s life and her groundbreaking role as a female author. This commemoration can be viewed as part of a broader societal movement aimed at achieving greater gender balance in public recognition and celebrating the diverse achievements of women within Irish culture. The specific choice to honour Mary Lavin underscores the high value placed on literary accomplishments within the Irish national identity.

Mary Lavin maintained a significant connection to Dublin, particularly through her residence at The Mews, located at 11 Lad Lane, from 1958 to 1981. Notably, Mary Lavin Place serves as a direct link between Lad Lane and Wilton Park. During her time at 11 Lad Lane, Lavin’s home became a vibrant literary hub, where she frequently hosted gatherings for fellow writers, including prominent figures such as Frank O’Connor, Seán O’Faoláin, John McGahern, Brian Friel, and Tom Kilroy. She also extended her support to emerging writers like Nuala O’Faolain and Colm Tóibín. This physical connection between Mary Lavin Place and her former Dublin residence on Lad Lane forges a tangible bond between the writer and the commemorated space, thereby amplifying its significance. Moreover, the description of Lad Lane as a literary hub during Lavin’s residency reveals her crucial role not only as a writer but also as a central figure in the Irish literary community of her era. This suggests that the commemoration also acknowledges her contribution to nurturing and fostering Irish literature beyond her own considerable body of work.

The Wilton Park development, recently completed by IPUT Real Estate, has transformed a significant area within Dublin 2. The development overlooks the Grand Canal, situated between the Leeson Street and Baggot Street bridges.

A key feature of this development is the restoration of a one-acre Victorian park. The area surrounding Wilton Park, historically known as “Baggotonia,” boasts strong literary associations, having been home to numerous celebrated Irish writers such as Patrick Kavanagh, Brendan Behan, Eavan Boland, and Brian O’Nolan. The Wilton Park development seamlessly integrates modern elements, including new headquarters for prominent companies like LinkedIn, Stripe, and EY, alongside new restaurants and artist studios at street level.

Furthermore, a public-private partnership between IPUT Real Estate and Waterways Ireland is underway to enhance the public spaces along the Grand Canal at Wilton Terrace, with work commencing in January 2025 and anticipated completion by early summer. The Wilton Park development’s thoughtful combination of respecting the area’s rich literary heritage while embracing contemporary urban design makes it a particularly fitting location for a tribute to a writer of Mary Lavin’s stature. IPUT Real Estate’s significant investment in this area and their initiative in naming the square after Mary Lavin demonstrate a growing appreciation among developers for the importance of incorporating cultural elements into urban spaces, enriching the environment beyond purely commercial interests.

Mary Lavin Place serves as the central point of the Wilton Park development, effectively connecting Lad Lane with the newly restored park. A notable feature is the commissioning of a commemorative sculpture by the acclaimed artist Eilis O’Connell, titled ‘Tipping the Wing,’ which draws inspiration from Lavin’s short story ‘One Evening’. Plans are also in place to reimagine Parsons Bookshop, a beloved former social hub for Irish writers located on Baggot Street bridge, as a new bookshop and cultural destination that will open onto Mary Lavin Place.

A striking new 7-metre covered street, featuring a coloured glass ceiling created by Irish artist James Earley, links Lad Lane to Mary Lavin Place. The restored Wilton Park offers additional amenities, including the original Victorian fountain, new seating areas, revitalised lawns and pathways, diverse planting to promote biodiversity, a designated dog park, and a secure play area for young children.

The intention is for both Wilton Park and Mary Lavin Place to function as vibrant public spaces hosting exhibitions, musical performances, and various arts events. The integration of public art, a bookshop, and community-oriented spaces within the Wilton Park development, with Mary Lavin Place at its core, strongly suggests a deliberate effort to cultivate a dynamic cultural hub that honours the area’s deep literary roots. The commissioning of a sculpture directly inspired by Lavin’s literary work exemplifies a thoughtful and artistic approach to this commemoration, elevating it beyond a mere symbolic gesture.

In conclusion, the establishment of Mary Lavin Place represents a significant milestone as the first public space in Ireland named after a female writer, marking a crucial step towards a more equitable recognition of women’s profound impact on Irish culture. This commemoration not only honours the enduring legacy of Mary Lavin as a pioneering figure in Irish literature but also enriches Dublin’s cultural landscape by introducing a new space dedicated to community engagement and artistic expression. The deliberate connection between Mary Lavin Place, her former residence on Lad Lane, and the historically significant literary locale of Wilton Park creates a meaningful and lasting tribute to her remarkable life and her substantial body of work.

WHY SHOULD ONE CONTINUE TO USE LIGHTROOM RATHER THAN THE MANY OTHER OPTIONS

April 26, 2025 by infomatique

DISCUSSION ABOUT SOFTWARE THAT I USE

This discussion was triggered by a comment/query that I received a few weeks ago via my website.

A Comparative Analysis of Long-Term Costs: Adobe Lightroom/Photoshop and Alternative Photo Editing Software

Executive Summary:

The landscape of photo editing software offers photographers a range of choices, from subscription-based models to perpetual licenses. A common narrative suggests that opting for alternatives to Adobe’s subscription-based Lightroom and Photoshop can lead to significant cost savings over time.

However, this analysis, conducted from the perspective of a software cost and feature comparison analyst, reveals a more nuanced picture. While the initial purchase price of some alternative photo editing software might appear lower, a comprehensive evaluation of the long-term cost of ownership, particularly when considering the necessity of upgrades to maintain current features and compatibility, often demonstrates that the Adobe Creative Cloud Photography Plan can be a more financially prudent option for many users.

