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THE XYLOPHONE IN BLACKROCK PUBLIC PARK – AMAZING GRACE WAS THE LAST TUNE PLAYED

May 24, 2025 by infomatique

THE 2025 PHOTONIQUE BLOG

THE XYLOPHONE IN BLACKROCK PUBLIC PARK - AMAZING GRACE WAS THE LAST TUNE PLAYED

00:00 / 12:49

MY MAY 23 2025 VISIT TO BLACKROCK LINEAR PARK

I made many attempts to spell xylophone or zylophone and eventually had to check my dictonary. The correct way to spell the musical instrument is “xylophone”. The “x” is pronounced like “z”. The word comes from the Greek words “xylon” (wood) and “phone” (sound), according to Collins Dictionary.

The Harmonious Public Realm: Exploring Outdoor Musical Instruments in Dublin’s Parks and Beyond
The presence of public musical instruments in urban green spaces represents a delightful and increasingly recognised feature of modern civic life. The enthusiasm for such installations, particularly the instrument in Blackrock Public Park and the evocative image of “Amazing Grace” being played, underscores a profound appreciation for music’s ability to enrich public environments and foster community spirit. This phenomenon is not isolated but part of a burgeoning global trend where cities are actively integrating permanent, accessible musical instruments into parks, playgrounds, and various civic areas. These installations serve to transform traditionally passive spaces into dynamic hubs of creativity, interaction, and shared experience.

This blog post or discussion aims to provide a comprehensive examination of the musical amenity found in Blackrock Park, clarifying its specific nature and contextualising its role within Dublin’s broader urban landscape. Furthermore, it will explore the overarching philosophy and numerous benefits associated with such public musical installations, drawing upon international examples to illustrate their widespread impact and growing significance.

Blackrock Park’s Musical Heart: The Metallophone and Its Purpose

The instrument encountered in Blackrock Park, which has been affectionately referred to as a “Zylophone,” is accurately identified as a large metallophone. While both instruments belong to the family of pitched percussion, the key distinction lies in their construction: xylophones traditionally feature wooden bars, whereas metallophones utilise metal bars to produce their resonant tones. This subtle difference in material contributes to the unique sound quality of each instrument.

The common confusion in nomenclature, as evidenced by the my initial attempts to spell “Xylophone” with a ‘Z’, highlights a broader public unfamiliarity with the precise terminology for outdoor percussion instruments. This observation suggests an opportunity for park authorities or instrument manufacturers to enhance on-site information, perhaps through clearer labelling or educational signage. Providing more accessible details could deepen public understanding and appreciation, fostering a more informed and engaged interaction with these valuable community amenities.

The observation of “Amazing Grace” being played on the Blackrock Park instrument is entirely consistent with its thoughtful design. The large metallophone in Blackrock Park is notably accompanied by a music book. This inclusion is a pivotal design choice, as it facilitates guided play. It empowers individuals, even those without formal musical training, to attempt and successfully play familiar melodies. This directly supports the kind of spontaneous, yet structured, musical engagement that enhances the park experience. The deliberate provision of a music book in Blackrock Park offers a compelling contrast to the general design philosophy adopted by many outdoor instrument manufacturers, such as Percussion Play. These manufacturers often intentionally utilise pentatonic scales to eliminate the need for sheet music, thereby promoting free improvisation and ensuring that “no bad notes” can be played. Blackrock’s decision to include a music book suggests a specific pedagogical intent: to guide users in playing recognisable tunes, thereby lowering the barrier to entry for non-musicians who might feel daunted by pure improvisation. This approach fosters a different, yet equally valuable, type of musical engagement, catering to a broader spectrum of user preferences and skill levels.

The installation in Blackrock Park is not an isolated addition but a key component of a broader, strategic initiative. This programme is spearheaded by Music Generation dlr in collaboration with dlr Parks. This formal partnership signifies a proactive and considered investment by local authorities in cultural amenities and community well-being. The launch of this initiative, which took place in Shanganagh Park on 1st June 2022, was marked by “gentle percussive tones and sonorous ‘gong’ like sounds” , offering a glimpse into the serene yet engaging auditory experiences these instruments provide.

