APRIL 2025
WILLIAM'S PHOTO DIARY
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FUJI GFX100RF
EXPECTED WITHIN DAYS MY NEW FUJI GFX100RF [A MEDIUM FORMAT CAMERA IN A COMPACT BODY]
When I last visited Belfast I had a bad fall and my Sony A7RIV has given many problems since then as it was damaged due making contact with a concrete bollard. Myself, I was out of action for a day because of bruised ribs.
I had considered buying the A7RV when it became available but after trying it for a week I decided to wait for the next version and to consider getting a Leica Q3 but the price was not to my liking so I decided not to purchase anything during 2024. In January I decided to purchase the Leica Q3 43 in May or June. But today I was given the opportunity to obtain a Fuji GFX100RF at a good price withe a delivery date of the first week in May 2025 so I have decided to forget about the Leica for now. I will revisit Leica options in 2026 or 2027.
Fuji GFX100RF vs. Leica Q3: A Comparative Analysis for Street Photography.
The digital camera market continues to evolve, offering photographers an array of choices tailored to various needs and preferences. Among the latest entrants and established players in the high-end, fixed-lens segment are the Fuji GFX100RF and the Leica Q3 series (comprising the Q3 and Q3 43).
The Fuji GFX100RF marks a significant step for Fujifilm, bringing its renowned medium format sensor technology into a more compact, rangefinder-inspired body. This development suggests an ambition to cater to photographers seeking the pinnacle of image quality in a more portable form factor, potentially drawing those familiar with Fujifilm's X100 series but desiring higher resolution.
Conversely, Leica's Q series has carved a strong reputation in the full-frame, fixed-lens market, known for its exceptional image quality, premium build, and a distinct photographic experience.4 The introduction of the Leica Q3 43, featuring a different focal length than the original Q3, indicates Leica's responsiveness to user feedback and a strategic move to broaden the appeal of its fixed-lens offerings by providing greater versatility in perspective.
This blog post aims to provide a detailed comparative analysis of the Fuji GFX100RF and the Leica Q3/Q3 43, with a specific focus on their suitability for street photography.
By examining their technical specifications, inherent advantages and disadvantages, notable similarities and differences, current availability challenges, summarised user and professional reviews, and RAW file processing compatibility, this analysis intends to offer a comprehensive overview for photographers considering these high-caliber cameras for their street photography endeavors.
Fuji GFX100RF: A Street Photography Perspective
The Fuji GFX100RF is engineered around a substantial 43.8mm x 32.9mm GFX 102MP CMOS II sensor, incorporating a primary colour filter. This exceptionally high resolution offers a significant advantage for street photographers who might want to refine their composition through cropping after capturing a scene. Despite featuring a fixed FUJINON GF 35mm f/4 lens, which provides a 28mm equivalent field of view on a full-frame camera, the immense resolution of the sensor allows users to effectively simulate different focal lengths by cropping into the image. This fixed focal length encourages a more deliberate and thoughtful approach to street photography, prompting photographers to carefully consider their framing and perspective.1For capturing the dynamic and often fleeting moments inherent in street photography, the GFX100RF is equipped with an Intelligent Hybrid AF system.
This system combines TTL contrast detection AF with TTL phase detection AF, also incorporating AI-assisted subject recognition capable of identifying animals, vehicles, birds, and aircraft. Furthermore, it features face and eye detection, enhancing its capabilities for street portraits. The phase detection AF offers low-light performance down to -3.0EV, which is crucial for focusing in the varied lighting conditions often encountered in urban environments.2In terms of physical attributes, the GFX100RF measures 133.5 x 90.4 x 76.5 mm and weighs 735g with the battery and memory card inserted.
While not as diminutive as some APS-C or full-frame compact cameras, its weight and size are notably manageable for a medium format system. This relative portability makes it a viable option for photographers who spend extended periods walking and shooting on the streets.
The image quality delivered by the GFX100RF is a significant draw, offering 16-bit RAW files, a wide dynamic range, and low noise performance starting from a base ISO of 80. Fujifilm's signature set of 20 Film Simulations provides photographers with a range of aesthetic options directly in-camera, which can be particularly appealing for street photographers who prefer to minimise post-processing.
Additionally, the built-in 4-stop ND filter allows for greater creative control over exposure, especially in bright daylight conditions.1The camera offers continuous shooting capabilities up to 6 frames per second when using the mechanical shutter (with a buffer of 296 JPEG frames or 40 Compressed RAW frames) and up to 3 frames per second with the electronic shutter (boasting a much larger buffer of 1000+ JPEG frames or 508 Compressed RAW frames). While these speeds are adequate for capturing sequences in street photography, the RAW buffer depth might be a consideration for photographers who frequently shoot long bursts.
Beyond these core features, the GFX100RF incorporates an Aspect Ratio Dial, allowing for quick and direct selection between nine different aspect ratios, which can be a valuable tool for in-camera composition favoured by some street photographers. It also features a Digital Teleconverter, offering 45mm, 63mm, and 80mm equivalent focal lengths, providing a degree of versatility despite the fixed lens, albeit with a corresponding reduction in image resolution.
The inclusion of a leaf shutter enables flash synchronisation at speeds up to 1/4000s, offering creative lighting possibilities for street portraits.1For street photography, the GFX100RF presents several compelling advantages. Its 102MP medium format sensor stands out, providing exceptional detail and significant cropping flexibility for refining composition. The camera's size and weight, while not the smallest, are surprisingly manageable for a medium format system, potentially making it suitable for all-day use. The 28mm equivalent lens is a widely favoured focal length for capturing the context of street scenes.
The built-in 4-stop ND filter offers creative control over exposure in bright conditions, and the unique Aspect Ratio Dial allows for in-camera compositional choices. The leaf shutter facilitates high-speed flash synchronisation, and Fujifilm's renowned Film Simulations provide appealing out-of-camera JPEGs.
The improved autofocus system with subject recognition is also a benefit for capturing dynamic street scenes.2However, the GFX100RF also has potential drawbacks for street photography. The fixed 35mm f/4 lens (28mm equivalent) might not suit all street photography styles, particularly those favouring longer focal lengths or a shallower depth of field.10 The f/4 aperture might also limit performance in low-light conditions and the ability to achieve significant background blur compared to lenses with wider apertures.10 The absence of in-body image stabilisation (IBIS) could make handheld shooting at slower shutter speeds challenging, especially given the high resolution sensor which can amplify any camera shake.
The electronic shutter's potential for image distortion with fast movement is another consideration. Some users might find the thumb placement awkward or desire a built-in grip for enhanced handling comfort.
Finally, the GFX100RF occupies a premium price point, which might be a barrier for some photographers.
Leica Q3 and Q3 43: A Street Photography PerspectiveThe Leica Q3 series centres around a 60MP Full-Frame BSI CMOS Sensor that incorporates Triple Resolution Technology, allowing users to select between 60MP, 36MP, or 18MP output. This full-frame sensor provides excellent image quality and strong low-light performance, while the Triple Resolution Technology offers flexibility in managing file sizes. The Leica Q3 is equipped with a fixed Summilux 28mm f/1.7 ASPH. lens, which includes an integrated macro mode.
The very fast f/1.7 aperture is a significant advantage for street photography, enabling shooting in dim lighting conditions and producing a shallow depth of field for subject isolation.4 The 28mm focal length is a classic choice for capturing the broader context of street scenes.In contrast, the Leica Q3 43 features a fixed APO-Summicron 43mm f/2 ASPH. lens, also with an integrated macro mode. The 43mm focal length, approximating a 35mm equivalent on full-frame, provides a more natural perspective that many street photographers prefer.
The f/2 aperture still offers good low-light capabilities and some degree of background separation.6 The APO designation of the lens signifies exceptional optical quality.Both Q3 models utilise a Hybrid Autofocus System that combines Phase Detection AF, Contrast AF, Depth from Defocus, and AI, including Face/Eye/Body Detection and Animal Detection. This advanced autofocus system aims to deliver fast and accurate focusing performance, crucial for capturing spontaneous moments in street photography.
Leica has made significant improvements to the autofocus in the Q3 series compared to its predecessors, making it a more competitive option for capturing dynamic street scenes.The dimensions and weight of the two Leica Q3 models are similar. The Leica Q3 measures 130 x 80.3 x 92.6 mm and weighs 743g with the battery 5, while the Leica Q3 43 is slightly larger at 130 x 80.3 x 97.6 mm and heavier at 772g with the battery.21 Both cameras are relatively compact and lightweight for full-frame systems, making them well-suited for carrying during extended street photography sessions. Their size and weight offer a good balance between portability and a substantial feel in hand.
The Leica Q3 series is renowned for its exceptional image quality, delivering rich detail and accurate colour rendition. Both models offer in-camera digital zoom/cropping capabilities. The Q3 provides equivalent focal lengths of 35mm, 50mm, 75mm, and 90mm, while the Q3 43 offers 60mm, 75mm, 90mm, 120mm, and 150mm equivalents. This feature provides some compositional flexibility without the need for lens changes.Both cameras boast a high continuous shooting speed of up to 15 frames per second. This rapid capture rate is advantageous for street photographers looking to capture fast-paced action or subtle changes in expression.Other notable features of the Leica Q3 series include a tiltable 3" display, a high-resolution 5.67MP OLED viewfinder, IP52-rated ingress protection against dust and moisture, USB-C and HDMI ports, and the option for wireless charging with an optional handgrip. The tilting screen enhances versatility for shooting from various angles, a common requirement in street photography.