This is especially pertinent for photographers who require the advanced image manipulation capabilities of Photoshop, which is included within the Adobe subscription. Certain perpetual license options might present potential savings for users who upgrade infrequently or have highly specific editing requirements. Nevertheless, these scenarios often involve compromises in feature breadth, integration with other tools, or increased effort in managing updates. Ultimately, the optimal choice of photo editing software is a subjective one, contingent upon the photographer’s individual workflow, budgetary constraints, technical expertise, and specific feature needs. This report aims to provide a detailed investigation to empower the user to make an informed decision tailored to their unique circumstances.

Introduction:

This discussion addresses a user query regarding the long-term cost-effectiveness of Adobe Lightroom and Photoshop’s subscription model in comparison to purchasing perpetual licenses or subscriptions for alternative photo editing software such as Luminar, ON1 Photo RAW, Capture One, and DXO PhotoLab.

The user, a long-time Adobe Lightroom user within the Apple ecosystem, has encountered claims of significant cost savings by switching to these alternatives but suspects that the reality of keeping them updated might prove more expensive than the Adobe subscription.

This observation aligns with the broader debate within the photography community concerning the financial implications of choosing between software subscription models and the traditional perpetual license model. While a prevailing sentiment often favours perpetual licenses for their perceived long-term cost benefits, this analysis seeks to conduct a thorough and objective investigation into the actual long-term cost of ownership for both Adobe’s offering and the mentioned alternatives.

The key factors under consideration will include the initial purchase price (where applicable), recurring subscription fees, the cost and frequency of software upgrades (both major and minor), any supplementary expenses for plugins or extensions, and the overall value proposition presented by each software in terms of its features, performance, and user experience. By examining these elements, this report aims to provide a comprehensive understanding of the financial landscape of photo editing software and assist the user in making an informed decision that aligns with their needs and budget.

The Adobe Ecosystem: Cost and Considerations:

3.1 Current Pricing of the Adobe Photography Plan:

The Adobe Creative Cloud Photography plan in the United States is currently priced at US$19.99 per month with an annual commitment, billed monthly, which totals approximately US$239.88 per year.

An alternative option is an annual prepaid plan, also priced at US$239.88 per year. This plan provides access to a comprehensive suite of photo editing tools, including Adobe Lightroom, Adobe Lightroom Classic, Adobe Photoshop (for both desktop and iPad), and a substantial 1 terabyte (TB) of cloud storage dedicated to photographs.

It is worth noting that Adobe previously offered a Creative Cloud Photography plan with 20GB of storage, which recently saw a price increase to US$14.99 per month (annual, billed monthly) before it was discontinued for new subscribers on January 15, 2025.

This evolution in Adobe’s plan offerings underscores the importance of considering the specific plan and its features when making cost comparisons. A significant aspect of the Adobe Photography Plan is the inclusion of Photoshop. This powerful image manipulation tool extends far beyond the basic RAW processing capabilities of Lightroom and provides users with advanced features for retouching, compositing, and graphic design. Many of the alternative software options discussed in this report might necessitate separate purchases or subscriptions to achieve similar levels of advanced functionality, making the bundled offering of Lightroom and Photoshop a crucial factor in any cost comparison.

3.2 Historical Pricing Trends:

Examining the historical pricing of Adobe’s offerings provides valuable context for understanding potential long-term cost implications. Records indicate that the “Adobe Creative Cloud Photography plan + 20GB storage” was available on Amazon for as low as $88.99 in November 2016 , suggesting that promotional pricing and discounts have played a role in the past. Similarly, the broader “Adobe Creative Cloud” suite was priced at a historical low of $39.99 in November 2016. More recently, Adobe implemented price increases in November 2023 and April 2024 for various Creative Cloud plans, including individual single app plans and the All Apps plan. For instance, the monthly cost (annual billing) for single apps increased from $20.99 to $22.99, and the All Apps plan saw a rise from $54.99 to $59.99 per month (annual billing). However, it is important to note that the pricing for the core Photography Plan with 1TB of storage has remained relatively stable in recent years, as evidenced by the consistent current pricing detailed in multiple sources. This relative stability in the Photography Plan’s pricing over the recent period offers a degree of predictability for users considering its long-term cost. Nevertheless, as with any subscription service, users should remain mindful of the potential for future price adjustments.

3.3 Value Proposition and Lock-in:

For a user with extensive experience in the Adobe ecosystem, particularly with Lightroom, the Adobe Photography Plan offers several inherent advantages. The seamless integration between Lightroom and Photoshop streamlines workflows and allows for a smooth transition between RAW processing and more advanced image manipulation. Furthermore, the inclusion of Lightroom mobile and Photoshop on iPad extends the user’s editing capabilities across different devices within the Apple ecosystem, providing flexibility and convenience. Adobe also provides a vast library of tutorials, comprehensive documentation, and a large and active user community, offering ample resources for learning, troubleshooting, and inspiration.

This established ecosystem can be a significant benefit for users already familiar with Adobe’s interface and workflows. However, a key consideration with subscription models is the potential for “lock-in”. Continued access to the software and the 1TB of cloud storage is contingent upon maintaining the subscription. If the user decides to discontinue their subscription, they will lose access to the software, although they will likely retain their original image files. This dependency on an ongoing subscription is a fundamental difference compared to purchasing a perpetual license, where the software can typically be used indefinitely after the initial purchase. For a long-time Apple user, the cross-platform integration offered by Adobe’s mobile applications within the Photography Plan provides a significant advantage, enabling a consistent editing experience across their various devices. This level of integration and workflow continuity is a valuable aspect to consider when comparing against alternative software that might have limited or no support for mobile platforms.

Exploring the Alternatives: Pricing and Upgrade Policies:

4.1 Luminar:

4.1.1 Pricing Models:

Skylum’s Luminar Neo offers photographers two primary ways to access its photo editing capabilities: through a subscription plan and via a lifetime perpetual license. The subscription plan is typically billed annually, with promotional pricing often available.

