DUBLIN 2014WILLIAM'S BACK CATALOGUE
BICYCLE SHED
Detailed Timeline
Pre-2019 (Decades Leading Up):
The Ryder's Row Triangle (intersection of Ryder's Row, Capel Street, and Parnell Street) suffers from commercial neglect and urban decay.
The O'Brien and Sons Bicycle Shed on Ryder's Row becomes a stark symbol of this decay, appearing unkempt with graffiti, contributing to negative public perception.
The decline of the bicycle shed reflects broader issues of dereliction in inner-city Dublin.
2019:
The Dublin City Council (DCC) initiates the "Ryder's Row/Parnell Street/Capel Street Area CPO, 2019" – a comprehensive Compulsory Purchase Order (CPO) targeting a large, fragmented land area of 1,393 square metres, including the bicycle yard at 13, 14/15 Ryder's Row, other properties, and parts of public footpaths.
The area is designated as a Strategic Development Regeneration Area (SDRA), providing the policy mandate for the DCC's actions and prioritising "high quality, higher density residential development" and "urban greening."
The use of a CPO indicates that voluntary acquisition from property owners was proving difficult.
January 2021:
Official records show 74 derelict properties on Dublin City Council's register.
14 November 2022:
The legal process for the CPO is finalised, and the land, including the former O'Brien and Sons Bicycle Shed, is formally vested in the Dublin City Council (DCC).
Following the transfer of ownership, the derelict structures, including the bicycle shed, are subsequently demolished.
Post-Demolition (Date not specified, but after Nov 2022):
A temporary public space is created on the acquired land. This "interim public realm enhancement" includes new landscaping, tree planting, and granite kerbs.
The space, mistakenly perceived by the public as a permanent "pocket park," is intended as a temporary measure to prevent re-dereliction while awaiting future development.
Upon its temporary opening, the space unintentionally attracts anti-social behaviour.
Due to public safety concerns and the DCC's legal liability for properties it owns, the decision is made to close and lock the space to the public.
July 2024:
Official records show a significant increase in derelict properties on Dublin City Council's register, totalling 131.
The council is owed over €10.11 million in unpaid levies on these sites.
Ongoing/Future:
The "locked park" remains an interim solution.
The future of the site is defined by its SDRA designation, calling for high-density, mixed-use development combining residential, commercial, and public spaces.
The current landscaped space is a placeholder for a future building intended to contribute to the city’s objectives of compact growth and the provision of new homes and employment.
Cast of Characters
Dublin City Council (DCC): The primary municipal authority in Dublin responsible for urban regeneration, addressing dereliction, and implementing strategic development plans. They initiated and executed the Compulsory Purchase Order for the Ryder's Row Triangle, acquired the land, oversaw the demolition of the bicycle shed, created the interim public space, and subsequently closed it due to safety and liability concerns. They are the driving force behind the urban regeneration project.
O'Brien and Sons (owners of the Bicycle Shed): The former owners of the dilapidated bicycle shed on Ryder's Row. Their property was a key example of urban decay in the area and was eventually acquired by the DCC via a Compulsory Purchase Order.
Property Owners within the Ryder's Row/Parnell Street/Capel Street Area CPO, 2019: Owners of various fragmented land parcels (including the O'Brien and Sons Bicycle Shed) within the 1,393 square metre area targeted by the DCC's CPO. Their "unwillingness to cooperate with redevelopment plans" necessitated the use of the CPO.
The Public (of Dublin): The residents and visitors of Dublin who observed the dereliction of the bicycle shed, witnessed the creation of the temporary "pocket park," and became "puzzled" by its lack of public access. Their perception and use of the interim space (leading to anti-social behaviour) directly influenced the DCC's decision to lock it.
Pre-2019 (Decades Leading Up):
The Ryder's Row Triangle (intersection of Ryder's Row, Capel Street, and Parnell Street) suffers from commercial neglect and urban decay.
The O'Brien and Sons Bicycle Shed on Ryder's Row becomes a stark symbol of this decay, appearing unkempt with graffiti, contributing to negative public perception.
The decline of the bicycle shed reflects broader issues of dereliction in inner-city Dublin.