The high-resolution viewfinder offers a clear and detailed view for composition. Weather sealing adds durability for shooting in less than ideal conditions.For street photography, the Leica Q3 and Q3 43 offer several notable advantages. Their excellent image quality, stemming from the full-frame sensor and high-caliber lenses, is a primary draw. The fast maximum apertures (f/1.7 for the Q3 and f/2 for the Q3 43) are particularly beneficial for low-light shooting and creating shallow depth of field.4 Their relatively compact and lightweight designs make them suitable for extended periods of carrying and shooting. The improved hybrid autofocus system offers fast and generally accurate performance. The tiltable rear screen provides versatility for shooting from various perspectives, and the high continuous shooting speed is useful for capturing action.
The IP52 weather sealing adds a layer of protection for shooting in diverse environments.4However, the Leica Q3 series also has potential drawbacks for street photography. The very high price point is a significant consideration for most photographers. Some users report that the ergonomics can be challenging, with the body being somewhat slippery and potentially requiring the purchase of an optional grip for comfortable handling. While the autofocus has been improved, some reviews still note occasional inconsistencies in its performance.
The limitation to a fixed lens (either 28mm or 43mm) might not suit photographers who prefer the flexibility of interchangeable lenses or a wider range of focal lengths. The mechanical shutter's maximum speed of 1/2000s can be limiting in very bright conditions, potentially necessitating the use of the electronic shutter, which can introduce rolling shutter effects.
Finally, the battery life, with a CIPA rating of approximately 350 shots, is relatively low compared to the Fuji GFX100RF.
Head-to-Head Comparison for Street Photography
The Fuji GFX100RF distinguishes itself with a significantly larger, higher-resolution sensor compared to the full-frame sensors of the Leica Q3 series. This difference can translate to greater detail and more extensive cropping capabilities. However, the Leica Q3 and Q3 43 offer faster lenses, which are advantageous for low-light performance and achieving a shallower depth of field, a characteristic often sought after in street photography.
While all three cameras feature advanced autofocus systems, real-world performance and consistency can vary. The Leica Q3 series incorporates optical image stabilisation, a feature absent in the GFX100RF, which can be beneficial for handheld shooting, especially at slower shutter speeds.
The size and weight of all three cameras are relatively similar, making them manageable for street photography. A significant differentiator is the price point, with the Leica Q3 models being notably more expensive than the Fuji GFX100RF. The choice between the 28mm lens of the Q3 and the 43mm lens of the Q3 43 depends on the photographer's preferred perspective for street photography.
The Fuji GFX100RF Availability Challenge in the USA
Recent reports indicate that Fujifilm has suspended pre-orders for the GFX100RF in the United States. This development suggests that obtaining the camera within the next few months might be challenging for those in the US. The rumoured primary reason behind this suspension is the anticipation of new US tariffs on electronics imported from Japan.39 Tariffs can significantly increase the cost of imported goods, potentially affecting the retail price and overall availability.
Discussions in online forums reveal various perspectives on this situation. Some speculate that units already within the US might not be subject to the new tariffs, and Fujifilm could be holding back to assess the pricing implications. Others believe that the tariffs, having gone into effect before the camera's official release date, should logically apply to all new shipments, potentially leading to a price increase across the board. There is also the possibility that no units have yet been shipped to the US.
Beyond the GFX100RF, other Fujifilm cameras manufactured in China, such as the X100VI and X-M5 (black version), are also reportedly facing order suspensions in the US due to even higher tariffs on goods from China. This broader issue highlights the potential impact of changing trade policies on the availability and pricing of photographic equipment from various manufacturers.
For the user in the US, this situation necessitates being aware of potential delays and the possibility of price fluctuations for the Fuji GFX100RF.
Review Insights and User Sentiment
Professional reviews of the Fuji GFX100RF consistently praise its compact size and lightweight design, especially considering its medium format sensor. The exceptional 102MP sensor and the resulting image quality are also frequently highlighted as key strengths. The 28mm equivalent lens is generally considered suitable for street photography, and features like the Aspect Ratio Dial and Fujifilm's Film Simulations are appreciated for the creative control they offer.
However, the f/4 aperture and the lack of in-body image stabilisation are often mentioned as potential limitations, particularly in low-light scenarios. Some reviewers have drawn favourable comparisons between the GFX100RF's shooting experience and that of the Leica Q series.
Reviews of the Leica Q3 and Q3 43 consistently commend their excellent image quality and the fast apertures of their lenses. The addition of a tilting screen in the Q3 series is seen as a significant advantage for street photography. The build quality and handling are generally well-received, although some users find that an optional grip is necessary for optimal comfort. While the autofocus system is considered good, some reviews point out occasional inconsistencies.
The high price is a recurring point of discussion, often cited as a major drawback. The Q3 43's 43mm lens is often praised for offering a more natural perspective preferred by many photographers.
Initial user feedback on the Fuji GFX100RF highlights its smaller-than-expected size and impressive image quality. Some users have noted minor quirks, such as the disappearance of aspect ratio options when shooting in RAW-only mode. The depth of field achievable at f/4 on the medium format sensor is surprisingly pleasing to many early users.
Leica Q3 and Q3 43 users often emphasise the exceptional image quality and the overall premium experience of using a Leica camera. The 28mm lens of the Q3 is viewed as a versatile option for various types of photography, including travel and everyday shooting, while the 43mm lens of the Q3 43 is favoured by those who prefer a slightly tighter, more natural field of view. The high cost is frequently acknowledged but often considered justifiable by the image quality and the prestige associated with the Leica brand. Some users have reported occasional issues with autofocus consistency and the ergonomics of the camera body.
Based on the available reviews, there isn't a definitive tendency to favour one camera over the others. The choice appears to be highly subjective and contingent on individual priorities. The GFX100RF appeals to photographers who prioritise ultimate resolution and the unique aesthetic of a medium format sensor in a relatively portable package, potentially at a more accessible price point than other medium format options. The Leica Q3 series attracts those who value the Leica brand, exceptional full-frame image quality, faster lenses for enhanced low-light capabilities and bokeh, and are willing to invest a premium for these attributes.
The decision between the Q3 and Q3 43 within the Leica lineup further depends on the photographer's preference for a wider (28mm) or a more standard (43mm) focal length.
RAW File Processing Compatibility
Adobe Lightroom fully supports RAW files (.RAF) from the Fuji GFX100RF. The latest versions of Lightroom and Adobe Camera Raw are compatible with these files. Fujifilm also provides Tether Shooting Plug-ins for Lightroom Classic, including a PRO version specifically designed for GFX series cameras. These plug-ins offer enhanced tethered shooting capabilities for GFX users within the Lightroom environment.
While there have been past discussions regarding Lightroom's handling of RAW files from Fujifilm cameras utilising X-Trans sensors, these concerns are less relevant for the GFX100RF, which employs a standard Bayer sensor.
Information regarding the compatibility of Fuji GFX100RF RAW files with DXO PhotoRaw is somewhat limited based on the provided material. However, one source indicates that support for the Fujifilm GFX100RF in both DxO PhotoLab and DxO PureRAW is expected to be available in July 2025. DXO PhotoLab already supports RAW files from other GFX cameras, such as the GFX100 II, GFX100S, and the original GFX100. Given this existing support for other GFX models with similar sensors, it is probable that compatibility for the GFX100RF will be added in due course.
DXO PureRAW 5 includes enhanced processing capabilities for both Bayer and X-Trans sensors, demonstrating DXO's ongoing commitment to supporting Fujifilm cameras.
Conclusion and Recommendation
In summary, the Fuji GFX100RF offers the unique advantage of a high-resolution medium format sensor in a relatively compact body, making it a compelling option for photographers seeking exceptional detail and cropping flexibility. Its 28mm equivalent lens is well-suited for street photography, and features like the built-in ND filter and Aspect Ratio Dial enhance creative control. However, its f/4 aperture and lack of IBIS might be limitations in certain situations.
The Leica Q3 and Q3 43 provide excellent full-frame image quality with faster lenses, offering better low-light performance and shallower depth of field. Their more compact size and the inclusion of optical image stabilisation are also beneficial for street photography. The choice between the Q3's 28mm lens and the Q3 43's 43mm lens depends on the photographer's preferred perspective. A significant factor is the price, with the Leica Q3 series being considerably more expensive than the GFX100RF.
Additionally, potential US tariffs are currently impacting the availability of the Fuji GFX100RF in the USA.For users who prioritise ultimate image resolution, cropping flexibility, and the distinctive look of a medium format sensor at a relatively lower price point (compared to other medium format options), the Fuji GFX100RF could be an attractive choice, provided they are comfortable with a fixed 28mm equivalent lens and the absence of IBIS. They should also be aware of the current uncertainty surrounding its availability in the US market.
Photographers who prioritise exceptional low-light performance, shallower depth of field, and the prestige of the Leica brand might find the Leica Q3 (with its 28mm f/1.7 lens) to be an excellent option. Those who prefer a more natural, "normal" perspective while still benefiting from Leica's image quality and a fast lens would likely favour the Leica Q3 43 (with its 43mm f/2 lens).Ultimately, the optimal choice depends on the individual photographer's budget, preferred focal length, shooting style, and tolerance for potential availability issues. It is recommended that the user consider these factors carefully and, if possible, try out the cameras in person to assess their handling and ergonomics before making a final decision.