For example, it can be found for around £55 per year (approximately $69 USD), a discount from the standard £79 annual fee (approximately $99 USD). The lifetime perpetual license is presented as a one-time purchase, with a typical price of £95 (approximately $119 USD), although this is also frequently offered at a discount from a higher listed price, such as £159 (approximately $199 USD) or even £302 (approximately $377 USD).

It is important to note the consistent presence of discounts and special offers for both subscription and perpetual licenses across various sources. This suggests that the full listed prices might not accurately reflect the typical cost at which users acquire the software. The initial appeal of Luminar’s perpetual license, particularly with these frequent discounts, lies in the prospect of a one-time payment, which can be attractive to users seeking to avoid the recurring costs associated with subscription models. However, a thorough understanding of the upgrade policies and their associated costs is essential to accurately assess the true long-term financial implications of choosing this option.

4.1.2 Upgrade Policies and Costs:

For users who opt for the Luminar Neo subscription plan, Skylum provides access to all software upgrades as part of their subscription. This ensures that subscribers always have the most current version of the software, including all new features and improvements, without incurring any additional charges beyond their annual subscription fee. In contrast, the upgrade policy for the lifetime perpetual license is more nuanced.

While lifetime license holders do receive updates that include bug fixes, general improvements, and some new features, Skylum explicitly states that major upgrades, which introduce significant new functionalities to the software, may require separate, additional payments. This has manifested in the form of “Upgrade Passes,” which Skylum has introduced for lifetime license owners. These passes, available for an additional cost (e.g., £47 on sale, with a regular price of £79 – approximately $59 and $99 USD respectively), provide access to major feature updates released over a specific period, such as the Fall 2024 and Spring 2025 updates.

User feedback and online discussions reveal concerns and frustrations regarding the frequency and cost of these upgrade passes. Some users feel that the term “lifetime” license is misleading, as it does not guarantee access to all new features without further expenditure, effectively turning it into a series of purchases over time for those who wish to remain current with the software’s evolving capabilities.

Additionally, access to Luminar Neo’s Generative AI tools is limited to one year from the purchase date for lifetime license holders. This upgrade policy suggests that while the initial cost of the perpetual license might be lower, the long-term cost for users who desire to stay up-to-date with major feature additions could potentially become comparable to or even exceed the cost of a subscription over several years.

4.1.3 Feature Highlights and User Experience:

Luminar Neo distinguishes itself with its strong emphasis on innovative AI-powered tools designed to streamline and enhance photo editing workflows. Notable AI features include Sky AI for seamless sky replacement, AI Portrait Tools for quick and effective portrait enhancements, and generative AI functionalities like GenErase for content removal and GenExpand for extending image boundaries. Many users praise Luminar Neo for its generally user-friendly and intuitive interface, which makes it accessible to both beginners and more experienced photographers. The interface is often described as modern and less overwhelming compared to some other professional editing software.

However, some user reports and reviews indicate that Luminar Neo can experience slower performance, particularly when dealing with large batches of images or when utilising its more computationally intensive AI features.

Additionally, Luminar Neo’s photo library management capabilities are generally considered to be less robust and feature-rich when compared to the sophisticated catalog system offered by Adobe Lightroom. While Luminar Neo does offer basic cataloging functionalities, it may lack the advanced organizational tools and metadata management options that long-time Lightroom users have come to rely on. Overall, Luminar Neo presents itself as a creatively focused editing platform with a strong suite of AI tools and an approachable user interface. However, potential users, especially those with extensive Lightroom experience, should carefully consider its limitations in catalog management and the long-term cost implications associated with its upgrade policy for perpetual licenses.

4.2 ON1 Photo RAW:

4.2.1 Pricing Models:

ON1 Photo RAW offers photographers a choice between purchasing a perpetual license with a one-time payment and opting for a subscription plan with recurring fees.

The standard perpetual license for the latest version, ON1 Photo RAW 2025, is typically priced around £80 (approximately $99.99 USD) for new customers, with discounted upgrade pricing available for users who own previous versions (often around £64 – approximately $79.99 USD). ON1 also offers various subscription plans, such as their “Everything” subscriptions, which include the core Photo RAW software alongside other ON1 creative applications and cloud storage.

These subscription plans typically start at around £6.40 per month or £40 per year (approximately $7.99 and $49.99 USD respectively), with potential first-year discounts for new subscribers. For users who require plugin compatibility with other editing software like Adobe Photoshop and Lightroom, ON1 offers a “MAX” version of Photo RAW. This version is available under both perpetual license and subscription models, generally at a higher price point than the standard version. Similar to Luminar, ON1 frequently provides discounts and promotional pricing on its software, making it worthwhile for potential buyers to check for ongoing deals. The availability of both perpetual and subscription options provides users with flexibility in choosing a payment model that best suits their preferences and budget.

4.2.2 Upgrade Policies and Costs:
For users who choose to subscribe to one of ON1’s “Everything” plans, all future major upgrades to ON1 Photo RAW and the other applications included in their subscription are provided at no additional cost. This ensures that subscribers always have access to the latest features and improvements as long as their subscription remains active. In contrast, users who purchase a perpetual license for ON1 Photo RAW typically receive free minor updates within their purchased version. However, major software updates, which introduce significant new features and functionalities, are usually released on an annual cycle and require a paid upgrade for perpetual license holders to obtain them.

ON1 generally offers upgrade pricing for existing users at a reduced cost compared to the full purchase price for new users. For example, the upgrade to the standard version of ON1 Photo RAW is often priced around £64 (approximately $79.99 USD). Users who hold a perpetual license have the option to purchase these upgrades annually to stay current with the software’s capabilities, or they can choose to skip upgrades and continue using their existing version indefinitely. This model provides a degree of flexibility, allowing users to decide when and if they want to invest in the latest features. However, for users who desire to always have the newest tools and functionalities, the annual upgrade cost for the perpetual license effectively functions similarly to a yearly subscription fee.