An Cathaoirleach of Dún Laoghaire-Rathdown County Council, Lettie McCarthy, underscored the inclusive vision behind the project, stating that these “fabulous instruments are available for all members of the community and a space to embark on your musical…source life”. This statement encapsulates a strong commitment to universal access and lifelong learning through music.

This formal collaboration between a music education body and local council parks represents a sophisticated cultural policy decision. It elevates the provision of public musical instruments beyond simple recreational features into a deliberate strategy for fostering community engagement, artistic expression, and holistic well-being through accessible musical experiences. This reflects a growing governmental recognition of the intrinsic social and cultural capital that public musical amenities contribute to vibrant urban environments, demonstrating a clear understanding of how such cultural provisions can enhance social cohesion, public health, and educational enrichment.

To provide a clearer overview of the Music Generation dlr initiative’s scope within the Dún Laoghaire-Rathdown area, here are the details of the specific outdoor musical instruments installed in the participating parks:

Outdoor Musical Instruments in Dún Laoghaire-Rathdown Parks (Music Generation dlr Initiative)

Blackrock Park
Instrument Type: Large Metallophone
Key Features/Purpose: Accompanied by a music book; for all community members, musicians and non-musicians
Shanganagh Park
Instrument Type: Septet percussion ensemble
Key Features/Purpose: Designed for all music lovers in the community
Ballawley Park
Instrument Type: Metallophone
Key Features/Purpose: Located at a playground, accessible to children to encourage participation
This list consolidates specific, directly relevant information, providing a comprehensive overview of the initiative’s reach. It highlights the deliberate distribution and varied nature of these amenities, demonstrating a strategic approach to enriching different community spaces with tailored musical experiences.

The Broader Canvas: Outdoor Musical Instruments in Public Spaces

Outdoor musical instruments are permanent, robust installations specifically designed to transform public spaces into interactive soundscapes. Their fundamental philosophy centres on universal accessibility: they are crafted to be played by people of all ages and abilities, regardless of prior musical training or skill. A cornerstone of this design approach is the frequent use of the pentatonic scale. This five-note scale is inherently harmonious, meaning that “almost any combination of notes to sound good together”. This ingenious design choice effectively removes the intimidation factor often associated with playing “incorrectly,” thereby fostering confidence and encouraging spontaneous, joyful music-making. The widespread adoption of the pentatonic scale by manufacturers like Percussion Play for outdoor instruments represents a critical design choice that fundamentally democratises music-making. By eliminating the possibility of “wrong notes,” it removes a significant psychological barrier, ensuring that these installations are truly accessible and inviting to everyone. This design principle is foundational to achieving the broad social, emotional, and therapeutic benefits observed, as it fosters confidence and encourages participation without requiring prior musical knowledge.

Leading manufacturers in this specialised field, such as Percussion Play and Freenotes Harmony Park , are at the forefront of designing and producing these innovative instruments. Their products are engineered for exceptional durability and low maintenance, utilising robust materials that withstand diverse outdoor environments without requiring special surfacing. This meticulous engineering ensures their long-term viability and sustainability within public spaces. The variety of instruments available is extensive, ranging from familiar xylophones and metallophones to drums, chimes, and more unique, sculptural designs like “Harmony Flowers,” “Babel Drums,” or “Tubular Bells”. This rich diversity allows for tailored installations that can complement various park aesthetics and cater to specific community needs, offering a broad palette of sounds and interactive experiences.

Benefits Beyond the Melody: Community, Learning, and Well-being
The impact of outdoor musical instruments extends far beyond simple entertainment, contributing to a holistic range of developmental benefits across all age groups. Engaging with these instruments can significantly enhance cognitive functions such as memory, attention, and concentration. They stimulate senses and encourage mental activity , promoting creative thinking and problem-solving through musical experimentation.

On an emotional level, music offers a powerful outlet for expression, allowing individuals to explore feelings like sadness, anger, happiness, and excitement. Playing can reduce stress, improve mood , and foster a profound sense of achievement and pride. The gentle tones of many instruments also contribute to a calming and therapeutic atmosphere.

From a physical perspective, interacting with outdoor instruments encourages outdoor physical activity. Specific actions, like tapping notes or holding mallets, enhance hand-eye coordination, fine motor skills, and grip strength. Instruments designed for standing or movement also support gross motor skills and overall physical development.

