INTRODUCING A NEW APPROACH
NEW GLOBAL MENU FOR PHOTO CENTRIC SITES
IF YOU PREFER IMAGES TO TEXT THIS IS FOR YOU
A VISIT TO MALAHIDE
MAY 2008
MALAHIDE 2008
My mother spent time with my brother in Hong Kong and liked to visit Chinese/Asian restaurants so she decided that she show would like to celebrate her birthday at a restaurant in Malahide. She almost made it to 104 but and she continued to visit "Good World" restaurant on a weekly basis up until late 2021.
The small beach area near the marina at the Green in Malahide is considered to be part of Malahide Beach, even though the main sandy beach is further along the coast. This area is somewhat muddy and less attractive compared to the main beach. What caught my attention was the number of language students fishing for crabs ... I really did hope that they were not planning to eat them as I had my doubts about the water quality in the immediate area.
Regarding the water quality, there have been significant improvements in the Malahide area since 2008. The water quality is regularly monitored and generally meets high standards for swimming and recreational activities. However, consuming anything caught in the water is always a personal decision and should be done with caution. While the water quality has improved, there could still be pollutants present that aren't suitable for consumption.
There is an old pier at the end of the Green in Malahide. It's a local landmark and has been there for many years. The pier was originally built in the 19th century to facilitate the transport of goods and passengers. However, its use has changed over time.
Currently, the pier isn't often used for launching boats due to its condition and the shallowness of the water. It is mainly used for fishing and leisure activities like walking and enjoying the views.
While the pier is generally safe to walk on, it's important to exercise caution, especially in wet or windy conditions. The surface can be uneven and slippery, and there are no handrails.
GLASNEVIN CEMETERY 2008
WELL WORTH A VISIT
GLASNEVIN CEMETERY 2008
AREAS OF THE CEMETERY THAT I DO NOT NORMALLY VISIT - GLASNEVIN 18 MARCH 2008
Revisiting my March 2008 visit to Glasnevin Cemetery, I recall a conscious shift in my approach. Usually when photographing graveyards, I steer clear of newer sections, respecting the privacy of those grieving recent losses. However, that day, I ventured into these areas to capture the sheer scale of this vast cemetery and document some of its more controversial features.
One such feature is the Holy Angels Plot, a poignant reminder of a bygone era. Until the 1970s, it served as the final resting place for over fifty thousand infants, a rarity among cemeteries that often denied stillborn babies consecrated ground.
Years later, in 2014, I learned of the plot's closure due to reaching capacity. A new site was established at Newlands Cross Cemetery, complete with a purpose-built chapel to provide a private space for families to mourn and remember their lost children.
Many of my 2008 photographs, though unpublished to respect those in mourning, serve as a historical record of this significant plot. They capture the rows of tiny headstones, each a testament to a life cut tragically short, and offer a glimpse into a practice that, while now discontinued, holds a poignant place in the cemetery's history.
AN APRIL FOOL JOKE
ABOUT A VIKING LONGBOAT
APRIL FOOL JOKE
The Sea Stallion's Journey: A Viking Saga with a Modern Twist
In 2007 and 2008, the Sea Stallion from Glendalough, a meticulously crafted replica of the Skuldelev 2 Viking ship, embarked on an epic voyage from Roskilde, Denmark, to Dublin, Ireland. This journey was a remarkable feat of historical reconstruction and seamanship, retracing the potential route of the original Skuldelev 2 ship over a thousand years ago.
The Skuldelev 2: A Viking Ship with Irish Roots
The Skuldelev 2, a 30-meter-long warship, was discovered in Roskilde Fjord in 1962. It was one of five well-preserved Viking ships found at the site, and analysis revealed that it was built in Ireland around 1042. This discovery sparked immense interest in Viking history and shipbuilding techniques.
Sea Stallion: A Tribute to Viking Craftsmanship
The Sea Stallion project was a massive undertaking, involving years of research, planning, and construction. Using traditional methods and materials, the Viking Ship Museum in Roskilde built a full-scale replica of the Skuldelev 2. This impressive vessel was launched in 2004 and named the Sea Stallion from Glendalough, paying homage to its Irish origins.
A Voyage of Discovery
The Sea Stallion's journey to Dublin was not just a symbolic gesture; it was also a scientific experiment. The voyage aimed to test the seaworthiness of the reconstructed ship, gather data on Viking navigation and seafaring techniques, and explore the cultural connections between Denmark and Ireland during the Viking Age.
The Sea Stallion's crew faced numerous challenges during their voyage, including rough seas, unpredictable weather, and the need to rely on traditional navigation methods. However, they successfully reached Dublin in August 2007, marking a major milestone in experimental archaeology.