4.2.3 Feature Highlights and User Experience:
ON1 Photo RAW is marketed as a feature-rich alternative to Adobe Lightroom, aiming to provide an all-in-one solution for photographers by combining photo organisation, RAW processing, layered editing, and a wide range of creative effects within a single application. This integrated approach seeks to eliminate the need for users to switch between multiple programs for different tasks, potentially streamlining their workflow. ON1 Photo RAW boasts advanced layer functionality, which extends beyond the masking tools available in Lightroom, offering greater flexibility for complex image manipulation and compositing.

The software also incorporates a suite of AI-powered tools designed to enhance various aspects of the editing process, including AI Masking for automated selections, AI Sky Swap for replacing skies, and AI NoNoise for noise reduction. While ON1 Photo RAW does offer photo management capabilities, its reliance on a browser-based approach for organising images might feel less advanced or intuitive to some users who are accustomed to Lightroom’s more robust cataloging system. Additionally, some user reviews suggest that ON1 Photo RAW can experience slower performance, particularly when loading and processing large batches of high-resolution images. However, ON1 does offer a free trial of its software, allowing potential users to test its features and performance before committing to a purchase. Overall, ON1 Photo RAW presents itself as a comprehensive editing platform with a strong emphasis on integrating features found in both Lightroom and Photoshop into a single application, offering users the choice of both perpetual licenses and subscription plans.

4.3 Capture One:

4.3.1 Pricing Models:

Capture One is generally positioned as a professional-grade photo editing software and is typically priced at the higher end of the spectrum compared to other alternatives, including Adobe Lightroom.

Capture One offers both perpetual licenses and subscription options. A perpetual license for Capture One Pro, which provides access to the current version of the software, typically costs around £238 or £254 (approximately $299 or $317 USD).

Subscription plans are available at various tiers, including “Pro” (which is primarily for desktop use), “All in One” (which includes mobile app access), and “Studio” (designed for collaborative, multi-user workflows). Annual subscriptions for Capture One Pro generally start at around £143 (approximately $179 USD), while monthly subscription options are also available but usually at a higher per-month cost. The “All in One” and “Studio” subscription plans, which offer a broader range of features and capabilities, are priced even higher. The premium pricing of Capture One reflects its focus on providing high-quality RAW processing and advanced features that cater to the needs of professional photographers, particularly those working in studio and commercial settings.

4.3.2 Upgrade Policies and Costs:

Users who opt for a Capture One subscription, regardless of the tier (Pro, All in One, or Studio), benefit from having all software updates and upgrades included as part of their subscription. This ensures that subscribers consistently have access to the latest features and improvements without any additional costs beyond their regular subscription fees. However, the upgrade policy for Capture One’s perpetual licenses is more restrictive.

Typically, a perpetual license grants the user the right to use the specific major version of the software that they purchased. Upgrading to a new major version, which Capture One typically releases on an annual basis, requires purchasing either a new perpetual license or an upgrade license. The cost of these upgrades can be significant; for example, upgrading an existing license to Capture One Pro 23 was priced around £159 (approximately $199 USD).

Many users have expressed dissatisfaction with the high cost of these upgrades for perpetual licenses, particularly when considering the annual release cycle. Some perceive that the “perpetual” license has a limited lifespan in terms of accessing new features and that the cost of staying current through upgrades can quickly become very expensive, potentially surpassing the annual cost of an Adobe Photography Plan, which includes both Lightroom and Photoshop. Recent price increases, especially for multi-user plans aimed at professional studios, have further amplified concerns about the overall cost of ownership for Capture One.

4.3.3 Feature Highlights and User Experience:

Capture One has established a strong reputation among professional photographers for its exceptional image quality, particularly in its handling of RAW files, colour rendering, and the availability of highly accurate camera-specific profiles. Its advanced editing tools, including a sophisticated layer-based editing system and industry-leading tethered shooting capabilities, make it a preferred choice for studio and commercial photographers who demand precision and control over their workflow.

While Capture One offers a powerful and customisable interface, it is often noted that it can have a steeper learning curve compared to Adobe Lightroom, and its interface might feel more complex to users who are new to professional-level photo editing software. The software’s focus on catering to professional workflows and its premium pricing suggest that it is best suited for users who have specific needs for high-end image quality and advanced features, such as those found in studio and commercial photography. For users who also require the broader functionalities of Adobe Photoshop, the higher cost of Capture One, coupled with its upgrade frequency for perpetual licenses, might not be justifiable when compared to the more comprehensive and often more cost-effective Adobe Photography Plan.

4.4 DXO PhotoLab:

4.4.1 Pricing Models:

DXO PhotoLab is primarily offered as a perpetual license software, with two distinct editions available for purchase: the Essential edition and the more feature-rich Elite edition. The initial purchase cost for the Elite edition of DXO PhotoLab 8, which includes the full suite of features, is typically around £183 (approximately $229 USD).

The Essential edition, which offers a more limited set of tools, is priced lower at approximately £111 (approximately $139 USD). In addition to PhotoLab, DXO also offers other software applications, such as DXO FilmPack (for film simulation effects) and DXO ViewPoint (for perspective and geometry corrections).

These applications often integrate seamlessly with PhotoLab and extend its capabilities but typically require separate purchases, adding to the overall cost if a user desires these functionalities. DXO’s primary focus on a perpetual license model can be appealing to photographers who prefer a one-time purchase over an ongoing subscription. However, the potential need to purchase additional software for a complete set of features needs to be considered when evaluating the overall cost.

