botanic gardens

THE BEST NIGHT EVER BY BOB QUINN [BOTANIC GARDENS 3 MAY 2025

May 3, 2025 by infomatique

TODAY I USED A SONY FE 16-35MM F2.8 GM II LENS

I visited the Botanic Gardens today because I wanted to test my new Sony 16-35mm lens but unfortunately I am still waiting for the Sony A1 II camera body to arrive so I used an FX30. I paid for the A1 in full well before Christmas 2024 and this weekend I was told that it may not arrive until June or July,

I have photographed this sculpture many times as it is one of my favourites.

It’s worth noting that I have encountered another copy of this sculpture in City West. Unfortunately, the last time I tried to photograph the one in City West, I was informed by security, who shadowed me for about fifteen minutes, that I was on private property and that photography was prohibited. I was asked to leave immediately, and my policy is not to argue.

Born in 1948, Bob Quinn enjoyed a long career in the Irish advertising business as a commercial artist, designer, and the head of a successful design and production company. He now works full time as a sculptor in Blackrock, Co Dublin, where he lives with his wife and two daughters.

The Sony FE 16-35mm F2.8 GM II has been described as a truly magnificent piece of glass! It is considered to be a top-tier wide-angle zoom known for its incredible sharpness, beautiful bokeh (for wide-angle!), and robust build quality. It’s a lens that many full-frame Sony shooters dream of.

Now, let’s talk about pairing it with a Sony FX30, which, as you may already know, has an APS-C (crop) sensor. While one can certainly use the 16-35mm GM II on an FX30, you’re not experiencing its full potential, particularly when it comes to achieving that wide-angle perspective and some of the other characteristics it’s designed for.

Loss of the Ultra-Wide Angle of View:

The most significant impact is the crop factor. The FX30 has a crop factor of approximately 1.5x. This means that the 16-35mm lens will behave like a 24-52.5mm lens in terms of its angle of view.

You’re losing that valuable ultra-wide perspective that the 16mm end offers on a full-frame camera. That expansive view, perfect for landscapes, architecture, and creating a sense of immersion, is significantly narrowed.

While 24mm is still a useful wide-angle, it’s not the same as the dramatic perspective you’d get at 16mm on a full-frame body.

Different Depth of Field Characteristics:

While the f/2.8 aperture remains the same, the effective depth of field will be slightly deeper on the FX30 compared to a full-frame camera at the same aperture and equivalent focal length. This means it might be a little harder to achieve that very shallow depth of field and strong subject isolation that the f/2.8 aperture is capable of on a full-frame sensor, especially at the wider end.

Utilizing Only the Central Portion of the Lens:

The 16-35mm GM II is designed to project an image circle large enough to cover a full-frame sensor. When used on the smaller APS-C sensor of the FX30, only the central portion of that image circle is being utilised. While the centre of a lens is often its sharpest part, you’re not taking advantage of the lens’s overall design and how it performs across the entire frame.

Cost Efficiency:

The FE 16-35mm F2.8 GM II is a premium lens with a price tag to match. For stills photography specifically on an APS-C system, there are excellent and often more cost-effective wide-angle lenses designed specifically for that sensor size. These lenses would offer a similar (or wider) field of view without the added cost and size associated with a full-frame lens.

Why Professional Reviewers Might Not Recommend it for FX30 Stills:

Field of View Limitations: For many stills photographers, especially those specialising in landscapes or architecture, the ultra-wide perspective is crucial. The cropped field of view on the FX30 negates this key advantage of the 16-35mm.

Ergonomics and Balance: While the 16-35mm GM II isn’t excessively large, it’s designed for full-frame bodies. On the more compact FX30, it might feel slightly front-heavy and less balanced than a lens designed for APS-C.

Overkill for the Sensor Size: The advanced optical design and build quality of the GM II series are often aimed at extracting the maximum performance from a high-resolution full-frame sensor. While the FX30 has a capable sensor, it might not fully resolve the subtle nuances that the GM II is capable of delivering across a full frame.

However, it’s not all doom and gloom! There are reasons why you might be using this lens on your FX30:

Future Full-Frame Upgrade: If you plan to move to a full-frame Sony camera in the future, investing in high-quality full-frame lenses like the 16-35mm GM II now makes perfect sense. It’s a future-proof investment.

Video Work: The 16-35mm GM II is an exceptional lens for video, offering a versatile wide-to-standard zoom range and a constant f/2.8 aperture, which is invaluable for maintaining consistent exposure during filming. The stabilisation and autofocus performance are also top-notch for video. Since the FX30 is primarily a cinema camera, this lens is a fantastic match for its video capabilities.

Specific Shooting Style: Perhaps your stills work on the FX30 benefits from the 24-52.5mm equivalent range. For certain types of portraiture, street photography, or event coverage, this range can be very useful.