CORNMARKET AREA
CORNMARKET AREA OF DUBLIN [PHOTOGRAPHED 13 APRIL 2025]
The Cornmarket Area of Dublin: Origins, Development, and Current Status
The Cornmarket area of Dublin, situated within the city's historic centre, holds a significant place in its urban narrative. This report aims to provide a comprehensive investigation into the origins and development of this area, its present-day condition, and the notable architectural and historical structures that are located within it. By examining the multifaceted history of the Cornmarket, a deeper understanding of Dublin's evolving urban landscape can be achieved.
The area encompassing the Cornmarket lies within the oldest settled parts of Dublin, with evidence indicating habitation as early as the mid-5th century. This early settlement, known as Átha Cliath, meaning "town of the hurdled ford," highlights the area's fundamental importance as a key crossing point over the River Liffey. The strategic positioning of this settlement on a prominent ridge overlooking the river not only offered natural defensibility but also presented considerable advantages for the facilitation of early trade. The sustained presence of human activity in the Cornmarket area for over a millennium underscores its enduring role as a central and vital location within the city of Dublin. The initial benefit provided by the ford likely established this area as a crucial nexus for subsequent urban growth and development.
The appellation "Cornmarket" was adopted for this area following the erection of a notable marble water cistern in 1308. This public amenity was commissioned by Jean le Decer, who served as the Mayor of Dublin, and was situated in close proximity to Newgate Street. The construction of such a significant structure suggests a growing formalisation of the area as a centre for commercial activity during this period. Newgate, which functioned as a principal gateway in the city wall on its western side, and is now encompassed by the Cornmarket, further contributed to the area's burgeoning popularity as a place for the sale of grain. This directly addresses the primary function that the Cornmarket would come to serve in the ensuing centuries. The economic importance of the Cornmarket in its early years was further underscored by King John's Charter. This royal decree mandated that foreign merchants were permitted to purchase only specific commodities – namely corn, hides, and wool – exclusively from the citizens of Dublin, thereby establishing the Cornmarket as a vital node within the city's broader economic framework. The erection of the water cistern appears to have been a pivotal event that facilitated the area's recognition as a dedicated marketplace for corn. Furthermore, the royal charter served to cement its significance within the larger trade networks operating in the city at the time.
Beyond its primary function as a trading hub, the early Cornmarket area also served other public purposes. To the northwest of the Cornmarket, the Bull Ring was a designated space for martial combat training. Historical records indicate that from at least the reign of Elizabeth I, the city's youth would gather here four times annually to receive instruction in military skills. This suggests that the area's significance extended beyond mere commerce into aspects of public life and civic engagement. The Brehon Laws, an ancient Irish legal system, provide evidence of the early cultivation of corn in Ireland. During the medieval period, the Cornmarket played a critical role in the large-scale export of grain to England, Scotland, and Wales. This highlights the area's enduring agricultural and economic importance on a broader scale. Records from the 14th century, including complaints registered against bakers and documented fluctuations in the price of wheat, offer insights into the Cornmarket's integral role in the city's food supply mechanisms and overall economic stability. Keyzar's Lane, which connected the Cornmarket to Cook Street, became the site of a significant event in 1496 when Mayor Jenico Marks was fatally wounded whilst attempting to quell a disturbance among the city's inhabitants. This incident suggests that the area was not always peaceful and could be subject to social unrest. Furthermore, from 1485, Newgate Prison was initially situated within the Cornmarket area, indicating a more sombre aspect of its early history, as it served as the city's primary place of detention. The initial history of the Cornmarket area reveals a dynamic and multifaceted space that was central to the life of early Dublin. It functioned not only as a vital centre for trade but also as a venue for public gatherings, military exercises, and even as the location of the city's principal prison, demonstrating its pivotal role in the social and economic fabric of the time.
Throughout the Middle Ages, the Cornmarket flourished as a vital centre for the grain trade, solidifying its position as an important and busy part of the city. The establishment of St Thomas's Abbey in the 12th century, located near what is now Thomas Street to the north of the Cornmarket, further contributed to the prosperity and commercial activity of the broader area known as the Liberties. Thomas Street, in particular, evolved into a vibrant marketplace, attracting merchants and traders and enhancing the economic dynamism of the entire district. The strategic location of the Cornmarket in proximity to significant religious and administrative hubs, coupled with its established role in the grain trade, likely underpinned its sustained prosperity during these centuries. The subsequent development of the Liberties as a thriving commercial area further amplified the economic activity in the vicinity of the Cornmarket.
However, by the early 18th century, the primary location of the Cornmarket underwent a significant change, being relocated to Thomas Street. This move was necessitated by the increasing congestion in the original area, largely attributed to the activities of individuals known as "Pluckers in." These people would stand in the streets, actively trying to entice potential customers into nearby shops, thereby impeding the flow of traffic and making passage through the Cornmarket increasingly difficult. This relocation marked a notable shift in the area's principal function as the central marketplace for grain. Following this move, the original Cornmarket area experienced a change in its character and the types of businesses operating there. It became predominantly occupied by haberdashers, who dealt in small items for sewing, woollen drapers, who traded in woollen cloth, and dealers in linens. This transition indicates a move away from its specific role as a grain market towards a more diversified mercantile area catering to different needs. In the early 19th century, the Wide Streets Commission was established with the aim of improving the layout and flow of traffic within Dublin. The efforts of this commission eventually led to the disappearance of the physical corn market hall that had been situated on Thomas Street. This reflects the impact of planned urban development initiatives on the area's physical infrastructure and historical function. The early 19th century also witnessed the construction of a new Corn Exchange on Burgh Quay. This development further diminished the significance of the original Cornmarket area as the primary location for trading in grain. The establishment of this new, purpose-built facility highlights the influence of evolving urban needs and infrastructure on the historical roles of different areas within the city. Additionally, Newgate Prison, which had been located in the Cornmarket since 1485, was relocated to Green Street in 1781. This change further altered the character of that particular part of the Cornmarket area. The functional and physical changes experienced by the Cornmarket area over time illustrate the dynamic nature of urban development and the ways in which different parts of a city adapt to evolving economic and social conditions.
Despite the relocation of the main corn market, the area around the original Cornmarket and Christchurch continued to be a bustling part of medieval Dublin. Tradespeople and craftspeople maintained a strong presence, providing essential services and goods to the town's inhabitants. The area we now recognise as Cornmarket has largely been shaped by 20th-century urban planning, specifically the widening of roads to create the thoroughfares of High Street and Bridge Street. This significant physical alteration has redefined the area's layout and likely influenced its contemporary atmosphere. The Liberties area, which encompasses the Cornmarket, also underwent substantial industrial development in subsequent centuries. Industries such as brewing, distilling, tanning, and weaving became prominent, contributing to the diverse and evolving character of the area over time. While the Cornmarket itself transitioned away from its primary role as a central grain market, the surrounding district remained a vital hub of commercial and industrial activity, demonstrating its capacity to adapt to the changing economic landscape of the city. The 20th-century road widening project represents a more recent and impactful intervention that has shaped the physical form of the Cornmarket as it exists today.
Presently, the area known as Cornmarket primarily functions as a busy transportation corridor, with High Street and Bridge Street serving as major traffic routes. Despite this modern infrastructure, remnants of the area's rich history can still be discerned. Sections of the old city wall, which once formed the boundary of medieval Dublin, are preserved at Cornmarket and in Lamb Alley. Additionally, St Audoen's Arch stands as the sole surviving gateway to the old city, providing a tangible link to its medieval past. The area's proximity to Christchurch Cathedral, a significant architectural and historical landmark, continues to draw visitors and contributes to the area's overall character. Notably, Cornmarket Group Financial Services Ltd., a financial services company offering investment and insurance brokerage predominantly to public sector employees, maintains its Dublin office at Christchurch Square, Dublin 8. The presence of this substantial commercial entity, named after the area, is a significant aspect of its contemporary status. Furthermore, the Cornmarket and Christchurch area serves as a location for filming, suggesting that it retains a degree of visual appeal and historical ambiance. The current status of the Cornmarket area reflects a confluence of its historical legacy and modern urban functions, primarily serving as a vital artery for transportation whilst still holding pockets of historical and commercial relevance.
Historically, the area's commercial activities included haberdashers, woollen drapers, and linen merchants. Today, the commercial activities in the Cornmarket area are varied. Cornmarket Group Financial Services Ltd. stands as a major business presence, as mentioned previously. Retail businesses also operate in the area, such as Farrow & Ball, a paint and wallpaper shop located at 14-15 Cornmarket. Additionally, MRCB occupies the premises at 10-13 Cornmarket, functioning as a commercial property that houses retail spaces, offices, and a dental clinic. The vicinity of Christchurch Square further contributes to the commercial landscape, featuring establishments such as the Leonardo Hotel Dublin Christchurch 20, a Spar convenience store 61, and a variety of other retail outlets and service providers. The current mix of businesses in the Cornmarket area reflects its transformation from a specialised grain market to a more general urban commercial zone, catering to a diverse range of needs and services.