2019:
The Dublin City Council (DCC) initiates the "Ryder's Row/Parnell Street/Capel Street Area CPO, 2019" – a comprehensive Compulsory Purchase Order (CPO) targeting a large, fragmented land area of 1,393 square metres, including the bicycle yard at 13, 14/15 Ryder's Row, other properties, and parts of public footpaths.
The area is designated as a Strategic Development Regeneration Area (SDRA), providing the policy mandate for the DCC's actions and prioritising "high quality, higher density residential development" and "urban greening."
The use of a CPO indicates that voluntary acquisition from property owners was proving difficult.
January 2021:
Official records show 74 derelict properties on Dublin City Council's register.
14 November 2022:
The legal process for the CPO is finalised, and the land, including the former O'Brien and Sons Bicycle Shed, is formally vested in the Dublin City Council (DCC).
Following the transfer of ownership, the derelict structures, including the bicycle shed, are subsequently demolished.
Post-Demolition (Date not specified, but after Nov 2022):
A temporary public space is created on the acquired land. This "interim public realm enhancement" includes new landscaping, tree planting, and granite kerbs.
The space, mistakenly perceived by the public as a permanent "pocket park," is intended as a temporary measure to prevent re-dereliction while awaiting future development.
Upon its temporary opening, the space unintentionally attracts anti-social behaviour.
Due to public safety concerns and the DCC's legal liability for properties it owns, the decision is made to close and lock the space to the public.
July 2024:
Official records show a significant increase in derelict properties on Dublin City Council's register, totalling 131.
The council is owed over €10.11 million in unpaid levies on these sites.
Ongoing/Future:
The "locked park" remains an interim solution.
The future of the site is defined by its SDRA designation, calling for high-density, mixed-use development combining residential, commercial, and public spaces.
The current landscaped space is a placeholder for a future building intended to contribute to the city’s objectives of compact growth and the provision of new homes and employment.
Cast of Characters
Dublin City Council (DCC): The primary municipal authority in Dublin responsible for urban regeneration, addressing dereliction, and implementing strategic development plans. They initiated and executed the Compulsory Purchase Order for the Ryder's Row Triangle, acquired the land, oversaw the demolition of the bicycle shed, created the interim public space, and subsequently closed it due to safety and liability concerns. They are the driving force behind the urban regeneration project.
O'Brien and Sons (owners of the Bicycle Shed): The former owners of the dilapidated bicycle shed on Ryder's Row. Their property was a key example of urban decay in the area and was eventually acquired by the DCC via a Compulsory Purchase Order.
Property Owners within the Ryder's Row/Parnell Street/Capel Street Area CPO, 2019: Owners of various fragmented land parcels (including the O'Brien and Sons Bicycle Shed) within the 1,393 square metre area targeted by the DCC's CPO. Their "unwillingness to cooperate with redevelopment plans" necessitated the use of the CPO.
The Public (of Dublin): The residents and visitors of Dublin who observed the dereliction of the bicycle shed, witnessed the creation of the temporary "pocket park," and became "puzzled" by its lack of public access. Their perception and use of the interim space (leading to anti-social behaviour) directly influenced the DCC's decision to lock it.
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THE SONY A7RV ON LOAN WHILE I WAIT FOR THE A1 II
My Sony A7R IV was damaged during a serious fall in Belfast in 2022, and its performance has gradually declined since then. Instead of replacing it immediately with the A7R V, I decided to wait for the anticipated A1 II update. I pre-ordered an A1 II before Christmas, paying the full price upfront.
It is now the end of July 2025, and my camera still hasn't arrived. My dealer has informed me that they only expect to receive one A1 II per month going forward. Recognising the unreliability of my current A7R IV, the dealer kindly offered me a second-hand A7R V on loan until my A1 II is delivered. This offer was a pleasant surprise, as I had almost decided to purchase a used A7R V with the intention of trading it in or selling it once the A1 II eventually arrived.
Along with the A1 II, I also ordered the Sony F2 28-70mm GM lens and two expensive CFexpress Type A cards.
Sony A7R V vs. Sony A7R IV (My Current Camera)
The Sony A7R V represents a significant upgrade over the A7R IV, despite both cameras sharing the same 61MP sensor. The improvements in the A7R V are largely thanks to a new processor and a dedicated AI processing unit.
