SCULPTURE IN CONTEXT 2023 PLUS

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Memorial

FAMINE MEMORIAL BY SCULPTOR JOHN MC KENNA

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AT THE ENTRANCE TO THE DROPPING WELL PUB IN MILLTOWN

The Dropping Well Pub in Milltown stands as a poignant reminder of the Great Famine’s devastating impact on Ireland. Its origins as a community morgue in 1847, during the worst year of the famine, are indeed chilling. Further underscoring its connection to this tragic period, a dedicated Famine Memorial, sculpted by John McKenna and unveiled in 1997, stands prominently at the pub’s entrance, serving as a solemn tribute to those who tragically lost their lives.

VERONICA GUERIN MEMORIAL -229866-1

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I USE THIS SCULPTURE AT DUBLIN CASTLE AS A REFERENCE

The Veronica Guerin Bust is a bronze sculpture located in the Memorial Garden at Dublin Castle. It was created by Irish sculptor Rowan Gillespie in memory of the investigative journalist Veronica Guerin, who was assassinated in 1996 for her reporting on organised crime. The bust depicts Guerin with a determined expression, symbolising her courage and dedication to uncovering the truth.

Today I used a Voigtlander APO LANTHAR 65mm F2 lens with my Sony FX30. This is a manual lens and it has worked very well when attached to my Sony A7RIV. In general he results were disappointing and I am wondering if there could be any reasons why the Voigtlander might not have been a good match for the Crop-Sensor FX30.

I am aware of the following:

Change in Field of View: Crop-sensor cameras have a smaller sensor than full-frame cameras. This means they effectively “crop” the image circle projected by the lens. My 65mm lens will behave more like a 97.5mm (approx) lens on the FX30 due to the 1.5x crop factor. This change in focal length can significantly impact composition and the feel of images.

While a 65mm lens will still capture images, the effective resolution will likely be lower on the FX30. This is because the same number of pixels from the lens’ image circle are being spread over a smaller area. I do not believe that this is a problem.

Focusing Challenges: As there is no EVF [viewfinder] manual focusing was very difficult on the FX30. I suspect that this was what caused the reduction in quality that I encountered.

The Voigtlander APO LANTHAR 65mm F2 is a fully manual focus lens designed for full-frame mirrorless cameras, especially Sony E-mount. It’s known for its exceptional optical quality, build, and macro capabilities.

Key Features:

Apochromatic (APO) Design: This minimises chromatic aberrations (colour fringing), resulting in extremely sharp images with accurate colour rendition.
Macro Capabilities: Offers a 1:2 magnification ratio, allowing for close-up photography.
Fast f/2 Aperture: Great for low-light shooting and creating shallow depth-of-field for subject isolation.
All-Metal Construction: Exudes a premium feel and durability.
Smooth, Long Focus Throw: Precise for manual focusing.

Pros:

Stunning Image Quality: Delivers incredible sharpness, micro-contrast, and colour accuracy, even wide open.
Beautiful Bokeh: The smooth rendering of out-of-focus areas adds a pleasing aesthetic.
Excellent Build Quality: Feels solid and luxurious in its construction.
Versatile Focal Length: Useful for portraits, close-ups, and general “long normal” photography.

Cons:

Manual Focus Only: Not ideal for fast-paced shooting or those who strongly prefer autofocus.
Some Vignetting: Noticeable at wider apertures, but often adds a pleasing effect and easily corrected in post.
Price: Relatively expensive, but in line with similar, high-performance lenses.
Size and Weight: Can be a little bulky compared to some alternatives.

Best Suited For:

Detail-Oriented Photographers: Those who appreciate and prioritise top-notch image quality.
Macro Enthusiasts: The close-focusing capability makes it a great choice for macro work.
Portrait Photographers: The focal length and bokeh quality are excellent for portraits.
Deliberate Shooters: Those who enjoy the tactile experience and slower pace of manual focus.
Overall:

The Voigtlander APO LANTHAR 65mm F2 is an outstanding lens for photographers demanding the highest image quality and love the experience of manual focus. Its optical performance is hard to beat, making it a worthy investment for the right user.