The overall atmosphere of the Cornmarket area today is characterised by its function as a busy thoroughfare for vehicular traffic. This suggests a dynamic and potentially high-energy environment. However, the presence of significant historical remnants, such as the surviving sections of the medieval city wall and St Audoen's Arch, imbues the area with a tangible connection to its rich past, lending a sense of historical character amidst the modern activity. The close proximity of Christchurch Cathedral, a prominent landmark with centuries of history, further contributes to the area's historical and potentially tourist-oriented ambiance. The wider Liberties area, in which the Cornmarket is situated, is known for its diverse and vibrant atmosphere, featuring an eclectic mix of antique shops, vintage boutiques, art galleries, bars, and cafes. Moreover, the area surrounding Christchurch Square offers a variety of restaurants, cafes, and bars, contributing to the local vibrancy. The present-day character of the Cornmarket area is therefore a blend of the functional aspects of a major transportation route and the enduring presence of its medieval heritage, enhanced by the cultural and commercial activity of the surrounding Liberties district.
The Cornmarket area of Dublin is home to several buildings of significant architectural and historical note, each contributing to the rich tapestry of the city's heritage.
Christ Church Cathedral stands as a pivotal landmark, with its construction commencing around 1172, replacing an earlier wooden structure dating back to approximately 1030. This makes it one of the oldest buildings in Dublin, founded by the Norse King Sitriuc 'Silkbeard' and Dúnán, the city's first bishop. Throughout its history, the cathedral has been the site of significant events, including the 'crowning' of Lambert Simnel as Edward VI in 1487. In the 1870s, the cathedral underwent extensive restoration, largely funded by the whiskey distiller Henry Roe and overseen by the architect George Edmund Street. The architectural style is predominantly Gothic, with surviving Romanesque elements that date back to the 12th century. Notable features of the cathedral include its medieval crypt, which is the oldest surviving structure in Dublin 25, prominent flying buttresses, and a belfry that holds a world record for the number of change-ringing bells. The cathedral is also connected to Synod Hall (Dublinia) by a covered footbridge that was constructed around 1875.
Adjacent to the cathedral is Synod Hall, also known as Dublinia. This building was constructed around 1875 by George Edmund Street as part of the broader reconstruction of Christ Church Cathedral. It originally served as the Synod Hall for the Church of Ireland until 1983 and now functions as the Dublinia Viking and Medieval history museum. The architectural style is characterised as robust First Pointed Gothic, featuring simple buttresses, circular turrets, and plate tracery. The structure incorporates the tower of an earlier church that dated back to the 17th century. As previously mentioned, Synod Hall is linked to Christ Church Cathedral by a covered bridge, distinguished by its elaborate limestone detailing and stained glass windows.
Located at 10-13 Cornmarket stands a building constructed in 1877 as a warehouse for James H. Webb & Company, who were clothiers and woollen drapers. The design of this seven-bay, four-storey structure is attributed to McCurdy & Mitchell and features ornate granite detailing. Originally, the ground level was designed with large display windows, indicative of its commercial purpose. However, when the building was repurposed as local health offices in the 1950s, these ground-floor windows were bricked up. More recently, the building has undergone substantial refurbishment by HSE Estates, with the intention of housing the HSE Communications Office there. This renovation included the restoration of the timber sash windows on the main façade and the reinstatement of the original ground floor profile, reopening the building to the street.
At 14-15 Cornmarket, another notable building was constructed in 1866 to serve as a bank. It now operates as a shop, Farrow & Ball. The architect, Charles Geoghegan, employed an Italian Gothic style for this former Royal Bank building. The building is characterised by its decorative polychrome brick parapet and ornate render detailing on the ground floor. A more recent addition is a third storey with a flat roof.
St Audoen's Church, belonging to the Church of Ireland, stands as the sole remaining medieval parish church in Dublin, with its construction dating back to around 1190. It is dedicated to St Ouen of Rouen. The church features a 15th-century bell tower that houses the oldest set of church bells still in use in Ireland, cast in 1423. Its architectural style is a blend of Romanesque and Gothic, with later Neo-Gothic elements incorporated. Inside, the church contains the Portlester tomb, dating from 1482, as well as memorials to various notable families. The church is situated adjacent to the surviving portions of the old city wall and St Audoen's Arch.
Nearby stands St Audoen's Church, belonging to the Roman Catholic denomination. This church was built between 1841 and 1847, exhibiting a Greek Revival architectural style. The design is credited to Patrick Byrne, with a portico added later between 1898 and 1902 by George Ashlin. Due to the steeply sloping site, the church incorporates a double-level crypt at the rear. It is also notable for housing the National Shrine of St Anne.
Although no longer standing, the site of Newgate Prison holds historical significance. It was initially located in the Cornmarket area from 1485, serving as the primary prison for the city. Before its use as a prison, it functioned as one of the city's main gates. In 1781, the prison was relocated to Green Street. The original site of Newgate Prison is now occupied by Saint Michan's Park. The prison played a notable role in the penal history of Dublin for several centuries.
Another historically important structure, no longer extant, is the Corn Market House on Thomas Street. Completed in 1725, it was one of Dublin's earliest dedicated corn exchanges and was situated near Newgate and the Black Dog jail, in the area now often referred to as Cornmarket. It was a long, two-storey building featuring an arcaded facade with 13 arches and a central cupola. Due to its inconvenient location and the obstruction it caused to street traffic, the Corn Market House was demolished in 1818 by the Wide Streets Commission.
The site of the Black Dog Prison also contributes to the area's history. Located in Newhall Market, which is now known as Cornmarket, it was built on the grounds of Browne's Castle. Before becoming a prison, it operated as a tavern, from which it derived its name, and served as a place of confinement from at least the 17th century. From the early 18th century, the Black Dog Prison functioned as Dublin's primary debtors' prison. By the late 18th century, it was replaced by newer prisons, including the relocated Newgate Prison and a new Sheriff's Prison on Green Street. The site of the Black Dog Prison is situated between Upper Bridge Street and St Augustine Street, to the north of Cornmarket, and no physical remains of the structure are currently visible.
The Cornmarket area and its surroundings have witnessed recent developments and are subject to planned changes that will shape its future.
Recent developments include the refurbishment of the building at 10-13 Cornmarket by HSE Estates. This project aimed to house the HSE Communications Office within the premises and involved the restoration of the building's original facade. Additionally, a building at 61-63 Thomas Street has been undergoing redevelopment to transform it into a multipurpose space that will include a large office area and a new restaurant. The property located at 12-13 Cornmarket & 7/11 Augustine Street has been put up for sale as a retail investment opportunity. Furthermore, the Land Development Agency (LDA) has unveiled plans for the redevelopment of the Digital Hub campus, situated near Thomas Street. These ambitious plans envision the creation of affordable housing alongside commercial, cultural, and community facilities. The wider Liberties area, in which the Cornmarket is located, is also the focus of ongoing regeneration efforts by Dublin City Council, including the implementation of the Liberties Greening Strategy. These recent activities indicate a renewed focus on the area, balancing the preservation of its heritage with the introduction of contemporary uses.
Looking ahead, several planned changes are expected to further transform the Cornmarket area. The LDA's masterplan for the Digital Hub site is anticipated to be finalised, with the phased delivery of the proposed development commencing from 2024 onwards. There is also the potential for additional development and conservation projects within the broader Liberties area, driven by Dublin City Council's strategic initiatives. Notably, Cornmarket financial services has introduced a 'Sustainable Business Impact Award,' suggesting a growing corporate emphasis on environmental responsibility and community engagement. These planned changes indicate that the future of the Cornmarket area will likely be characterised by a combination of private sector development, public sector-led regeneration projects, and an increasing awareness of the importance of sustainability and community involvement in urban development.
In conclusion, the Cornmarket area of Dublin presents a rich and layered history, evolving from its earliest origins as a strategic settlement and river crossing to its significant role as a central marketplace for grain. Over the centuries, the area has witnessed substantial development and change, including the relocation of the market and its subsequent transformation into a hub of commercial and industrial activity. Today, whilst primarily functioning as a busy transportation route, the Cornmarket retains its historical significance through surviving remnants of its medieval past and its proximity to iconic landmarks. Notable buildings such as Christ Church Cathedral, Synod Hall, and the former commercial warehouses stand as testaments to the area's architectural heritage, whilst the sites of Newgate Prison and the Corn Market House serve as important reminders of its historical functions. As the Cornmarket area looks to the future, recent developments and planned changes indicate a continued process of urban evolution, balancing the preservation of its unique heritage with the introduction of new uses and a growing focus on sustainable and community-oriented development. The Cornmarket remains a vital part of Dublin's urban fabric, reflecting the city's dynamic history and its ongoing adaptation to contemporary needs.
ANTIQUES DEALER
O'SULLIVAN ANTIQUES ON FRANCIS STREET [WELL WORTH A VISIT EVEN IF YOU ARE ONLY WINDOW SHOPPING]
Having rented a house just off Francis Street for about a year in the late 1970s, I must admit I enjoyed living there. However, the area has changed considerably for the better since then, and I particularly appreciate the recent upgrade to Francis Street itself. I hope the improvements planned for Meath Street prove equally successful.
O'Sullivan Antiques stands as a notable establishment on Francis Street in Dublin, a thoroughfare renowned for its historical significance as the heart of the city's antique trade.