These instruments are inherently social catalysts, acting as “conversation starters and people magnets”. They foster spontaneous interaction, encouraging cooperation and collaboration among players , thereby breaking down social barriers. A unique strength of outdoor musical instruments is their capacity for inter-generational play. They offer a rare solution for inclusive playgrounds, enabling diverse age groups – children, parents, grandparents, and seniors – to play and create music together. This shared experience is a powerful tool for tackling loneliness and strengthening community bonds. A core design principle is accessibility and inclusivity for people with diverse abilities, including those with physical and developmental disabilities. Many instruments, such as the “Duo Outdoor Xylophone” or “Harmony Bells,” are specifically designed to be playable from a seated position or by wheelchair users , ensuring that everyone has an equal chance to participate and enjoy the magic of music. The consistent emphasis on “inclusive play” and “inter-generational interaction” across multiple sources reveals a deeper societal need that these instruments address: fostering social cohesion in increasingly diverse urban environments. They serve as a powerful policy tool for creating equitable and welcoming public spaces that actively counteract social isolation and promote community well-being across all demographics, demonstrating a tangible return on investment for public amenity provision.

Outdoor musical instruments transform everyday public spaces into “powerful learning opportunities”. They encourage curiosity and facilitate the informal learning of new musical skills, and can even spark conversations around subjects like language, culture, colour, and numbers. They provide rich multisensory experiences, stimulating auditory, visual, and tactile senses. The creation of “sound gardens” is particularly beneficial in sensory environments, such as care homes, where they engage residents’ senses and significantly enhance their well-being.

Here is a summary of the comprehensive benefits derived from the integration of outdoor musical instruments in public spaces:

Comprehensive Benefits of Outdoor Musical Instruments in Public Spaces

Cognitive Benefits
Specific Benefits: Improves memory, attention, and concentration; Stimulates senses; Encourages creative thinking and problem-solving
Target User Groups: All ages, Children, Seniors
Supporting Documentation:
Emotional Benefits
Specific Benefits: Provides outlet for emotional expression; Reduces stress; Improves mood; Fosters achievement and pride; Creates calming atmosphere
Target User Groups: All ages, Children, Seniors
Supporting Documentation:
Physical Benefits
Specific Benefits: Encourages outdoor physical activity; Enhances hand-eye coordination, fine motor skills, and grip strength; Supports gross motor skills and overall physical development
Target User Groups: All ages, Children, Seniors, People with physical disabilities
Supporting Documentation:
Social & Community Benefits
Specific Benefits: Acts as social catalyst, fostering interaction and cooperation; Enables inter-generational play; Breaks down social barriers; Combats loneliness; Strengthens community bonds
Target User Groups: All ages, Diverse abilities, Families, Seniors
Supporting Documentation:
Learning & Sensory Benefits
Specific Benefits: Transforms spaces into learning opportunities; Sparks curiosity and discussion (e.g., language, culture); Provides rich multisensory experiences (auditory, visual, tactile); Beneficial for sensory environments (e.g., care homes)
Target User Groups: All ages, Children, Seniors, People with developmental disabilities
Supporting Documentation:
This list serves to synthesise the extensive and diverse benefits of outdoor musical instruments, providing a structured, comprehensive, and easily digestible overview. It allows for a quick grasp of the multifaceted positive impact of these installations, reinforcing their value proposition beyond mere entertainment.

Global Harmony: Examples of Public Musical Installations
The global proliferation of public musical instruments owes much to Luke Jerram’s visionary “Play Me, I’m Yours” project, launched in 2008. This innovative art installation transformed public spaces by strategically placing pianos for anyone to play. Its success was monumental: by 2018, over 1900 street pianos had been installed in 70 cities worldwide, evolving from a temporary exhibition into a widespread cultural movement.

Notable cities that enthusiastically embraced the initiative include London , New York , Sydney , and São Paulo. The project’s core purpose was to provoke public engagement and ownership of urban environments, effectively democratising musical performance by moving it out of exclusive concert halls and into the fabric of everyday life. The project gained significant cultural traction, exemplified by Sir Elton John’s donation of a piano to St. Pancras International Station in London in 2016, which subsequently became a celebrated landmark. Further initiatives, such as Yamaha’s #Platform88, integrated high-quality pianos into London Underground stations, creating “musical oases” within bustling transit systems and connecting music enthusiasts in unexpected ways. The evolution of “Play Me, I’m Yours” from a temporary art installation to a “global movement” and “part of culture” signifies a profound, underlying shift in how public spaces are viewed and utilised. It demonstrates a widespread societal desire for interactive, creative amenities that foster spontaneous community interaction, moving beyond passive observation to active participation. This trend suggests a growing demand for “experiential urbanism,” where public spaces are designed to facilitate engagement and shared cultural experiences.