THE RAG TREE AT THE BOTANIC GARDENS

April 8, 2024 by infomatique

PHOTOGRAPHED IN APRIL 2024 USING A SONY FX30

What are Rag Trees?

Rag trees, sometimes called “cloutie trees” (from the Scottish Gaelic word for cloth), are trees adorned with strips of cloth or pieces of clothing. They’re primarily found in Ireland and Scotland and are often near holy wells or other sites of religious and spiritual significance.

History and Meaning

The tradition of rag trees has a long and complex history in Ireland:

Pre-Christian Roots: Many believe the custom has roots in pre-Christian Celtic traditions. Trees were often considered sacred, believed to be places where the veil between the human world and the spirit world was thin. Offerings left on trees were thought to appease deities or nature spirits.
Christianisation: With the arrival of Christianity, the practice of leaving offerings on trees didn’t disappear. Instead, it became associated with saints and holy wells. People would tie rags to trees near a well as a plea for healing from illness or as a request for blessings from the local saint.
Symbolism: The rags on the tree are thought to symbolise the ailment or problem the person wishes to be rid of. As the cloth disintegrates over time, the hope is that the illness or trouble will also fade and disappear.

Rag Trees Around the World

While most prominently associated with Ireland and Scotland, traditions of tying offerings onto trees exist in various cultures:

Eastern Europe and Asia: Similar practices are found in parts of Eastern Europe, Russia, and Asia. These could be connected to ancient animistic beliefs or adopted into other religious traditions over time.
Global Examples: You can find variations of this idea of leaving offerings on trees or bushes in other parts of the world, highlighting the cross-cultural power of trees as symbols and potential places of spiritual connection.

The Rag Tree in the Botanic Gardens

The National Botanic Gardens in Glasnevin, Dublin, has a rag tree. It’s likely a hawthorn, a tree often associated with this tradition in Ireland due to its links to the Otherworld in Celtic mythology. Visitors tie mostly colourful ribbons and pieces of cloth to its branches. While many holy wells are rural, the rag tree in the Botanic Gardens demonstrates this enduring folk custom in an urban setting, allowing visitors to connect with Irish tradition.

A RAINBOW APPEARED

April 8, 2024 by infomatique

AS I WAS LEAVING THE MILL FIELD IN THE BOTANIC GARDENS

It was very windy and wet when I visited the Botanic Gardens which mad photography very difficult. However, as I was leaving the Mill Field area I noticed a very faint double rainbow which I tried my best to photograph but to show it I had to adjust the files to the extreme.

The Fictional Allure Of A Crock Of Gold

The idea of a crock of gold hidden where the rainbow touches the ground is a classic folktale found mostly in Irish mythology. Here’s what makes it so enduring:

Leprechauns: This mythical treasure is usually linked to leprechauns, mischievous little creatures from Irish folklore. These tricksters are said to be shoemakers who bury their pots of gold at the end of rainbows to keep them safe.

Symbolism of Rainbows: Rainbows themselves are beautiful and ephemeral, often seen as symbols of hope and promise after a storm. The idea of tangible treasure connected to this fleeting beauty adds a magical element.

The Desire for Riches: Whether it’s finding a pot of gold or just getting lucky, many cultures have stories about sudden wealth – the idea appeals to our desire for good fortune.
The Scientific Reality

Unfortunately, the search for that crock of gold is always fruitless. Here’s why:

Optical Illusion: Rainbows aren’t physical objects in a fixed location. They’re a result of sunlight refracting and reflecting within water droplets in the air. The position of a rainbow depends entirely on the viewer’s location relative to the sun and the water droplets.

Shifting Perspective: As you move, the rainbow appears to move with you because the angle of the sunlight, your eyes, and the water droplets changes. This means there’s no single “end” to reach.
No Physical Pot: Even if you could reach the end of a rainbow, there’s nothing there. Rainbows are an illusion of light, not a tangible object or location.

The Enduring Charm

Even though we know the crock of gold is a myth, it doesn’t diminish the fun! The story still serves as:

A Whimsical Tale: It’s enjoyable as a piece of folklore, reminding us about the power of imagination and the playful nature of myths.

Teaching Moment: The “crock of gold” can be a gentle introduction to science for children, explaining how rainbows form and encouraging them to observe the natural world.

Motivator: While the treasure is fictional, the chase for the rainbow can be seen metaphorically. It can represent pursuing our goals and dreams even if the outcome is uncertain.

Photographing rainbows, especially double rainbows, can be challenging due to several factors:

Natural Conditions: Rainbows are formed when sunlight is refracted by water droplets in the atmosphere. This requires specific conditions: a mix of rain and sunshine, with the sun at a low angle (42 degrees or lower relative to the viewer). These conditions can be unpredictable and fleeting, making it difficult to plan for rainbow photography.