Since its foundation in 1990, the business has become an integral part of this vibrant district, contributing to its enduring reputation as a destination for those seeking unique and historical items. Francis Street itself boasts a rich history, evolving over centuries to become the central point for antique commerce in Dublin.
From its very beginning, O'Sullivan Antiques strategically positioned itself on Francis Street, a location long recognised as Dublin's antique trade hub. This deliberate choice suggests an immediate intention to become a key player in the established market. The business quickly established a specialisation in "fine Georgian and Regency period furniture," later expanding its offerings to include pieces from the Victorian and Edwardian eras. Their inventory is particularly noted for featuring furniture crafted from high-quality materials such as mahogany, rosewood, satinwood, and walnut. This focus on specific historical periods and premium materials indicates a commitment to offering valuable and sought-after antiques.
Further solidifying its reputation within the industry, O'Sullivan Antiques holds membership in several prestigious antique dealer associations, including the Irish Antique Dealers Association, CINOA, and The Art and Antique Dealers League of America. These affiliations underscore the business's adherence to professional standards of practice and authentication, lending credibility and trust to its dealings. Demonstrating significant growth and ambition, O'Sullivan Antiques has also expanded its operations beyond Ireland to include a gallery in New York, USA. This transatlantic presence highlights the business's success in reaching an international clientele and accessing a broader market for fine antiques. The Dublin gallery itself is situated at the address 43-44 Francis Street, occupying a set of historically significant buildings that will be explored in greater detail later.
The timing of O'Sullivan Antiques' establishment in 1990 coincided with the cusp of a period of notable economic and cultural expansion in Dublin during the late 1990s and early 2000s. This timing may have provided a favourable environment for a business specialising in luxury items like antiques, as increased disposable income and a growing interest in heritage and historical artefacts could have contributed to a stronger market. Furthermore, the initial strategic decision to locate on Francis Street, coupled with memberships in esteemed associations, suggests a clear business strategy focused on gaining immediate credibility and attracting a discerning customer base interested in high-quality period furniture. This proactive approach to building a strong reputation likely played a crucial role in the business's sustained success and longevity within the competitive antique trade.
Francis Street has long been recognised as a significant location for those interested in fine furniture and the skills of accomplished craftspeople, with its reputation dating back to the 18th century. This enduring association with quality and craftsmanship provides a rich historical backdrop for O'Sullivan Antiques. To formally acknowledge and promote the area's unique identity, the established traders on Francis Street collaborated in October 2003 to create Dublin's first Antiques Quarter. This collective effort underscored the continued importance of Francis Street as a central hub for antique commerce in the 21st century, with O'Sullivan Antiques playing a part in this shared identity. To mark this significant development, a guide to Francis Street was published in 2003, showcasing its diverse array of antique shops, art galleries, and restaurants. This initiative demonstrates a unified approach among the businesses to attract visitors and reinforce the street's image as a premier destination for antiques.
The historical roots of Francis Street extend much further back in time, with its origins tracing to medieval Dublin. As early as 1200, it was known as Great Street, highlighting its significance as a major thoroughfare. Over the centuries, the street's name evolved, reflecting changes in the area's history and influence. By 1325, it was referred to as the King's Highway, and from 1337 onwards, it became associated with St. Francis, taking names such as St Francis's Street, St. Francis Street, and St Fraunces Street before settling on its current name by 1610. The name "Francis Street" itself originates from the Franciscan monastery that was established in the area in the 13th century, with the land for its foundation granted in 1235. This early connection to a significant religious order played a crucial role in shaping the area's development and identity. Adding to the historical fabric of the street is the Church of St Nicholas of Myra (Without), which has stood on Francis Street as a place of worship since at least the 12th century. This long-standing presence underscores the area's historical depth and its enduring importance within Dublin's social and religious landscape.
The transformation of Francis Street from a medieval thoroughfare to a specialised hub for the antique trade over centuries illustrates the dynamic nature of urban spaces and the persistent appeal of fine craftsmanship and historical artefacts. The progression from its early designation as "Great Street" to its 18th-century emergence as a centre for furniture and skilled artisans, culminating in its formal establishment as an Antiques Quarter in 2003, indicates a sustained economic and cultural focus on antiques in this specific location. Factors such as historical infrastructure, the presence of skilled artisans, and consistent market demand likely contributed significantly to this long-term trend. Furthermore, the collaborative spirit among the traders in 2003 to officially form and promote the Antiques Quarter suggests a strong sense of community and a shared dedication to preserving and enhancing Francis Street's reputation as a key destination for antique buyers. The publication of a guide served as a coordinated marketing strategy, indicating that the antique businesses recognised the advantages of working together to attract a wider audience and further solidify the street's esteemed reputation.
O'Sullivan Antiques' Dublin gallery is situated at 43-44 Francis Street. The buildings at this address hold significant historical value, believed to have been constructed around 1730. This places them among the earliest remaining structures on Francis Street, predating the establishment of O'Sullivan Antiques by over two centuries and linking the business to the street's early architectural heritage. Architecturally, the premises consist of a two-bay three-storey house to the north (number 43) and a two-bay two-storey house to the south (number 44), now unified by a full-width shopfront that was added later. This alteration likely reflects the evolving commercial function of the street over time.
Historical records from the 1860s reveal that number 43 was occupied by a whip maker, while number 44 served as a lodging house. These diverse uses illustrate the variety of commercial and residential activities that characterised Francis Street in the mid-19th century, highlighting its role in the daily life and economy of Dublin. By the early twentieth century, both numbers 43 and 44 were listed as a shop and dwelling, indicating a notable shift towards their primary use for commercial purposes and setting the stage for their eventual occupancy by an antique shop. O'Sullivan Antiques also extends to the adjacent building at 42 Francis Street. This terraced two-bay three-storey house was built around 1800 and in the 1830s was occupied by James Healy, who operated a grocer's and spirit dealer's shop. This provides a similar historical context of commercial use for the neighbouring building, further illustrating the street's commercial evolution. The late nineteenth-century shopfront that runs along the length of numbers 41 and 42 signifies a period of significant architectural change on this part of Francis Street, reflecting the increasing importance of retail and the desire for more prominent and appealing shopfronts.
The architectural characteristics of the buildings housing O'Sullivan Antiques, such as their early to mid-18th-century origins (Nos. 43-44) and the construction of No. 42 around 1800, clearly demonstrate the deep historical roots of the business's location. The fact that these structures have stood for centuries, witnessing significant periods in Dublin's history, adds a tangible layer of historical continuity that is particularly fitting for an antique shop. The transition in the use of these buildings from primarily residential and various commercial trades to a focus on retail, culminating in their current role as antique shops, mirrors broader patterns of urban development and the specialisation of commercial areas like Francis Street. The variety of past businesses, including a whip maker, a lodging house, and a grocer, indicates that Francis Street once served a wider range of needs for the Dublin community before it became predominantly known for its antique trade. This historical diversity contributes to the unique character of the street and provides a richer context for understanding its present-day identity as a hub for antiques.
Analysing customer reviews and testimonials available online offers valuable insights into the longevity and reputation of O'Sullivan Antiques since its establishment in 1990. These perspectives reflect the experiences of individuals who have interacted with the business over the past three decades. Recurring themes in customer descriptions include "high-quality antiques," the feeling of "stepping back in time," and the description of the shop as an "Aladdin's Cave". These positive sentiments highlight the core aspects of the business's appeal and its success in creating a unique and engaging shopping experience.
Reviews found on platforms like Google and Wanderlog generally portray O'Sullivan Antiques in a positive light. The business has received ratings of 3.9 out of 5 on Wanderlog based on Google reviews, and a perfect 5.0 out of 5 from another source. Many reviewers specifically mention the helpfulness and friendliness of the staff, contributing to a positive customer experience. While some reviews note that the items can be "expensive," they also consistently emphasise the "high quality" of the antiques on offer, suggesting that customers perceive the prices as justified by the value and authenticity of the merchandise. Notably, a testimonial from Daly Antique Services, a fellow business in the antique trade, praises O'Sullivan Antiques for their prompt service and the high quality of their work, indicating positive professional relationships within the industry.
The consistently positive feedback regarding the quality of the antiques and the unique atmosphere cultivated by O'Sullivan Antiques ("stepping back in time," "Aladdin's Cave") indicates that the business has successfully established a strong brand identity. This identity centres around offering a carefully curated selection of high-end, historically significant items and providing a memorable shopping experience for its customers. The recurring positive comments about the staff, coupled with the acknowledgment of higher prices for quality items, suggest a business model focused on delivering a premium experience with knowledgeable and attentive service, thereby justifying the cost for discerning buyers. This approach has likely contributed to the business's sustained success and longevity in the antique trade.
101 FRANCIS STREET
MOLLY'S BAR [101-103 FRANCIS STREET IN DUBLIN CITY]
Molly's Bar, located at 101-103 Francis Street in Dublin 8, occupies a pivotal position within The Liberties, a historically rich and dynamic neighbourhood in Dublin city. This report examines the evolution of this specific address, tracing its recent transformations within the hospitality sector.