Beyond Jerram’s influential project, numerous other public musical initiatives have flourished globally, showcasing the adaptability and broad appeal of the concept. For instance, the Tel Aviv-Yafo Music Centre strategically installed “Music Stops” on its approach, including a Wall Marimba (described as a wall-mounted outdoor xylophone), alongside Congas, Emperor Chimes, Babel Drum, and Tembos. This example illustrates how musical instruments can be strategically integrated into specific cultural or educational contexts to encourage creativity and engagement among staff, visitors, and pupils.

Other public piano initiatives have emerged organically or through local partnerships. These include “The Street Piano in Sheffield” , an initiative that began spontaneously with a discarded piano, “Pianos About Town” in Fort Collins, Colorado, where paid artists paint murals on donated pianos that are then rotated through public locations , and “Flower Piano” in San Francisco’s botanical garden, which temporarily installs pianos for public play. These diverse examples underscore the organic growth and wide appeal of the concept, adapting to local contexts and creative interpretations. The sheer variety of instruments (pianos, xylophones, metallophones, drums) and their integration into diverse public spaces (parks, train stations, music centres, and even temporary interactive art installations) demonstrates the immense adaptability and broad applicability of the public musical instrument concept. This flexibility allows cities to tailor installations to specific local needs, cultural contexts, and available space, ensuring that accessible music can enrich virtually any urban environment.

While not a permanent instrument installation like Blackrock’s metallophone, Dublin has also explored innovative public music initiatives. Curiosity Studio’s “Playground of Sound,” developed with Dublin City Council, transformed urban spaces into interactive musical gardens where users could play the piano by touching plants or compose bird-song on a twin-swing. This highlights Dublin’s broader engagement with the concept of animating public spaces through sound and interaction, showcasing a commitment to creative urban development.

Conclusion: Fostering Community Through Accessible Music
The integration of outdoor musical instruments in public spaces, exemplified by the large metallophone in Blackrock Park, represents a powerful and positive trend in urban amenity provision. These installations transcend mere recreation, serving as vital catalysts for cognitive, emotional, physical, and social development across all age groups and abilities. They foster community well-being, encourage inter-generational interaction, promote playful learning, and provide universally accessible avenues for creative expression.

Dublin, through initiatives like the Music Generation dlr programme, demonstrates a commendable commitment to this global movement. By strategically placing instruments in parks such as Blackrock, Shanganagh, and Ballawley, the city is actively enriching its public realm, creating vibrant, inclusive, and culturally resonant spaces for all its residents. The initial enthusiasm for the Blackrock Park metallophone serves as a testament to the profound impact these amenities have on individuals and communities. As urban environments continue to evolve, the thoughtful integration of accessible musical instruments will undoubtedly play an increasingly crucial role in fostering social cohesion, promoting well-being, and ensuring that public spaces remain dynamic, joyful, and creatively inspiring for everyone.

DANNY MCCARTHY’S CUT OUT PEOPLE – ART IN BLACKROCK LINEAR PARK

May 23, 2025 by infomatique

THE 2025 PHOTONIQUE BLOG

DANNY MCCARTHY'S CUT OUT PEOPLE - ART IN BLACKROCK LINEAR PARK

00:00 / 11:48

PHOTOGRAPHED BY INFOMATIQUE 23 MAY 2025

Danny McCarthy’s ‘Cut Out People’: An Artistic Examination

This blog post explores ‘Cut Out People’, a significant metal sculpture by the acclaimed Irish artist, Danny McCarthy. This piece stands as a notable example of public art in Dublin, enriching the city’s cultural landscape. To fully appreciate this artwork, we will delve into its form, its specific location, and the extensive career of its creator.