4.4.2 Upgrade Policies and Costs:

While DXO PhotoLab is sold with a perpetual license, DXO typically releases new major versions of the software on an annual basis. Users who wish to upgrade to these new versions and benefit from the latest features and improvements are required to purchase a paid upgrade. The cost of these upgrades usually falls in the range of £60 to £87 (approximately $75 to $109 USD), depending on the specific edition (Essential or Elite) and the version of PhotoLab that the user is upgrading from. DXO has, over time, adjusted its upgrade pricing policy, often providing more favourable upgrade prices to customers who upgrade to the latest version more regularly. Users who choose to skip several major versions before upgrading might find that they are no longer eligible for discounted upgrade pricing and may have to pay the full price for the latest version. This annual cycle of major releases and the associated upgrade costs mean that while the initial purchase of DXO PhotoLab is perpetual, users who want to stay current with the software’s capabilities will likely incur ongoing expenses that are similar to those of a subscription model. This is particularly true if the user also invests in DXO FilmPack and ViewPoint to gain access to a more comprehensive set of editing tools.

4.4.3 Feature Highlights and User Experience:

DXO PhotoLab has garnered a strong reputation for its exceptional image quality, particularly in its advanced lens correction capabilities and its powerful noise reduction technology, known as DeepPRIME. Many users praise its ability to significantly improve the quality of RAW files, especially those shot at higher ISOs or with older lenses. PhotoLab utilises a folder-based system for organizing photographs, which some users may find more straightforward and preferable to the catalog-based systems used by Lightroom and Capture One. While DXO PhotoLab offers a robust set of editing tools, it is often noted that some advanced features, such as extensive layer editing and highly refined masking capabilities, might not be as prominent or comprehensive as in Adobe Photoshop or some other alternatives, especially without the additional purchase of DXO FilmPack. Some user reviews also suggest that DXO PhotoLab can have a steeper learning curve for new users compared to the more familiar interface of Adobe Lightroom. Additionally, DXO PhotoLab does not offer built-in cloud storage or mobile editing capabilities, which might be a consideration for users who value these features. Overall, DXO PhotoLab excels in delivering high image quality through its sophisticated processing algorithms, making it a compelling option for photographers who prioritise this aspect. However, potential users should carefully consider the cost of upgrades and the potential need for additional software to achieve a feature set comparable to that of the Adobe Photography Plan.

Long-Term Cost Comparison:

Here’s an estimated comparison of the long-term costs (in British Pounds, GBP) of the Adobe Photography Plan and the alternative software options discussed in this report over a period of 3 and 5 years. These estimates are based on approximate conversions from US Dollar prices using an exchange rate of £1 = $1.25 and assume typical upgrade patterns for perpetual licenses (upgrading every 1-2 years to stay reasonably current). Please note that currency exchange rates are subject to fluctuation, and actual costs may vary.

Adobe Photography Plan (Subscription): The estimated cost is approximately £192 for Year 1, £576 for Year 3, and £960 for Year 5. This includes Lightroom, Lightroom Classic, Photoshop, and 1TB cloud storage. These estimates assume no significant price increases.
Luminar Neo (Subscription): The estimated cost is approximately £55 for Year 1, £165 for Year 3, and £275 for Year 5. This assumes a consistent yearly subscription cost (after potential initial discounts).

Luminar Neo (Perpetual): The estimated cost is approximately £95 for Year 1, £285 for Year 3, and £475 for Year 5. This includes the initial purchase and an upgrade pass cost every 2 years. Actual costs can vary significantly based on upgrade frequency and available discounts. Note that access to Generative AI tools is limited to 1 year from the purchase date.
ON1 Photo RAW (Subscription): The estimated cost is approximately £72 for Year 1, £216 for Year 3, and £360 for Year 5. This assumes a consistent yearly subscription cost (after potential initial discounts).

ON1 Photo RAW (Perpetual): The estimated cost is approximately £80 for Year 1, £240 for Year 3, and £400 for Year 5. This includes the initial purchase and an upgrade cost every 2 years. Actual costs can vary based on upgrade frequency and discounts.
Capture One Pro (Subscription): The estimated cost is approximately £143 for Year 1, £429 for Year 3, and £715 for Year 5. This assumes a yearly subscription for the Pro version. The “All in One” subscription will be more expensive.

Capture One Pro (Perpetual): The estimated cost is approximately £254 for Year 1, £652 for Year 3, and £1050 for Year 5. This includes the initial purchase and an upgrade cost every 2 years. Costs can be high due to the expensive initial license and upgrade fees.
DXO PhotoLab 8 Elite (Perpetual): The estimated cost is approximately £183 for Year 1, £366 for Year 3, and £549 for Year 5. This includes the initial purchase and an upgrade every 2 years. It assumes an upgrade to the Elite version. Additional costs for FilmPack and ViewPoint are not included but can significantly increase the price.

This breakdown illustrates that while the initial cost of some perpetual licenses might be lower than an annual subscription to the Adobe Photography Plan, the cumulative cost over a 3 to 5-year period, especially when factoring in the need for upgrades to stay reasonably current with software features and compatibility, often brings the total expenditure close to or even above the cost of the Adobe subscription. It is particularly important to remember that the Adobe Photography Plan includes both Lightroom and Photoshop. Users who opt for perpetual license alternatives and require the advanced image manipulation capabilities of Photoshop would likely need to incur additional costs for separate software or plugins, further impacting the overall long-term cost comparison. This analysis underscores that the perceived cost savings of perpetual licenses can be significantly reduced or even eliminated by the necessity of regular upgrades.

Feature and User Experience Highlights:

A summary of the key strengths and weaknesses of each software option, relevant to a long-time Adobe Lightroom user accustomed to the Apple ecosystem, is provided below:

Adobe Lightroom/Photoshop: Strengths include seamless integration within the Adobe ecosystem and with Apple products, a comprehensive feature set covering both RAW processing and advanced image manipulation, a vast library of learning resources and community support, and mobile app accessibility. The primary weakness is the subscription-only model, which requires ongoing payments for continued access.