To contextualise Molly's Bar's current presence, we will explore its immediate predecessors, the drag bar Doll Society and the establishment Societal Collapse, and their connection to the nearby Jackie's bar. Understanding the historical context of Francis Street itself is crucial to comprehending these changes. This thoroughfare boasts a history dating back to at least the medieval period. Records indicate it was known as "Great Street" around 1200 AD, evolving through "King's highway" in 1325, and finally becoming St Francis Street by 1610. This enduring presence underscores its continuous importance as a route and location within Dublin.
Beyond its role as a thoroughfare, Francis Street has held religious and social significance. A church has stood on this street since at least the 12th century, with the current St. Nicholas of Myra Church dating back to 1829. This church served as the registration point for Catholic births at the nearby Coombe Hospital from 1783 to 1967. Furthermore, the late 19th and 20th centuries saw Francis Street develop into a significant commercial hub, exemplified by the Iveagh Markets, which operated from 1906 until the 1990s on the site of a former brewery, Sweetman's, established in 1791.
Historical records from the 14th century confirm Francis Street's existence, and by the 18th century, it had become a bustling area inhabited by prosperous merchants and traders, even gaining a literary connection through Jonathan Swift. However, the early 20th century saw socio-economic shifts, leading to tenements and urban decay. More recently, Francis Street has undergone revitalisation, emerging as a centre for antique shops over the past 30 to 40 years, alongside new bars, restaurants, and retail outlets. Adding to its historical profile, Francis Street was also a recognised centre for clay pipe manufacture during the 18th and 19th centuries, evidenced by archaeological findings at numbers 134-143.
Focusing on 101-103 Francis Street, planning records from 2014 reveal a proposal for an additional storey to an existing four-storey mixed retail, office, and residential development. This indicates the building had already undergone significant development, establishing its current mixed-use nature. The same document mentions the demolition of the fire-damaged "The Horse and Jockey" pub for student accommodation, suggesting 101-103 Francis Street, or part of it, may have previously housed a public house.
Hotel booking websites list 101-103 Francis Street as the location for both a "2 Bedroom Apartment Near Historical Christchurch" and a "Stylish And Private Room In Central Dublin", confirming residential units within the building. Renewed planning permission in 2014 for an additional floor further supports this mixed-use development. This information suggests a significant redevelopment in the early 2010s, with retail or hospitality space at ground level and residential units above. The reference to "The Horse and Jockey" hints at a prior public house, setting the stage for its more recent hospitality incarnations.
The building transitioned into Doll Society, a drag bar, in spring 2023, operating for approximately 18 to 21 months before becoming Molly's Bar in December 2024. Doll Society was a vibrant, "pink brunch-focused bar" with a "Barbie feel," featuring neon signs, leather seating, and flower walls. It offered "savage cocktails," themed brunches, and drag performances, with "crazy performers dancing on tables." The bar aimed for an Instagram-friendly aesthetic, featuring a photo booth and a "pink sun-trap beer garden." Reviews praised its lively atmosphere and entertainment, though some noted service inconsistencies and crowding.
Preceding Doll Society was Societal Collapse, described as "kind of a cocktail bar with kind of food," which closed in early 2023. While details are limited, it appears to have been a similar venue.
Both Doll Society and Societal Collapse were operated by the same individuals as Jackie's bar at 43 Francis Street. Jackie's has a 1990s and early 2000s Irish nostalgia theme, evident in its decor, music, and "nostalgia filled cocktails." The shared ownership suggests a coordinated approach to the local hospitality market, with Jackie's focusing on general nostalgia and Doll Society on a flamboyant drag theme.
The most recent transformation occurred in December 2024 with the opening of Molly's Bar, a "normal" pub under the Galway Bay Brewery group. This represents a shift from a themed drag bar to a traditional brewery-owned pub, offering Galway Bay Brewery beers alongside classics.
Francis Street itself features a diverse nightlife, including Jackie's, The Liberty Belle (a traditional pub since 1845), and the former Anti-Social (a cocktail and fast food establishment). The recent addition of new bars and restaurants alongside antique shops indicates a growing hospitality sector.
The Liberties, where Molly's Bar is situated, has a rich history dating back to the 12th century. Its autonomy and distinct jurisdiction shaped its character. The area experienced periods of prosperity and hardship, from the influx of Huguenot weavers in the 17th century to the industrial era and subsequent urban decay. Recent revitalisation has blended antique shops and markets with new businesses and a growing cultural scene.
In conclusion, 101-103 Francis Street has undergone various transformations, reflecting the dynamic nature of Francis Street and The Liberties. From a potential former public house to themed cocktail bars and now a traditional pub, this location mirrors the neighbourhood's evolution. The address holds a significant place within Dublin's social and commercial history, reflecting the ever-changing urban landscape.
FULL MOON
FULL MOON AT CHRIST CHURCH [PAINT-A-BOX BY SARA MANEIRO REY]
Magical new artwork ‘Full Moon’ by Spanish artist Sara Maneiro Rey @sarosky.studio Artwork located at Winetavern Street/Cook Street @thelibertiesdublin 8.
CEASED TRADING 13 APRIL 2025
LUIGI MALONES FINAL DAY IN DUBLIN [SUNDAY 13 APRIL 2025]
Myself and a group of friends met up for a meal at Luigi Malones once a week for about seven years (2000 - 2008) so I was a bit upset when I discovered that the restaurant's final day was today.
My favourite restaurant Eatokyo On Capel Street closed at the end of January and I expect further bad news about another restaurant within the next month. I should also mention that Desi Crew on South Richmond Street has also closed a few weeks ago. Note: Eatokyo in Temple Bar has survived and is doing very well.
The establishment of the Luigi Malones brand in Ireland can be traced definitively to 1997. Multiple sources confirm that the first restaurant under this name opened in Stillorgan, a suburb of Dublin, during that year. This marks the formal beginning of the restaurant chain within the Irish market. My family home was in Stillorgan but I have no recollection of the restaurant in Stillorgan.
In 1999, a significant strategic move occurred with the relocation of the Dublin operation from Stillorgan to the heart of the city's cultural and nightlife quarter, Temple Bar. The new premises were located at 5-6 Cecilia Street , occupying two floors and a mezzanine level within a building noted for its historical significance, with records dating back centuries. This relocation positioned the restaurant prominently within a high-footfall area, catering to both locals and the significant tourist traffic in Temple Bar.
The brand identity cultivated during this period centred around the motto "For Food – For Fun – For Friends!". The menu concept drew inspiration from international travels, aiming for broad appeal with a mix of cuisines. Core offerings included popular Italian-American style dishes such as freshly made pasta, pizzas, and Buffalo wings, alongside signature desserts like their Toblerone Cheesecake.
Interestingly, promotional materials on the restaurant's own platforms reference an earlier connection to Munich, Germany, specifically mentioning serving Fischer's Helles beer there in the late 1980s. The narrative states, "When Luigi's moved to Ireland, we brought Fischer's with us". While this detail forms part of the company's self-presented story, potentially relating to a prior venture by the founders or a conceptual origin, it does not alter the documented founding date and location of the Irish Luigi Malones chain. The consistent reporting across various sources points to Stillorgan in 1997 as the inception point for the business entity analysed in this report. The phrasing used regarding the move to Ireland further suggests that the Irish operation, starting in 1997, is considered distinct from any previous activity in Munich.
Cork Branch
The expansion into Cork occurred in 1999, coinciding with the move to Temple Bar in Dublin. This suggests a period of significant growth and investment for the brand. The Cork restaurant was established at 1-2 Emmett Place, a prime city-centre location directly opposite the Cork Opera House.
Described as one of the largest restaurants in Cork , the venue became known for its distinctive interior decor. Notable features include a large, two-sided clock reportedly originating from St. Pancras Station in London, serving as a centrepiece around the bar area. There is also an anecdotal belief that one of the propellers from the historic Vickers Vimy aircraft, flown by Alcock and Brown on the first non-stop transatlantic flight, is displayed within the Cork restaurant , adding to its unique character.
The Cork branch successfully established itself and has demonstrated considerable longevity. It remained operational following the closure of the Dublin branch in April 2025. As part of the Dublin closure announcement, it was confirmed that the Cork restaurant would honour any outstanding gift vouchers issued by the Dublin location. The restaurant maintains an active presence, listed on various dining platforms with current operating hours and contact information readily available. It appears integrated into the local dining scene, mentioned in contexts ranging from family outings to general restaurant discussions.
Limerick Branch
Luigi Malones also operated a branch in Limerick City. It was situated in a prominent location on O'Connell Street , opposite The Royal George hotel , in premises that historically housed a Woolworths store and, even earlier, the original site of a local bank. Like its sister restaurants, the Limerick venue was noted for its decor and catered to a broad audience, including families, with specific meal deals and kids' menus advertised. Its presence is confirmed by mentions in online forums discussing Limerick dining options around 2006.
However, the Limerick expansion ultimately proved unsuccessful. The restaurant ceased trading in January 2011. News reports from June 2011, discussing plans by another restaurant group to take over the vacant unit, explicitly state that the Luigi Malones closure occurred in January of that year due to "financial difficulties".
The failure of the Limerick branch represents an important data point in the chain's history. Occurring more than a decade before the Dublin closure, it demonstrates that the brand was not immune to financial pressures and that profitability challenges existed within the group well before the difficulties experienced in Dublin in the 2020s. This suggests that factors beyond localised issues, potentially related to expansion strategy, operational costs, or specific market conditions in Limerick at the time, could impact the viability of individual branches within the chain. It serves as an early indicator that the group's financial health was not uniformly robust across all locations or throughout its entire operational history.