Identifying the Artist: Danny McCarthy

It is important to clarify the identity of the artist from the outset. While some sources may mention “Dan MacCarthy,” the institutional affiliations — such as founding director of the National Sculpture Factory, Triskel Arts Centre, and director of the Sirius Arts Centre — confirm the artist in question is unequivocally the Irish artist, Danny McCarthy.

This discussion focuses solely on Danny McCarthy’s work, distinguishing him from other artists with similar names. For instance, there is an American artist named Dan McCarthy, known for his paintings and ceramics, who was born in Honolulu, Hawaii, and studied at the San Francisco Art Institute. His art often explores mountain ranges, landscapes, and themes of death and rebirth, featuring skeletons and suburban scenes. Another distinct figure is Paul McCarthy, an American artist recognised for multimedia practices that challenge genre and taboo, often exploring themes of sexuality, death, and the cultural subconscious through performance, photography, and sculpture. The initial difficulty in finding information due to these naming overlaps underscores the need for precise identification through contextual clues like institutional affiliations or specific artistic practices.

The Sculpture: ‘Cut Out People’ – Form, Material, and Concept

‘Cut Out People’ is a visually striking and conceptually rich sculpture, immediately drawing attention through its unique form and material. Standing at an impressive 13 feet, it commands a notable presence in its public setting.

Form and Composition

The sculpture depicts human forms through two distinct two-dimensional profiles, ingeniously intersected at right angles. This technique creates an intriguing interplay between flat planes and perceived three-dimensionality, inviting viewers to engage with its shifting appearance. The composition is inherently dynamic, designed to encourage active engagement from the viewer. The figures within the sculpture appear to flow, jump, and dance, conveying a sense of jubilant and graceful movement. This fluidity ensures the artwork can be appreciated from numerous different angles, constantly shifting in appearance as the viewer moves around it. This design actively engages the viewer in a participatory experience, reflecting a broader trend in contemporary sculpture towards experiential engagement rather than passive observation.

Material Choice

The choice of metal as the primary material for ‘Cut Out People’ is a significant artistic decision. While the title might evoke ephemerality, perhaps suggesting temporary, flat cardboard cutouts, the use of metal imbues the artwork with a profound sense of permanence and a robust physical presence. This material choice transforms a potentially transient form into a durable, lasting public artwork. It establishes a subtle tension between the seemingly light, two-dimensional origin implied by the “cut out” concept and the solid, enduring reality of its metallic form. This tension prompts deeper contemplation on the nature of representation, the illusion of depth, and the enduring quality of artistic expression.

Conceptual Elements: Shadows and Perception

A key conceptual element of ‘Cut Out People’ lies in the patterns painted onto the figures. These patterns are specifically designed to represent the shadows cast by the sun. This artistic choice highlights the effects of cutting profiles of people and the diverse shapes produced through this process. The figures are positioned on a plinth, further elevating their presence within the public space. The representation of shadows through painted patterns, rather than relying on actual sunlight, suggests an artistic exploration of perception, illusion, and the ephemeral nature of light and form. It transforms a transient phenomenon — the fleeting shadow — into a permanent artistic feature, prompting contemplation on presence, absence, and the abstract qualities of human representation. This technique also allows the sculpture to retain its intended visual effect regardless of natural lighting conditions, ensuring its conceptual integrity and consistent visual impact.

The Location: Blackrock Park, Dublin
‘Cut Out People’ is situated in Blackrock Park, a public green space in Dublin. This placement is significant as the sculpture is explicitly identified as being part of the Dún Laoghaire-Rathdown (DLR) Sculpture Trail.

Public Art Initiative

The inclusion of ‘Cut Out People’ within this sculpture trail signifies a deliberate effort by local authorities to integrate contemporary art into everyday urban environments. This initiative enhances cultural accessibility, transforming public parks into open-air galleries and fostering community engagement with art beyond traditional institutional settings. It positions the artwork within a structured public art programme, demonstrating a civic investment in cultural enrichment.

Accessibility and Engagement

The choice of a public park amplifies the sculpture’s accessibility and impact. A park setting allows the sculpture to be freely available to a wide audience, encouraging casual encounters with art rather than requiring a dedicated gallery visit. The open environment facilitates the multi-angled viewing experience that the sculpture’s design encourages. Visitors can easily walk around the artwork, observing its changing forms against natural backdrops, which is crucial for appreciating its dynamic composition. This placement promotes democratic access to art, moving it from the exclusive realm of galleries to an inclusive public space. Furthermore, the natural light and changing seasons provide an ever-evolving context for the artwork, subtly altering its appearance and the viewer’s perception, making the environment an active participant in the artistic experience.