Here are the key areas where the A7R V surpasses the A7R IV:
Autofocus System: This is arguably the most substantial improvement. The A7R V features a dedicated AI processing unit that dramatically enhances subject recognition and tracking. It can recognise a wider range of subjects, including humans, animals, birds, insects, cars, trains, and aircraft, and tracks them more reliably, even when faces or eyes are obscured, or subjects change poses. Its low-light performance is also superior.
Image Stabilisation (IBIS): The A7R V boasts an improved in-body image stabilisation system, offering up to 8.0 stops of correction compared to the A7R IV's 5.5 stops. This is a huge advantage for handheld shooting, particularly in low-light conditions.
Processor: The A7R V incorporates the newer BIONZ XR processor, which is eight times faster than the A7R IV's BIONZ X. This leads to:
Larger Buffer: The A7R V has a significantly larger buffer, enabling much longer continuous shooting bursts (e.g., 583 compressed RAW images vs. 68 on the A7R IV at 10fps).
Faster Operations: General camera operations feel noticeably snappier.
Rear LCD Screen: The A7R V features a brand-new 3.2-inch, 2.36M-dot, 4-axis multi-angle touchscreen. This highly versatile screen tilts and rotates, offering far more flexibility for shooting at various angles than the A7R IV's limited tilting screen. It also supports full touch menu operation.
RAW File Options: The A7R V introduces lossless compressed RAW with medium (26MP) and small (15MP) file size options. This can be very useful for managing file sizes while preserving image quality. The A7R IV only offers uncompressed and lossy compressed RAW.
Video Capabilities: While both are primarily still cameras, the A7R V offers 8K video recording (with some crop) and improved 4K options (4K 60p with a 1.2x crop). The A7R IV is limited to 4K 30p.
Dual Card Slots: The A7R V has two dual-format card slots that accept either CFexpress Type A or UHS-II SD cards, providing faster write speeds with CFexpress Type A for demanding applications. The A7R IV only has UHS-II SD card slots.
Menu System: The A7R V incorporates the newer, more intuitive menu system found in recent Sony cameras, making it easier to navigate.
Pixel Shift Multi Shooting: While both models offer this feature, the A7R V includes "motion correction intelligence," which does a better job of handling moving subjects within a pixel shift composite.
Should I Get a Used A7R V and Forget About the A1 II?
This decision largely depends on my specific needs and priorities.
Arguments for Getting a Used A7R V:
Immediate Availability: I can acquire it now, rather than waiting until August or September for the A1 II.
Significant Upgrade from A7R IV: As detailed above, the A7R V offers substantial improvements in autofocus, IBIS, screen, and processing power. This would make my existing workflow much more efficient and open up new possibilities, especially for subjects that benefit from advanced autofocus.
Excellent for High-Resolution Stills: Given my primary interest in high-resolution photography (landscapes, studio, portraits, detailed wildlife), the 61MP sensor of the A7R V is exceptional.
Cost-Effective: A used A7R V will be considerably less expensive than a new A1 II, allowing me to invest in lenses or other gear.
Arguments Against Getting a Used A7R V (and Waiting for the A1 II):
If Speed is Paramount: If I frequently shoot fast-moving action (sports, birds in flight) or engage in professional photojournalism, the A1 II's stacked sensor and unparalleled speed are game-changers.
Sony A1 II vs. Sony A7R V
The A1 II is Sony's flagship "do-it-all" camera, combining high resolution with extreme speed. The A7R V is a resolution-focused camera with highly advanced autofocus.
Here are the key areas where the A1 II is superior to the A7R V:
Stacked Sensor: This is the fundamental difference. The A1 II features a 50.1MP stacked Exmor RS CMOS sensor. This design allows for incredibly fast readout speeds, leading to:
Higher Burst Shooting: Up to 30fps with AF/AE tracking (compared to 10fps on the A7R V).
Blackout-Free Shooting: No viewfinder blackout during continuous shooting, providing a seamless view of the action.
Significantly Reduced Rolling Shutter: The A1 II's electronic shutter is far more usable than the A7R V's, practically eliminating rolling shutter distortion. This is a huge advantage for silent shooting and shooting under flickering lights.