The closure of the Luigi Malones restaurant in Temple Bar on April 13, 2025, marked the end of a 28-year trading history at that location. Over the years, it had become a well-known establishment, described as "iconic" or "beloved" and frequented by various groups, including long-term patrons and visiting students.
The closure announcement released by the restaurant operators presented a clear narrative regarding the decision to cease trading.
Primary Catalyst - Street Works: The immediate and decisive factor cited was the impact of extensive street works undertaken directly outside the restaurant premises in early 2025. The announcement expressed "deep frustration" that the business had been "effectively barricaded" for three months.
Critically, these works significantly overran their initially communicated schedule; the operators stated they were told the project would take one month but it ultimately lasted over three. This prolonged disruption directly caused turnover to "plummet". The resulting financial loss was described as "the straw that broke the camel’s back," making continued trading impossible without damaging stakeholders. This explanation was consistently reported across multiple news outlets covering the closure.
Contributing Factors: Alongside the acute impact of the street works, the owners acknowledged underlying pressures. These included the "gradual but general decline in trade in Dublin City Centre for various reasons known to myself and others compounded by "inflationary pressures that have made it impossible for our operation to trade at a profit". This aligns with broader commentary on the challenges facing the hospitality sector, with the CEO of the Restaurants Association of Ireland noting the "razor-thin margins" in the industry when commenting on the closure.
CHAPELIZOD ROAD
BOTH ENDS OF CHAPELIZOD ROAD [I WAS TOO LAZY TO WALK THE FULL LENGTH OF THE ROAD]
Today I had decided to visit Chapelizod but I decided to get of the bus at the Islandbridge entrance to Phoenix Park and explore the Magazine Fort. My revised plan was to walk to Chapelizod but the sun proved to be overpowering so I limited myself to exploring the two ends of Chapelizod Road.
Chapelizod Road, running along the north bank of the River Liffey, offers a blend of historical charm, scenic views, and access to some of Dublin's most treasured spaces. Here's a look at what makes this route noteworthy:
Chapelizod Village:
Chapelizod itself is a historic village with a distinct character. It's considered one of Dublin's oldest villages.
Its history is intertwined with the River Liffey and the nearby Phoenix Park.
The village retains a sense of its past, with older buildings and a traditional atmosphere.
The village offers a selection of pubs, restaurants, and local shops, providing a pleasant stop for those traveling the road.
It provides a quieter atmosphere than the very center of Dublin city.
Phoenix Park Access:
Gateways to the Park:
Chapelizod Road provides crucial access to Phoenix Park, one of Europe's largest enclosed city parks.
This means that those traveling the road can easily access the park's many attractions.
Phoenix Park Attractions:
Within Phoenix Park, you'll find:
The Fallow deer herd.
Dublin Zoo.
Áras an Uachtaráin (the Irish President's residence).
Farmleigh House and Estate.
The Irish National War Memorial Gardens.
And vast areas of green space for recreation.
River Liffey Scenery:
A significant feature of Chapelizod Road is its proximity to the River Liffey.
The road offers scenic views of the river and the surrounding landscape.
The Liffey's banks provide opportunities for walking and enjoying the natural environment.
Key Considerations:
Accessibility:
Chapelizod Road is a key route for those traveling to and from Dublin city centre.
It is serviced by public transport, and also provides routes for cyclist, and pedestrians.
Historical Atmosphere:
The area surrounding the road has a very rich history, and that history is very present within the buildings, and the general atmosphere of the area.
In essence, Chapelizod Road is more than just a thoroughfare. It's a route that connects historical Dublin with natural beauty, and access to one of the cities most beloved parks.
TUDOR ROAD
TUDOR ROAD [RANELAGH AREA OF DUBLIN]
Tudor Road is located in the desirable Dublin 6 area, specifically within the Ranelagh neighbourhood. This area is known for its affluent residential character, its proximity to Dublin city centre, and its vibrant local amenities. Here's a breakdown of what makes Tudor Road
It is primarily a residential street, characterised by attractive and often substantial family homes.
The area is highly sought after, which contributes to the relatively high property values.
THE DOOR TO CHINA
THE DOOR TO CHINA IS A MURAL NOT A FIVE STAR RESTAURANT [ON LANE BEHIND HOUSES ON MOYNE ROAD]
It has come to my attention that some online sources incorrectly identify 81 Moyne Road, Rathmines, as the former location of a Chinese restaurant, "The Door To China," purportedly boasting a five-star rating. This is a misrepresentation. In actuality, 81 Moyne Road is a private residence. The confusion may stem from the presence of a street art mural located on a lane situated behind the property.
To clarify the nature of 81 Moyne Road, it is a Victorian home situated in a desirable residential area. Property listings describe the address as being within the "lush and leafy heartland of Dublin 6," a location noted for its proximity to both St Stephen's Green and the Beechwood Luas stop. The residence itself, having undergone a comprehensive refurbishment and extension, offers approximately 2,200 square feet of living space.
The accommodation comprises an entrance hall, drawing room, dining room, open-plan study, kitchen, and family room. The contemporary extension features floor-to-ceiling glazing, providing ample natural light and views of the rear garden. Upstairs, the home includes four bedrooms and a family bathroom. The property also benefits from a large, private, walled and fenced rear garden with a decking area.
Key features of the residence include high ceilings, sash windows, ornate plasterwork, and fireplaces, blending period charm with modern amenities such as a bespoke kitchen with granite worktops and designer appliances.
ERROR MESSAGE
I PHOTOGRAPHED BOLTON STREET USING A CANON 5D MKIII [I HAD A CANNOT COMMUNICATE WITH BATTERY ERROR]
It should be mentioned that the batteries are/were original Canon product and I have included a detailed discussion of the issue which may be of interest I you ever consider buying a used Canon 5D MkIII.
On 6 April 2025, I photographed Bolton Street using a Canon 5D Mark III. This camera, which I acquired a few years ago, has recently presented some intriguing technical challenges. My local camera dealer, aware of my extensive collection of Canon lenses (despite my shift to Sony mirrorless systems), offered me an unused 5D Mark III at a very favourable price. The camera had been won in a competition and remained unused for several years. I agreed to purchase it, provided he could supply a GPS attachment.
Currently, I am in the process of evaluating my photographic equipment, deciding which cameras to retain. I opted to use the Canon 5D Mark III for a week. However, upon powering it on, I encountered a 'battery communication error'. Subsequent attempts with different batteries yielded the same error, and the display panel went blank, rendering the camera unresponsive.
After several hours of troubleshooting, I discovered that removing the SD card allowed the camera to restart. Inserting an old CompactFlash (CF) card enabled normal operation. Reinserting the original SD card caused the camera to crash. Replacing it with a new SD card resolved the issue.
This problem prompted me to investigate the Canon 5D Mark III's operational characteristics, particularly concerning memory card compatibility and reported issues.
Canon 5D Mark III: General Operational Considerations
The Canon 5D Mark III, although a robust professional DSLR, has documented limitations. Some users report less flexibility in RAW file shadow recovery and inferior high ISO performance compared to the Canon 6D. The autofocus system, while adequate, exhibits weaker low-light sensitivity at its centre point than the 6D. This indicates trade-offs in specific photographic scenarios.
The 61-point autofocus system, while offering advanced tracking, requires considerable expertise to master, potentially leading to challenges in capturing fast-moving subjects. The complexity of this system suggests sensitivity to operational conditions and external factors, such as memory card insertion.
Additionally, reports of image sharpness issues, often attributed to lens calibration or wide-aperture lens characteristics, highlight potential operational challenges.
One particularly relevant account describes erratic camera behaviour following a low battery state, including spontaneous photo capture and unresponsive controls. Prolonged removal of the battery, lens, and memory card, to discharge an internal 'keep alive' capacitor, resolved the issue. This suggests the camera’s electronic systems are sensitive to power fluctuations, potentially linking my battery communication error to a past low battery or unexpected power-down scenario affecting peripheral communication.
SD Card Compatibility and Limitations
The Canon 5D Mark III features dual memory card slots for CF and SD cards. However, the camera’s SD card implementation has limitations. It is not recommended for high-speed burst shooting, as speeds are capped at approximately 20MB/s, despite supporting UHS-I SD cards. When both CF and SD cards are inserted, write speed defaults to the slower card, hindering CF card performance.
The camera does not support UHS-II SD cards, limiting high-speed card potential and potentially contributing to communication issues. Some photographers advise using the SD card slot sparingly, primarily for wireless transfers via Eye-Fi cards, and relying on CF cards for image capture.
Reports of the camera not stopping writing to both SDXC and CF cards, while different from my issue, indicate potential instability in memory card handling. Recommendations include formatting cards within the camera and using faster CF cards.
Simultaneous use of both card slots can reduce the camera’s buffer size, suggesting shared system resources and potential performance degradation or communication errors.
Firmware Updates and Memory Card/Battery Issues
Firmware updates often address bugs and improve performance. The latest firmware, version 1.3.6, primarily corrects PTP communication and update process vulnerabilities, not directly addressing SD card or battery communication issues.