The Artist: Danny McCarthy – A Leading Figure in Irish Contemporary Art

Danny McCarthy is a highly influential and pioneering figure within Irish contemporary art. His foundational education at the National College of Art and Design (NCAD) provided the bedrock for a career marked by innovation and a sustained commitment to artistic exploration.

Pioneer of Sound and Performance Art

McCarthy is widely recognised as a pioneer of both sound art and performance art in Ireland, consistently exhibiting and performing his work nationally and internationally for over forty years. His foundational role in establishing these avant-garde forms in Ireland underscores his innovative spirit and significant impact on the country’s artistic landscape. His continued activity as a leading exponent demonstrates sustained relevance and a commitment to pushing artistic boundaries beyond traditional mediums, thereby enriching the breadth of Irish contemporary art and shaping its trajectory.

Institutional Leadership and Contributions

Beyond his individual artistic practice, McCarthy has played pivotal roles in shaping Ireland’s arts infrastructure through extensive institutional leadership. He is a founding director of two major Cork-based institutions: the Triskel Arts Centre and the National Sculpture Factory. The National Sculpture Factory, for instance, was established in response to a need among fine art sculptors for affordable studio space and visual arts services, with McCarthy being one of four local artists instrumental in its founding. Furthermore, he serves as a director of the Sirius Arts Centre in Cobh and is a director of Sonic Vigil. His former directorships include the NCAD, Sculptors Society of Ireland, Art Trail, Intermedia, and the Quiet Music Ensemble, among others. This extensive involvement reveals a profound commitment not only to his own artistic practice but also to the development and sustainability of the broader arts ecosystem in Ireland.

Curatorial Work and Collaborations

McCarthy also boasts a distinguished curatorial record, having organised numerous exhibitions and projects that often push interdisciplinary boundaries. Notable examples include ‘Sound Out’, which he co-curated with the internationally renowned musician, writer, and sound curator David Toop. This collaboration highlights McCarthy’s international standing and his role in fostering cross-cultural artistic dialogue. He also curated ‘Bend It Like Beckett’, a CD project released in 2006 to commemorate the Beckett Centenary, showcasing his engagement with literary milestones and his expansive approach to artistic expression. Another significant project is ‘Sonic Vigil’, which he co-founded as an experimental event in 2005, evolving into a festival of improvisation and sound art. He has also been associated with projects titled ‘Just Listen’ and curated Intermedia Festivals. His collaborative spirit is further exemplified by his founding of The Quiet Club with Mick O’Shea in 2006, a floating membership sound art and electronics performance group that has performed widely across Ireland, Europe, China, Japan, USA, and Canada.

Artistic Philosophy and Recognition

While ‘Cut Out People’ is a visual sculpture, McCarthy’s broader artistic practice is deeply rooted in sound art and performance, offering a unique lens through which to interpret his diverse output. His work frequently explores themes of listening, silence, memory, and the sonic possibilities inherent in objects and places. He has created installations that delve into the “cracks between the silence” and the interplay of sound and objects, often utilising field recordings and found sounds. For instance, his installation ‘Haunted By Silence’ stems from hours spent “just listening” in St Marys Abbey Glencairn, capturing the random sounds of contracting wood in the church. Similarly, his “Memory Box Room” installation explores memory through fragments, incomplete melodies, and the “cracks between the silence,” highlighting the subtle, often unheard, sounds of objects and spaces. This profound engagement with sound, listening, and silence, even in his non-sculptural work, provides a consistent conceptual thread across his diverse mediums. The sculpture’s “cut out” forms and the painted shadows can be seen as a visual analogue to the “cracks between the silence” or the interplay of presence and absence that he explores sonically. In this way, negative space, implied presence, and the ephemeral are as significant as solid form, reflecting a unified artistic philosophy. A testament to his pioneering efforts in this field, his piece “Found Sound (Lost At Sea 11.1.11)” was the first sound art work acquired for the Irish National Collection, marking a significant milestone in the recognition of sound art within the national art historical canon.