Faster Flash Sync: The A1 II has a mechanical flash sync speed of 1/400s (vs. 1/250s on the A7R V), and electronic flash sync up to 1/250s.
Autofocus Performance (Overall Speed): While the A7R V has excellent AI-driven subject recognition, the A1 II's stacked sensor allows its autofocus system to operate with much greater speed and refresh rates (120 times/second), leading to even better tracking performance for extremely fast or erratic subjects. It also inherits the latest AI AF unit.
Video Capabilities: The A1 II offers 8K 30p and 4K 120p video recording, with generally better internal codecs and more robust video features for professional production.
Pre-Capture: The A1 II offers pre-capture, a crucial feature for capturing fleeting moments where I might be slow to react.
Durability/Robustness: The A1 series is generally built to a higher standard for professional use, with more robust construction and weather sealing.
Professional Features: The A1 II is designed with professional workflows in mind, including a 2.5Gbps Ethernet port for fast wired data transfer.
Where the A7R V Might Still Hold an Edge (Minor):
Resolution: The A7R V has a slightly higher 61MP sensor compared to the A1 II's 50.1MP. While 50MP is still incredibly high, for absolute maximum detail, the A7R V might have a tiny edge in specific, static scenarios where every pixel can be exploited.
Price: A used A7R V is significantly cheaper.
Robustness and Life Expectancy (A1 II vs. A7R V)
The Sony A1 II is designed and marketed as Sony's flagship professional camera. This generally translates to:
Enhanced Build Quality: Expect more robust materials, better weather sealing, and more durable components compared to the A7R V, which is also well-built but not at the same "pro" tier.
Shutter Life: Flagship professional cameras often have higher shutter actuation ratings, indicating a longer expected lifespan for the mechanical shutter. While Sony doesn't always publish these figures, it's generally understood that the A1 series is built for heavier professional use.
Heat Dissipation: For extended shooting sessions, especially video, the A1 II's design is likely to manage heat more effectively, contributing to long-term reliability.
In summary, the A1 II is generally considered a more robust unit with a better life expectancy, particularly if one is pushing the camera in demanding professional scenarios.
THE CHILDREN OF LIR SCULPTURE [I USED A SONY A7RV CAMERA]
The Garden of Remembrance in Dublin, a serene and poignant space, is home to a magnificent sculpture that captures the essence of a beloved Irish legend: The Children of Lir. This bronze masterpiece serves as the focal point of the garden, which itself commemorates all those who gave their lives for Irish freedom.
The Art: "The Children of Lir"
The sculpture by Oisín Kelly depicts the four children of Lir – Fionnuala, Aodh, Fiachra, and Conn – in their transformed state as swans, rising from the water. The work is crafted from copper bronze and stands at an imposing height, conveying a sense of aspiration and transcendence. The composition is dynamic, with the swans' forms suggesting both grace and a powerful surge upwards, symbolising rebirth and resurrection.
The legend of the Children of Lir is a tale from Irish mythology, often grouped as one of the "Three Sorrows of Storytelling". It recounts how the four children of King Lir were cruelly transformed into swans by their jealous stepmother, Aoife, cursed to spend 900 years in this form, enduring hardship across various waters in Ireland. The curse is eventually broken by the ringing of a Christian bell, returning them to human form as frail, aged individuals who are then baptised before their peaceful deaths.
In the context of the Garden of Remembrance, the sculpture takes on deeper symbolic meaning. It represents not only the suffering and endurance of the Irish people through periods of oppression but also their ultimate transformation, resilience, and the enduring hope for freedom and renewal. The swans in flight can be seen as an allegory for the nation's struggle and eventual liberation, a vision that ultimately became a reality.
Behind the sculpture, a poem by Liam Mac Uistin is inscribed, further reinforcing the themes of vision, hope, valour, and resurrection, drawing parallels between the mythical tale and Ireland's historical journey to independence.