DEMOLITION DAVE’S MEMORIAL AT THE SMITHFIELD TRAM STOP

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A FREQUENTLY UNNOTICED TRIBUTE

Amidst the bustling crowds at Smithfield Luas stop, an unassuming memorial stands as a silent homage to a remarkable man whose legacy often escapes the hurried gaze of passersby.

Dave Conway, a father of two, met an untimely end at the tender age of 38, victim to a tragic motorbike accident. His indelible mark, however, remains etched in Dublin’s urban fabric.

As a Demolition Manager, Dave played a pivotal role in shaping the LUAS construction project — an endeavour that now crisscrosses our city. His dedication and expertise left an indelible imprint on the very tracks we traverse daily.

For nearly a year, I delved into the mystery surrounding the sculpture adjacent to the tram stop. It remained an enigma until a serendipitous moment revealed its creator: James Gannon. This gifted artist, working with stone and bronze from his Dublin and Roscommon studios, breathed life into the unassuming structure.
The Bench That Speaks: Some dismiss it as such. But look closer. Trace the tramlines etched into its form—the subtle nod to the very tracks Dave once navigated. Curious, I engaged fellow Dubliners in conversation. Not one had noticed its deeper significance until I pointed out those embedded rails.

Gannon’s career highlights include:

Gold Medal, Irish Landscape Exhibit (EXPO ’91 Osaka, Japan): This prestigious award in 1991 was in recognition of his outstanding granite sculptures.

Public Commissions: He’s created numerous public sculptures, such as those decorating the façade of Dublin’s historic Fruit and Fish Market Buildings, and a large granite piece dedicated to the Travelling Community at Parslickstown.

Representation of Ireland: In 2001, Gannon represented Ireland at the Symposium du Granit des Marches de Bretagne in France.

His work often explores themes of heritage, growth, and the interplay between natural and human-made forms. One notable piece, “Hybrid Vigour”, was inspired by his grandfather and the agricultural concept of cross-breeding to achieve greater strength.

MY OLD FRIEND THE BEACH BEAR [REF-225942-1]

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A BEAR WITH ATTITUDE ON HIS WAY TO THE BEACH IN GREYSTONES

The last time that I photographed my old friend the Beach Bear I mentioned that he had turned green maybe because of the salt from the sea. Today I noticed that the green surface that he once stood/walked on has been removed.

I really like this bear who appears to be on a mission to enjoy themself at the beach. However, a number of local residents have complained that the sculpture is inappropriate in an area of protected architecture and sweeping marine views and others have complained that the bear will scare young children as it is too aggressive “marching fast with its outsized feet it cuts a swastika like shape against the sky”.

The bear was donated to Greystones Tidy Towns Committee by local property developer and guardian of the National Gallery of Ireland, Dermod Dwyer. Mr Dwyer donated the bear in memory of his daughter, Caroline Dwyer Hickey, a teacher at the local St Brigid’s school, who died well before her time.

The Caroline Foundation set up by Mr Dwyer raises money for cancer research at St Vincent’s hospital.

I would visit Greystones to meet this guy … what about you?

The artist Patrick O’Reilly was born in 1957 in Kilkenny. At the age of 17 he studied at the Art College of Belfast, but left after on year.

VERONICA GUERIN MEMORIAL BUST

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DUBLIN CASTLE 13 NOVEMBER 2023

Does anyone know the name of the artist responsible for this bronze bust of Veronica Guerin?

Veronica Guerin Turley (5 July 1959 – 26 June 1996) was an Irish investigative journalist focusing on organised crime in Ireland, who was murdered in a contract killing believed to have been ordered by a South Dublin-based drug cartel. Born in Dublin, she was an athlete in school and later played on the Irish national teams for both Association football and basketball. After studying accountancy she ran a public-relations firm for seven years, before working for Fianna Fáil and as an election agent for Seán Haughey. She became a reporter in 1990, writing for the Sunday Business Post and Sunday Tribune. In 1994 she began writing articles about the Irish criminal underworld for the Sunday Independent. In 1996, after pressing charges for assault against major organised crime figure John Gilligan, Guerin was ambushed and fatally shot in her vehicle while waiting at a traffic light. The shooting caused national outrage in Ireland. Investigation into her death led to a number of arrests and convictions.

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