The April Fool's Joke: A Playful Hoax
In 2008, the Viking Ship Museum played a clever April Fool's Day prank, announcing that Ireland was claiming ownership of the original Skuldelev 2 wreck due to a new EU directive. The museum even went so far as to create a fictional legal battle over the ship's ownership.
The joke was well-received by many, highlighting the close historical and cultural ties between Denmark and Ireland, as well as the ongoing fascination with Viking history.
A Lasting Legacy
The Sea Stallion's voyage and the subsequent April Fool's joke helped to raise awareness of Viking history and maritime heritage. The ship's journey to Dublin served as a powerful reminder of the cultural exchange and interconnectedness that existed during the Viking Age.
Today, the Sea Stallion remains a testament to the skill and ingenuity of Viking shipbuilders and a symbol of the enduring legacy of the Vikings in both Denmark and Ireland.
CELEBRATION
BY DICK JOYNT
SCULPTURE BY DICK JOYNT
For this session I used a Sigma DP1 camera which is discussed below.
I photographed this in May 2008 and while I worked in the immediate area for about ten years I had never really noticed this sculpture by Dick Joynt and in fact I was unaware of the artist or his work even though there is a sculpture by his daughter nearby.
Dick Joynt was an Irish Postwar & Contemporary sculptor. Born in Clontarf, Dublin in 1938, he initially trained as a painter but later turned to sculpture after joining the Dublin Art Foundry in 1972. His work primarily focused on stone carving, and he excelled in expressing his vision through this medium. One of his well known sculptures is “Celebration”, which can be seen in Eden Park in Glasthule. This impressive piece, made from Kilkenny limestone, depicts a woman holding her child up in the air as a celebration of life itself.
The Sigma Dp1 was a unique and, in some ways, polarizing camera. It had a dedicated following among photographers who appreciated its distinctive image quality but were willing to put up with its quirks.
Unique Strengths:
Foveon X3 Sensor: The DP1's standout feature was its Foveon X3 sensor. Unlike traditional Bayer sensors, the Foveon sensor captured red, green, and blue light at each pixel location. This resulted in images with exceptionally rich colors, smooth tonal transitions, and a unique "3D" quality.
Sharp Lens: The DP1 featured a fixed 28mm f/4 lens (equivalent to 41mm on a 35mm camera). This prime lens was known for its sharpness and excellent image quality, especially when shooting landscapes or street photography.
Notable Challenges:
High ISO Performance: The DP1's Achilles' heel was its poor high ISO performance. Images quickly became noisy above ISO 100, severely limiting its usability in low-light situations.
Battery Life: The battery life was notoriously short. Photographers often carried many [8 in my case]spare batteries to ensure they could keep shooting.
Slow Operation: The camera was slow to start up, focus, and process images. This could be frustrating, especially when trying to capture fleeting moments.
Limited Features: The DP1 lacked many features found in other cameras at the time, such as image stabilization, auto-exposure bracketing, and a fast continuous shooting mode.
User Interface: The user interface was not the most intuitive, with some controls buried in menus rather than easily accessible buttons.
Overall:
Despite its flaws, the Sigma DP1 earned a place in the hearts of photographers who valued its unique image quality and were willing to work around its limitations. It was a camera that encouraged a slower, more deliberate approach to photography. For those who took the time to master it, the DP1 could produce stunning images that stood out from the crowd.
Legacy:
The DP1 paved the way for subsequent Sigma cameras with Foveon sensors, such as the DP2 Merrill and the sd Quattro series. While these later models addressed some of the DP1's shortcomings, they retained the distinctive Foveon image quality that made the original so beloved by its fans.
SLIDE SHOWS
QUEEN'S UNIVERSITY
QUEEN'S CAMPUS
Many years ago I tutored a group of students from Asia. One of them had an offer from Queen's in Belfast and Trinity in Belfast. She indicated that she was going to accept the offer from Queens because a friend told her that it was a University but Trinity was not. This really did catch me by surprise. In case you are wondering, she decided to remain in Dublin and is actually employed by them promoting the institution in Asia and dealing with the affairs of the students that decide to come to Ireland.
The difference in terminology between Queen's University Belfast and Trinity College Dublin is rooted in historical and cultural factors, rather than any difference in their academic status. Both institutions are universities in the full sense of the word, offering undergraduate and postgraduate degrees, engaging in research, and having the power to award their own degrees.
Historical Context:
Queen's University Belfast: Founded in 1845 as Queen's College, it was initially part of the Queen's University of Ireland, along with colleges in Cork and Galway. When the Queen's University of Ireland dissolved in 1908, Queen's College Belfast became an independent university and adopted the name Queen's University Belfast.