The Artist: Oisín Kelly (1915-1981)
The creator of this iconic sculpture was Oisín Kelly, born Austin Kelly in Dublin in 1915. Kelly was a prominent Irish sculptor, highly regarded for his accessible style and mastery of various techniques and materials. He initially pursued a career as a schoolteacher, studying languages at Trinity College Dublin and later attending night classes at the National College of Art and Design. He also had the invaluable experience of studying under the renowned British sculptor Henry Moore from 1948 to 1949.
Before "The Children of Lir," Kelly primarily focused on small wood carvings and received commissions for Catholic churches. However, the commission for the Garden of Remembrance, unveiled on Easter Monday 1966 to commemorate the 50th anniversary of the Easter Rising, brought him significant public recognition. While some initially criticised the use of a pagan legend for a national monument in a Christian country, the sculpture has undeniably become one of his most celebrated and enduring works.
Following "The Children of Lir," Kelly received numerous other public commissions, including the statue of trade union leader James Larkin on Dublin's O'Connell Street and "Oisín Goes to Tir Na Nóg" at the Irish Life Mall Plaza. In 1966, he became artist-in-residence at the Kilkenny Design Centre, a role he held until his death in 1981. Oisín Kelly's work played a crucial role in upholding sculptural standards in Ireland during a period when the art form was experiencing a lull, leaving a lasting legacy on the country's public art landscape.
The Garden of Remembrance in Dublin, a serene and poignant space, is home to a magnificent sculpture that captures the essence of a beloved Irish legend: The Children of Lir. This bronze masterpiece serves as the focal point of the garden, which itself commemorates all those who gave their lives for Irish freedom.
The Art: "The Children of Lir"
The sculpture by Oisín Kelly depicts the four children of Lir – Fionnuala, Aodh, Fiachra, and Conn – in their transformed state as swans, rising from the water. The work is crafted from copper bronze and stands at an imposing height, conveying a sense of aspiration and transcendence. The composition is dynamic, with the swans' forms suggesting both grace and a powerful surge upwards, symbolising rebirth and resurrection.
The legend of the Children of Lir is a tale from Irish mythology, often grouped as one of the "Three Sorrows of Storytelling". It recounts how the four children of King Lir were cruelly transformed into swans by their jealous stepmother, Aoife, cursed to spend 900 years in this form, enduring hardship across various waters in Ireland. The curse is eventually broken by the ringing of a Christian bell, returning them to human form as frail, aged individuals who are then baptised before their peaceful deaths.
In the context of the Garden of Remembrance, the sculpture takes on deeper symbolic meaning. It represents not only the suffering and endurance of the Irish people through periods of oppression but also their ultimate transformation, resilience, and the enduring hope for freedom and renewal. The swans in flight can be seen as an allegory for the nation's struggle and eventual liberation, a vision that ultimately became a reality.
Behind the sculpture, a poem by Liam Mac Uistin is inscribed, further reinforcing the themes of vision, hope, valour, and resurrection, drawing parallels between the mythical tale and Ireland's historical journey to independence.
The Artist: Oisín Kelly (1915-1981)
The creator of this iconic sculpture was Oisín Kelly, born Austin Kelly in Dublin in 1915. Kelly was a prominent Irish sculptor, highly regarded for his accessible style and mastery of various techniques and materials. He initially pursued a career as a schoolteacher, studying languages at Trinity College Dublin and later attending night classes at the National College of Art and Design. He also had the invaluable experience of studying under the renowned British sculptor Henry Moore from 1948 to 1949.
Before "The Children of Lir," Kelly primarily focused on small wood carvings and received commissions for Catholic churches. However, the commission for the Garden of Remembrance, unveiled on Easter Monday 1966 to commemorate the 50th anniversary of the Easter Rising, brought him significant public recognition. While some initially criticised the use of a pagan legend for a national monument in a Christian country, the sculpture has undeniably become one of his most celebrated and enduring works.
Following "The Children of Lir," Kelly received numerous other public commissions, including the statue of trade union leader James Larkin on Dublin's O'Connell Street and "Oisín Goes to Tir Na Nóg" at the Irish Life Mall Plaza. In 1966, he became artist-in-residence at the Kilkenny Design Centre, a role he held until his death in 1981. Oisín Kelly's work played a crucial role in upholding sculptural standards in Ireland during a period when the art form was experiencing a lull, leaving a lasting legacy on the country's public art landscape.
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