However, earlier firmware, such as version 1.2.1, addressed memory card-related problems, including LCD monitor freezes during Live View and issues with Eye-Fi cards, demonstrating Canon’s awareness of memory card compatibility.
User Experiences with Similar Issues
User forums reveal reports of physically damaged SD card slots and instances where the camera powers on without an SD card but shuts down upon insertion. This mirrors my issue, suggesting a link between SD card insertion and power system errors. Recommendations include reformatting SD cards (FAT32 for cards 32GB or smaller, exFAT for larger cards) and trying new cards.
Other users report 'Error 2 - card cannot be accessed' and complete SD slot failures, further indicating potential SD card interface issues.
Interplay Between SD Card and Battery Communication Errors
While battery communication errors can occur independently, my issue appears triggered by SD card insertion. It is possible my 'battery communication error' is a power-related issue stemming from SD card communication difficulties. The camera might draw excessive power or experience instability when accessing the SD card, resulting in a battery monitoring error.
Cleaning battery contact points is a general troubleshooting step. Canon’s error code documentation does not explicitly mention SD card-triggered battery communication errors, suggesting it may be uncommon or misreported.
The fact that memory card issues can cause complete power-offs indicates a deep integration between memory card interface and power management, supporting the possibility of a link between these issues.
SD Card Age, Speed Class, and Brand Impact
The Canon 5D Mark III is compatible with SD, SDHC, and SDXC cards, with a suggested maximum capacity of 128GB, although larger cards are often supported. The camera operates UHS-I cards at Class 10 speeds and does not support UHS-II cards.
PARNELL STREET
DEMOLITION WORK IS ONGOING ON PARNELL STREET [A NEW HOTEL WILL BE LOCATED HERE]
Demolition and construction are underway on Parnell Street, Dublin 1, where a new hotel development is planned. This project involves significant alterations to several existing structures, including a protected structure at No. 3 Parnell Street (RPS Ref. 6422), and will extend to include Nos. 4, 5, and 6 Parnell Street, No. 57a Jervis Lane Upper, and Nos. 58 and 59 Capel Street, which back onto Jervis Lane Upper.
The development will consist of:
Demolition of No. 57a Jervis Lane Upper and the existing single-storey structures at Nos. 4-6 Parnell Street.
Demolition of Nos. 58 and 59 Capel Street, with the exception of the west-facing facades, the shared party wall, and the original internal structure of No. 58.
Refurbishment of the west-facing facades of Nos. 58 and 59 Capel Street to their original state, including cleaning and re-pointing the existing brickwork, and installing new traditional-style timber windows to replace existing non-original windows.
Replacement shopfronts, with associated lighting and signage, will be provided for Nos. 58 and 59 Capel Street.
Internal and external alterations to the three-storey over basement building at No. 3 Parnell Street (a protected structure) to accommodate the new hotel. This includes cleaning and re-pointing the original brickwork, installing new traditional-style timber windows in existing openings on the north-facing facade, retaining and refurbishing the existing chimney stack, and partially removing internal partitions/walls to facilitate the reconfiguration of the ground, first, and second floors. This will enable the creation of an entrance foyer/lobby, bedrooms, and a connection (including a new feature atrium to the rear) to the new hotel development.
Replacement shopfronts will also be installed at No. 3 Parnell Street.
The Ryder's Row Triangle, bordered by Ryder's Row, Capel Street, and Parnell Street, has historically suffered from urban decay and anti-social behaviour. This decline is attributed to a combination of factors:
Historical Context: The area experienced the broader economic decline of Dublin's inner city during the latter half of the 20th century, leading to business closures and property dilapidation. Fragmented property ownership further complicated redevelopment efforts.
Economic Factors: The growth of suburban shopping centres and online retail impacted traditional high street shops, resulting in increased vacancy and neglect.
Social Factors: Derelict buildings and vacant spaces attracted anti-social behaviour, creating a negative perception and hindering investment.
The presence of the Dutch Billy house (a protected structure) on Capel Street and a previously uncooperative bicycle yard on Ryder's Row presented significant obstacles to comprehensive regeneration.
The Dublin City Council's response has been criticised for its slow pace, potentially due to:
Lack of political will.
Financial constraints.
Legal challenges from property owners.
Recent developments include the relocation of the bicycle yard and the creation of a pocket park. However, the derelict buildings on Parnell Street remain a concern.
While various redevelopment proposals have been made, concrete plans for the wider Ryder's Row Triangle are still pending.
The ongoing construction at No. 3 Parnell Street, across from the triangle, is a mixed-use development featuring a four-star hotel (approximately 150 rooms), retail space (shops and restaurants), and residential apartments (one and two-bedroom units). The project will also include a public plaza and a rooftop terrace. This development aims to contribute to the revitalisation of the area and create new jobs. Previous estimations of a 2025 completion date are optimistic, and it is likely to continue past this date.
BOLANDS MILLS
THE REDEVELOPED BOLANDS MILLS [PROGRAMME IS ALMOST COMPLETE]
The redevelopment of Bolands Mills in Dublin has significantly transformed the area, with Google playing a pivotal role.
Historical Significance:
Bolands Mills holds historical importance, notably its association with the 1916 Easter Rising. The site's industrial heritage, including 19th-century warehouses, has been incorporated into the modern development.
Google's Influence:
Google acquired the site and has developed it into a mixed-use space, including office space for its engineering hub in Ireland.
A key feature of Google's involvement is the provision of 46 discounted rental apartments for local key workers, managed by Clúid Housing. This initiative aims to support those essential to the community.
Mixed-Use Development:
The redevelopment includes:
Office spaces.
Residential apartments.
Retail outlets and restaurants.
Public spaces.
Public Spaces and Community Retail:
The project emphasises creating vibrant public spaces, including a new civic plaza overlooking the waterfront at Grand Canal Dock.
Planned retail outlets and restaurants aim to provide amenities for residents and workers, fostering a lively community atmosphere. This includes bars, bakerys, food halls, and coffee shops.
Completion Timeline:
It was indicated that the commercial spaces were planned to be opened on a phased basis between late 2024 and early 2025.
The apartments for key workers are scheduled to be ready for occupation in Spring 2025.
Impact of Google:
Google's investment has revitalised a previously derelict site, contributing to the regeneration of the Dublin Docklands.
The company's commitment to providing discounted housing for key workers demonstrates a focus on community support.
The development has created a significant employment hub, further solidifying Google's presence in Dublin.
APRIL FOOLS DAY 2025
ANOTHER VISIT TO TEMPLE BAR [THIS TIME I USED A SIGMA DP3 QUATTRO]
The Sigma Quattro Dp3, renowned for its exceptional image quality at low ISO settings, is a camera with distinctive strengths and weaknesses. Its unique Foveon X3 sensor captures colour in a way that yields images often compared to medium format, boasting remarkable detail and colour accuracy. The fixed 50mm f/2.8 lens (75mm equivalent) complements the sensor, contributing to the images' sharpness. Furthermore, the camera exhibits robust build quality.
However, the Dp3's unconventional design results in awkward ergonomics. Its performance is notably slow, with sluggish autofocus and overall operation, rendering it unsuitable for fast-paced photography. The Foveon sensor struggles in low-light conditions, producing noticeable noise at higher ISO settings. Battery life is inconsistent and often frustratingly short, varying from 40 to 80 images per charge. Additionally, the required Sigma Photo Pro software is considered clunky and challenging to use. Crucially, it lacks features common in other cameras, such as video recording and image stabilisation.
These limitations, including slow performance, poor high ISO performance, and unusual ergonomics, relegated the Dp3 to a niche market. It is not a general-purpose camera, but rather a specialised tool for specific photographic applications. The demanding workflows necessary to maximise its potential further limit its appeal.
BUILDINGS OF INTEREST
DESI CREW RESTAURANT
I have not seen the menu so I can only guess as to what you can expect until I actually have a meal there [note I did attend the opening and was impressed by the sample dishes]
"Desi Crew" is aiming to bring the vibrant and diverse flavours of South Indian street food to Dublin! Here's what you might expect if you visit:
Food:
Focus on South Indian cuisine: Expect dishes from the regions of Tamil Nadu, Kerala, Karnataka, and Andhra Pradesh. Think dosas (thin, crispy crepes made from fermented batter), idlis (steamed rice cakes), vadas (savory lentil doughnuts), and uttapams (thicker pancakes with toppings).
Street food style: This likely means the food will be casual, flavourful, and perhaps served in a way reminiscent of street stalls in India.
Variety of chutneys and sambars: South Indian food is known for its accompanying sauces and dips. You'll probably find coconut chutney, tomato chutney, sambar (a lentil-based vegetable stew), and perhaps even some more unique regional chutneys.
Spice levels: South Indian food can be spicy, but a restaurant catering to a wider audience will likely offer a range of spice levels to suit different palates. Don't hesitate to ask for your preferred level of heat.
Fresh ingredients: Given the emphasis on street food, you can hope for fresh, vibrant ingredients and bold flavours.
Atmosphere:
Casual and lively: Street food is all about a bustling, energetic atmosphere. The restaurant might have bright colors, lively music, and a casual setting.
"Desi Crew" is a promising addition to Dublin's food scene, offering a taste of authentic South Indian street food. If you're looking for a casual, flavourful, and potentially spicy dining experience, it's definitely worth checking out!
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A NEW QUICK MENU IS AVAILABLE BELOW
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