Luminar Neo: Strengths include innovative and user-friendly AI-powered creative tools for tasks like sky replacement and portrait enhancement. Weaknesses include less robust catalog management compared to Lightroom, potential performance issues with large image libraries or intensive AI tasks, and a potentially expensive and somewhat unclear upgrade policy for perpetual license holders, where significant new features often require additional payments.

ON1 Photo RAW: Strengths lie in its ambition to be an all-in-one solution, integrating features found in both Lightroom and Photoshop, strong masking and layering capabilities, and the availability of both subscription and perpetual license options. Weaknesses include a browser-based photo management system that some users might find less advanced, potential performance issues, and a user interface that can feel less refined than Lightroom’s to some users.
Capture One Pro: Strengths are its superior RAW processing quality, highly accurate colour rendering, advanced and customisable editing features, and excellent tethered shooting capabilities, making it a favourite among professional studio and commercial photographers. Weaknesses include a significantly higher cost compared to the Adobe Photography Plan, expensive upgrades for perpetual licenses, and a steeper learning curve that might not be suitable for all users.

DXO PhotoLab: Strengths include exceptional image quality, particularly in noise reduction and lens corrections, and a folder-based organisation system that some users prefer. Weaknesses include a less comprehensive feature set in the base application, with functionalities like film simulation and perspective correction often requiring additional paid software (FilmPack and ViewPoint), paid annual upgrades for perpetual licenses, and a learning curve that some users find challenging.

The “best” software choice is highly dependent on the individual photographer’s priorities and workflow. For a user who frequently relies on the advanced editing capabilities of Photoshop, the Adobe Photography Plan offers a compelling and potentially cost-effective solution by bundling both Lightroom and Photoshop. Users who prioritise specific aspects, such as ultimate image quality (Capture One or DXO) or the desire for a one-time purchase (Luminar or ON1), might find these alternatives appealing but should carefully consider the trade-offs in other areas and the potential for similar or higher long-term costs due to upgrade requirements.

Conclusion and Recommendations:

Based on the detailed analysis of pricing models, upgrade policies, and the inclusion of Photoshop in the Adobe Photography Plan, the user’s initial suspicion that the alternatives might be more expensive to keep up to date than the Adobe subscription appears to be valid for many users, particularly those who require the functionality of both Lightroom and Photoshop and desire regular software updates.

The analysis indicates that while perpetual licenses might offer a lower initial cost, the necessity of purchasing upgrades to access new features and maintain compatibility over the long term can significantly reduce or even eliminate these initial savings. In some cases, the total cost of ownership for alternatives, especially when factoring in the cost of upgrades, can become comparable to or even higher than that of the Adobe subscription over a period of several years. The complexity and cost associated with the upgrade paths for certain perpetual license options, such as those offered by Luminar and Capture One, are particularly noteworthy.

Considering the user’s long-standing experience with Adobe Lightroom and their preference for the Apple ecosystem, the following recommendations are provided:

Evaluate Photoshop Usage: If the user frequently utilises Adobe Photoshop or anticipates needing its advanced image manipulation features in their workflow, the Adobe Photography Plan likely remains the most cost-effective and seamlessly integrated solution. It provides both Lightroom and Photoshop for a consistent subscription fee, along with valuable cloud storage.

Consider Upgrade Habits: If the user primarily uses Lightroom for RAW processing and basic editing and tends to upgrade software infrequently, exploring perpetual license options such as ON1 Photo RAW or DXO PhotoLab might offer potential long-term savings. However, the user must be comfortable with potentially missing out on the latest features if they choose to skip upgrades and should be fully aware of the cost of upgrading when they eventually decide to do so.

Trial Alternatives: It is strongly recommended that the user take advantage of the free trial periods offered by each of the alternative software options that pique their interest. Hands-on experience will allow the user to thoroughly evaluate the software’s interface, workflow, performance on their specific Apple system, and feature set to determine which best aligns with their individual needs and preferences before making a financial commitment.

Long-Term Perspective: When considering the long-term cost, it is crucial to look beyond the initial purchase price of perpetual licenses and factor in the recurring expenses associated with upgrades that are often necessary to maintain current functionality and compatibility with new operating systems and camera models.

In conclusion, while the appeal of a one-time perpetual license purchase is understandable, especially for users who are hesitant about subscription models, this analysis suggests that the Adobe Creative Cloud Photography Plan often provides a compelling combination of value, comprehensive features (including both Lightroom and Photoshop), and a relatively predictable long-term cost for users who require a full suite of editing tools and regular software updates. The user’s initial suspicion regarding the potential for higher long-term costs with alternatives appears to be a valid concern that warrants careful consideration and a thorough evaluation of individual needs and usage patterns.

LAD LANE HAS CHANGED A LOT SINCE I LIVED IN THE AREA

April 26, 2025 by infomatique

PHOTOGRAPHED 24 APRIL 2025

Lad Lane, Dublin: A Historical Investigation and Analysis of Recent Developments

Introduction

Lad Lane, situated in a central area of Dublin, represents a significant thoroughfare that has witnessed considerable evolution throughout the city’s history. This discussion aims to investigate the historical trajectory of Lad Lane, tracing its origins and development through various periods, and to analyse the recent redevelopment and transformations that have occurred both directly on and in the immediate vicinity of the lane. Its strategic location, connecting key areas such as Fitzwilliam Street Upper and Baggot Street, underscores its importance within the urban fabric of Dublin. The subsequent sections of this report will draw upon available research material to provide a comprehensive understanding of Lad Lane’s past and present.