Visibility: Rainbows are more likely to appear when the sun is behind you and the rain is in front of you. However, they can be faint or partial, and double rainbows are less common and often fainter than the primary rainbow.

Size: A full, double rainbow can span a large area of the scene. Capturing the entire arc of a double rainbow requires a wide-angle lens.

As for the best lens choice and camera settings:

Lens Choice: A wide-angle lens is recommended for capturing the whole rainbow. A 24mm lens on a full-frame camera can capture a full rainbow, but it won’t be wide enough for a double rainbow. For a double rainbow, something like a 16-35mm lens is recommended.

Camera Settings:

Aperture: Use a narrow aperture (such as f/8, f/11, and beyond) to achieve plenty of depth of field, which refers to the window of sharpness in your photo. This helps keep both the foreground and the rainbow in focus.
Shutter Speed: Unless the light is strong, you may need to drop the shutter speed to 1/80s or below. A slower shutter speed can lead to blur due to camera shake if you try to shoot handheld. Therefore, using a tripod is recommended.

ISO: Keep the ISO at the minimum (ISO 100 for most cameras) to avoid image-degrading noise.
Remember, these are general guidelines and the exact settings can vary depending on the specific conditions and your creative vision.

PHOENIX RISING BY MICHAEL CHARLES KEANE

September 7, 2023 by infomatique

SCULPTURE IN CONTEXT 2023 PREVIEW 2 SEPTEMBER 2023

In order to preview Sculpture In Context I visited the exhibition on the Saturday and Sunday before the exhibition officially opened. I used a Canon 5DIII on the first day and a Sigma Dp3 Quattro on the Sunday.

The works on display were not labelled until Thursday and they is when I purchased the catalogue.

Sculpture in Context is the largest sculpture exhibition in Ireland. It is an annual event organised by Sculpture in Context, an artist-led organisation, in association with the Office of Public Works and the National Botanic Gardens. The exhibition showcases the work of over 120 artists using a wide range of media, from the smallest, most intricate ceramic works to stone sculptures of monumental scale. The sculptures are displayed throughout the 50 acres of beautifully-landscaped grounds of the National Botanic Gardens, creating a unique and inspiring experience for visitors.

The 2023 exhibition will run from September 7 to October 13. The opening hours are from 10am to 6pm, seven days a week. Admission is free.

SCULPTURE IN CONTEXT 2023

CAN ANYONE TELL ME WHAT THIS PLANT IS

June 23, 2023 by infomatique

PHOTOGRAPHED AT THE BOTANIC GARDENS IN DUBLIN

Within the living collections at the National Botanic Gardens they have over 300 endangered species from around the world, and six species already extinct in the wild. These are a vital resource, like a Noah’s Ark for the future. Cultivating a wide range of plants from the diverse climatic regions of the world, and displaying these under good horticultural practice allows visitors to see what they too can achieve in their own gardens. They run training courses in gardening and hold practical workshops throughout the year.

The Gardens are open every day throughout the year except for Christmas Day, and are completely free to enter and explore. Interpretative guided tours are available Monday to Saturday for a small fee, and are free on Sundays.

[UPDATE] Thanks to everyone who contacted me I know know what this is []

Gunnera manicata, known as Brazilian giant-rhubarb or giant rhubarb, is a species of flowering plant in the family Gunneraceae from the coastal Serra do Mar Mountains of Santa Catarina, Parana and Rio Grande do Sul States, Brazil. In cultivation, the name G. manicata has regularly been wrongly applied to the hybrid with G. tinctoria, G. × cryptica.

Gunnera manicata is a large, clump-forming herbaceous perennial growing to 2.5 m (8 ft) tall by 4 m (13 ft) or more. The leaves of G. manicata grow to an impressive size. Leaves with diameters well in excess of 120 cm (4 ft) are commonplace, with a spread of 3 m × 3 m (10 ft × 10 ft) on a mature plant.The largest on record had leaves up to eleven feet (3.3 meters) in width. The underside of the leaf and the whole stalk have spikes on them. In early summer it bears tiny red-green, dimerous flowers in conical branched panicles, followed by small, spherical fruit. Like most gunneras, it has a symbiotic relationship with certain blue-green algae which provide nitrogen by fixation.

Despite the common name “giant rhubarb”, this plant is not closely related to true rhubarb. It was named after a Norwegian bishop and naturalist Johan Ernst Gunnerus, who also named and published a description about the basking shark.

In 2022, it was shown that plants in cultivation under the name Gunnera manicata in Britain and Ireland, and likely elsewhere, were actually a hybrid, Gunnera × cryptica. It is primarily cultivated for its massive leaves. It grows best in damp conditions such as near garden ponds, but dislikes winter cold and wet.