Trinity College Dublin: Established in 1592 under a charter from Queen Elizabeth I, Trinity College Dublin is the oldest university in Ireland. It was modelled after Oxford and Cambridge universities, where the term "college" is traditionally used to refer to the individual institutions that make up the university. Trinity College Dublin is unique in that it is both a college and a university, with no other constituent colleges.
Cultural Factors:
Tradition: The use of "college" to refer to Trinity College Dublin is deeply ingrained in Irish tradition and culture. It's a name that carries a sense of history, prestige, and identity. Changing it to "university" would likely be met with resistance from alumni, students, and the wider Irish public.
Identity: The term "college" is often associated with a more intimate and close-knit community, which may resonate with the ethos of Trinity College Dublin. The university prides itself on its strong sense of community and its commitment to providing a personalised educational experience for its students.
Conclusion:
While both Queen's University Belfast and Trinity College Dublin are universities, the difference in terminology reflects their distinct historical origins and cultural identities. The use of "college" for Trinity College Dublin is a cherished tradition that reflects the institution's unique place in Irish history and its commitment to fostering a close-knit academic community.
SLIDE SHOWS
STREET ART IN BELFAST 2017
STREET ART IN BELFAST
In 2017, Belfast's street art scene was a vibrant mix of political murals, emerging urban art, and growing commercial interest.
Key characteristics:
Legacy of political murals: Belfast's walls were historically dominated by murals depicting political and historical events, reflecting the city's complex past.
Rise of urban art: A new wave of street artists like Visual Waste brought a fresh aesthetic to the city, focusing on social commentary, pop culture, and artistic expression.
Increased visibility: Street art festivals, walking tours, and media attention brought more visibility to the scene, attracting both locals and tourists.
Commercialisation: Businesses and organisations started to recognise the potential of street art for branding and placemaking, commissioning murals and collaborating with artists.
Commercial trend:
The trend towards commercialisation has indeed continued and even accelerated since 2017. This is evident in:
Commissioned murals: Many businesses, both large and small, now commission street art for their premises, creating visually appealing environments and promoting local artists.
Sponsored festivals: Street art festivals have become more common, often sponsored by brands seeking to connect with a younger, urban audience.
Collaboration with tourism: Street art is now integrated into Belfast's tourism strategy, with guided tours and promotional materials showcasing the city's vibrant murals.
Artist representation: Some artists have gained professional representation, leading to more commercial opportunities and collaborations.
Impact:
While commercialisation has brought more opportunities and recognition for artists, it also raises questions about artistic integrity and authenticity. Some critics argue that it can lead to homogenization and a loss of the rebellious spirit that originally characterised street art.
Overall, Belfast's street art scene in 2024 is a dynamic and evolving landscape, balancing its rich political history with contemporary artistic expression and commercial interests. While commercialisation presents challenges, it has also provided a platform for artists to showcase their talent and contribute to the city's cultural identity.
SLIDE SHOWS
ALEC THE GOOSE
ALEC THE GOOSE
Outside the southern entrance of St. George's Market, along East Bridge Street in Belfast, you'll find a bronze sculpture of a goose and a young girl. This is Alec the Goose, a tribute to a beloved local bird who waddled his way into the hearts of Belfast residents in the 1920s.
Alec was no ordinary goose. He belonged to a poultry vendor in the bustling St. George's Market, a Victorian covered market that has been a central hub of Belfast life since 1896. Known for its fresh produce, local crafts, and lively atmosphere, the market was a natural gathering spot for both vendors and shoppers alike. Alec, it seems, took full advantage of this.
Legend has it that Alec wasn't content with simply staying in his pen. He would wander the market, accepting treats from vendors and becoming a familiar and friendly sight. He even developed a reputation for walking local children to school, a habit that sadly led to his untimely demise when he was hit by a truck.
In 2009, a sculpture of Alec and his young companion was unveiled, created by Scottish artist Gordon Muir. However, the reception was not entirely warm. The Markets' Development Association criticised the Department of Social Development for investing in the artwork rather than funding social and environmental projects.
Despite the initial controversy, Alec the Goose remains a quirky and endearing part of Belfast's landscape, a reminder of a time when a goose could become a local celebrity and a cherished member of the community. Whether you believe the tales of his school escorting or not, Alec's story adds a unique charm to the vibrant St. George's Market and the city of Belfast itself.
Commercial Disclosure
You will find links to buy products from Amazon, Google and other partners. If you click on these links, you’ll find that the URL includes a small extra piece of text which identifies that the click came from my websites. This text is an affiliate code, and it means that I get a small percentage of the money you spend if you choose to buy that product, or, in some cases, other products from the site soon after. These affiliate links help pay the costs of producing my websites and ensure that the content is free to you.