Early History and Origins

2.1 Connection to Georgian Dublin

During the era of Georgian Dublin, a period renowned for its grand architectural schemes and elegant residential streets, Lad Lane served a crucial, albeit often unseen, function. As noted in several accounts, in the time before the widespread adoption of automobiles, Lad Lane was a bustling area catering to the needs of the residents of the substantial Georgian houses that lined Upper Fitzwilliam Street. These grand residences required extensive support infrastructure, and Lad Lane emerged as a primary location for the stables that housed the horses and carriages essential for the transportation of the city’s affluent inhabitants. The very nature of a lane, typically narrower and running behind or alongside main thoroughfares, made it ideal for such utilitarian purposes, keeping the noise and odour associated with stabling somewhat removed from the principal living areas.

The establishment of Butlers Chocolates in Lad Lane in 1932 further illustrates the area’s connection to a historically fashionable district of Dublin. Marion Butler, the founder, chose this location in the heart of Georgian Dublin to establish her luxury chocolate business, initially named Chez Nous Chocolates.

This suggests that even in the early 20th century, the area around Lad Lane retained some of its established character and appeal, making it a suitable location for a business aiming for a discerning clientele. While the primary function of the lane in earlier times was undoubtedly practical, supporting the infrastructure of the grander streets, the presence of such an enterprise indicates a gradual shift towards a more diverse range of activities.

Furthermore, descriptions of “fanciful” gates and doorways along Lad Lane hint that even these service-oriented structures were not entirely devoid of architectural consideration, reflecting the prevailing aesthetic sensibilities of the Georgian era. This suggests that even the less prominent parts of the city contributed to the overall visual landscape of the time.

2.2 Visual Depiction in Art

A glimpse into the character of Lad Lane at the turn of the 20th century is provided by a 1901 sketch by the esteemed Irish artist Jack Butler Yeats. Titled “Arched entrance to Lad lane, Dublin, with horse and cart visible further along lane,” this artwork offers a visual corroboration of the historical accounts describing the lane’s earlier function.

The presence of a horse and cart in the sketch confirms that even at this relatively later period, horse-drawn transport remained a feature of Lad Lane. Moreover, the title specifically mentions an “arched entrance,” suggesting the presence of a distinct architectural feature that contributed to the lane’s visual identity. This artistic representation serves as a valuable piece of visual evidence, supplementing written records and providing a snapshot of the physical environment and daily life within Lad Lane at a specific point in time. It underscores the enduring connection of the lane to modes of transport reliant on horses, even as the city began to embrace new technologies.

19th Century Developments

3.1 Construction of the Dublin Metropolitan Police Barracks

A significant development in the history of Lad Lane during the 19th century was the construction of the Dublin Metropolitan Police Barracks, known as “The Old Barracks,” which was built around 1836. This substantial three-storey structure, located on the corner of Hagan’s Court and Lad Lane, served as the headquarters for the B Division of the Dublin Metropolitan Police (DMP) before the formation of An Garda Síochána in 1923.

The barracks remained operational until its closure in 1948. The establishment of a dedicated police station in this location suggests a growing need for law enforcement within this part of Dublin during the 19th century. This could be indicative of changes in the area’s social dynamics, population density, or perhaps an increase in commercial activity that necessitated a greater police presence to maintain order and security.

The architectural details of the police station, as described in historical records, offer valuable insights into the building practices of the early to mid-19th century in Dublin. The use of ashlar granite for the principal and northern elevations, contrasted with quarry-faced rubble-stone granite for the western and rear elevations, highlights the different levels of architectural finish applied to various facades. Features such as largely square-headed window openings with projecting granite sills and ashlar granite voussoirs, along with timber sliding sash windows, were typical of the period. Internally, the presence of flagstones on the ground floor, a timber panelled door leading to former cell blocks (now demolished), and early 20th-century stairs and fireplaces provide a tangible link to the building’s past function.

The fact that this police station, despite alterations and extensions over its lifetime, was considered remarkably well preserved and retained many original features underscores its historical and architectural significance. More recently, the building underwent a “complete refurbishment and conservation, restoration, and change of use” into a high-specification apartment complex with ground floor commercial units, a project completed in September 2017. While the project description refers to the building as an “18th Century Metropolitan Police Barracks,” the detailed historical record clearly dates its construction to the period of 1835-1840 , suggesting a potential discrepancy in terminology or perhaps an earlier origin followed by substantial 19th-century construction. This transformation exemplifies the ongoing cycle of urban renewal, where historical structures are adapted to meet contemporary needs while preserving elements of their past.

20th Century and Beyond

4.1 Business and Commerce

The 20th century witnessed a further diversification of activities within Lad Lane, moving beyond its initial role as a service area for Georgian residences. The establishment of Butlers Chocolates in 1932 marked a significant commercial presence in the lane. Founded by Marion Butler, the company initially operated under the name Chez Nous Chocolates, producing handmade luxury confections. The choice of Lad Lane, described as being in the heart of fashionable Georgian Dublin, suggests that the area maintained a certain prestige that was attractive to a business catering to a discerning market. Butlers Chocolates remained on Lad Lane until 1988, when it relocated to larger premises on Pearse Street, leaving behind a legacy of early entrepreneurial activity in the lane.

Later in the 20th century, Lad Lane also became home to cultural ventures, such as the Lad Lane Gallery, a commercial art gallery located at number 34. Operating between 1975 and 1981, the gallery would have contributed to the artistic and cultural landscape of Dublin during that period. The presence of an art gallery indicates a further evolution of the lane, showcasing its capacity to accommodate diverse types of businesses and activities beyond purely utilitarian or large-scale commercial enterprises. More recently, the construction of a “six-storey city centre mixed-use development at 55 Lad Lane” signifies a contemporary trend towards higher-density urban development. This development comprises 25 modern apartments along with a substantial “Enterprise Centre” offering office space. The inclusion of both residential and commercial elements in a single modern building reflects the increasing value of urban land in central Dublin and the demand for integrated living and working spaces. Additionally, the existence of a traditional Irish music band named “Lad Lane” suggests that the name of the thoroughfare has attained a level of cultural recognition within Dublin, potentially referencing the lane’s historical or contemporary significance.

4.2 Archaeological Findings

Archaeological investigations conducted in the vicinity of Lad Lane have provided glimpses into the area’s deeper history. In February 1967, during the digging of a trench off Baggot Street near the intersection with Pembroke Row and Lad Lane, human remains were discovered. While initially investigated by the National Museum of Ireland, the remains were later identified by the coroner as likely originating from a teaching collection due to the nature of a trephination found on one of the skull fragments. Consequently, these remains were not retained. Although this particular find was not deemed historically significant in terms of revealing ancient burial sites, its occurrence highlights the potential for uncovering earlier human activity in this central area of Dublin, something that must be considered in future development projects.

More recently, in 2015, archaeological monitoring took place during ground disturbances associated with the construction of a new office development located at the junction of Wilton Place, Lad Lane, and Pembroke Row. This monitoring revealed evidence of early 19th- and 20th-century levelling deposits, a late 19th-century occupation deposit, a late 18th-century field boundary, and an earlier subsoil-cut field boundary. These findings, while not considered archaeologically significant enough to warrant further mitigation, do provide tangible evidence of the historical development of this area of Dublin, illustrating the transition from agricultural land, indicated by the field boundaries, to the urbanised landscape of the 19th and 20th centuries, evidenced by the levelling and occupation deposits.

Recent Redevelopment and Modern Character

5.1 Ongoing Development

The process of redevelopment along Lad Lane has continued into the 21st century, with a focus on both the conservation and repurposing of older structures and the construction of new, modern buildings. The comprehensive refurbishment of the former Dublin Metropolitan Police Barracks into a high-specification apartment complex with commercial units on the ground floor, completed in 2017, stands as a prime example of this trend. This project involved meticulous conservation work on the listed 19th-century building, carefully restoring its existing features while adapting it for contemporary residential and commercial use. This approach reflects a broader appreciation for Dublin’s architectural heritage and a desire to integrate historical structures into the modern urban landscape.

The mixed-use development at 55 Lad Lane further exemplifies the contemporary character of the area. This six-storey building offers modern apartments, including luxury penthouses, alongside a substantial Enterprise Centre providing Grade A office space. The architectural design incorporates features such as drained terraces and high acoustic performance, catering to the demands of modern urban living and working. This development, located in Dublin’s historic Central Business District between Baggot Street and Leeson Street, signifies the ongoing transformation of Lad Lane into a desirable location for both residential and commercial purposes. Interestingly, a planning application submitted in 2017 for the demolition of buildings at 5/5A Lad Lane, located to the rear of Hagan’s Court, and the construction of a six-storey building comprising 25 apartments, a restaurant and cafe, outdoor terrace parking, and access, was subsequently withdrawn. This indicates that while there is continued interest in further development within Lad Lane, not all proposed projects come to fruition, likely due to a variety of factors including planning regulations and local considerations.

5.2 Current Character

Today, Lad Lane presents a diverse urban environment, characterised by a blend of historical remnants and modern developments. The presence of old stable entrances serves as a tangible reminder of the lane’s earlier role in supporting the grand Georgian houses of Fitzwilliam Street Upper. These architectural features offer a glimpse into the past, prompting curiosity about the history concealed behind the often-imposing gates. Alongside these historical markers, Lad Lane is now home to a variety of businesses, including design studios, video and sound studios, and patent lawyers, reflecting the area’s integration into the modern commercial landscape of Dublin. The presence of some “very modern buildings which look slightly out of place” suggests an ongoing process of architectural evolution, where contemporary designs are juxtaposed with the existing historical fabric. Despite these modern insertions, Lad Lane also retains a residential element, with individuals residing in both renovated historical buildings and newer constructions. This mix of uses – historical remnants, modern commercial activities, and residential dwellings – contributes to the unique character of Lad Lane as a thoroughfare that has successfully adapted to the changing needs of Dublin city over time.

Conclusion

The historical investigation of Lad Lane reveals a fascinating evolution from its origins as a service lane supporting the affluent residents of Georgian Dublin to its current status as a diverse urban thoroughfare. Initially bustling with the activity of stables and horse-drawn carriages, Lad Lane adapted to the changing times, becoming a location for early 20th-century businesses like Butlers Chocolates and later accommodating cultural ventures such as the Lad Lane Gallery. The 19th-century construction of the Dublin Metropolitan Police Barracks marked a significant institutional presence, the refurbished form of which now contributes to the lane’s residential offerings. Recent redevelopment has further transformed Lad Lane, with modern mixed-use buildings and the conservation of historical structures reflecting a contemporary urban landscape. The juxtaposition of old and new, the blend of residential and commercial activities, and the subtle reminders of its past all contribute to the unique character of Lad Lane within the broader urban history and ongoing development of Dublin. Even seemingly minor urban elements like lanes hold significant historical narratives, reflecting the larger patterns of a city’s growth and change.

DIFFERENT VIEWS OF TEMPLE BAR – I USED A SONY FX30 WITH A ZEISS BATIS 25MM LENS

April 25, 2025 by infomatique

PHOTOGRAPHED IN APRIL 2025

Temple Bar is Dublin’s vibrant cultural quarter, a lively hub of colourful buildings and cobbled streets. During the day, it offers a charming and exciting atmosphere for children. They can enjoy street performers, explore novelty shops, and experience traditional Irish music spilling out from the pubs. The area is also home to The Ark, a dedicated cultural centre offering workshops and performances specifically for children.

However, as night falls, Temple Bar transforms. The daytime family-friendly vibe shifts dramatically as the area becomes a magnet for adult nightlife. Pubs become crowded and rowdy, with a strong focus on drinking and late-night entertainment. This atmosphere is generally not suitable or enjoyable for children, making it a very different experience compared to the daytime.