McCarthy’s significant contributions and artistic excellence have garnered widespread recognition. He has received numerous awards and bursaries from significant bodies such as the Irish Arts Council, the Department of Foreign Affairs, and Culture Ireland. He was also a first-prize winner in EV+A (Exhibition of Visual + Art), an important annual art exhibition in Limerick. His work is held in prestigious collections including the Arts Council of Ireland, Crawford Municipal Gallery, the Irish National Collection, Limerick City Gallery, and various other international public and private collections.

Conclusion: Legacy and Enduring Impact

‘Cut Out People’ by Danny McCarthy is more than just a public sculpture; it is a tangible manifestation of an artist whose practice spans diverse mediums and profoundly influences the Irish contemporary art scene. The sculpture’s dynamic form, its innovative use of two-dimensional profiles to create three-dimensional illusion, and its conceptual engagement with light and shadow resonate deeply with McCarthy’s broader explorations of presence, absence, and perception—themes often central to his pioneering sound and performance art. The choice of durable metal for a “cut out” form subtly challenges perceptions of permanence and transience, echoing the nuanced interplay between what is seen and what is implied in his sonic works.

Its strategic placement in Blackrock Park, as an integral part of the DLR Sculpture Trail, further highlights McCarthy’s commitment to making art accessible and integrated into public life. This location not only provides a fitting backdrop for the sculpture’s multi-angled viewing experience but also transforms an urban green space into an open-air gallery, fostering a broader appreciation for contemporary art.

McCarthy’s extensive career, marked by his pioneering role in sound and performance art, his foundational contributions to key arts institutions like the National Sculpture Factory and Triskel Arts Centre, and his distinguished curatorial work, underscores his profound commitment to fostering and shaping the artistic landscape in Ireland. His innovative approach, particularly in less traditional mediums, combined with his significant public works like ‘Cut Out People’, ensures his enduring legacy as a multifaceted and pivotal figure in Irish contemporary art.

‘Cut Out People’ stands as a testament to McCarthy’s inventive spirit, offering a publicly accessible artwork that invites contemplation on form, movement, and the subtle interplay of human perception within a shared urban space, reflecting the depth and breadth of his artistic vision and his lasting contribution to the cultural fabric of Ireland.

A QUICK VISIT TO BLACKROCK VILLAGE ON FRIDAY 23 MAY 2025

May 23, 2025 by infomatique

THE 2025 PHOTONIQUE BLOG

A QUICK VISIT TO BLACKROCK VILLAGE ON FRIDAY 23 MAY 2025

00:00 / 4:55

I DID NOT HAVE TIME TO EXPLORE IN GREATER DETAIL BUT I WILL RETURN

Blackrock Village, nestled in County Dublin, Ireland, is a vibrant suburban area known for its coastal charm and bustling atmosphere. It features a mix of traditional and modern amenities, including a popular market, shops, restaurants, and residential areas. The village maintains a strong community feel while being well-connected to Dublin city centre and other surrounding areas.

Transport links in Blackrock are excellent, providing convenient access for residents and visitors alike:

The DART (Dublin Area Rapid Transit) is a cornerstone of Blackrock’s public transport, with Blackrock DART Station being a key hub. The DART offers frequent services north and south along the Dublin coastline, connecting Blackrock directly to central Dublin (including stations like Grand Canal Dock, Pearse, Tara Street, and Connolly) and extending to areas like Howth and Bray. Journey times to South Docklands are approximately 15 minutes. Blackrock DART station, opened in 1834, is one of the oldest railway stations in Ireland and is fully accessible.

Beyond the DART, Blackrock is well-served by a comprehensive network of bus routes. The Frascati Road Quality Bus Corridor (QBC) runs through the village, providing numerous high-frequency bus services. Notable routes include the 4, 7, 7A, and S6, which connect Blackrock to Dublin City Centre, Dublin Airport, and other suburban locations like Monkstown, Mountjoy Square, and Loughlinstown.

For those who prefer cycling, marked cycle lanes run from Blackrock towards Dublin City Centre, with further improvements planned as part of the S2S (Sutton to Sandycove) Cycle Route, offering a scenic and safe option for commuting and leisure.

Road access is also very good. The N31 (Frascati Road) is a main arterial route into central Dublin, and the M50 motorway is accessible within a 10-minute drive, providing excellent links to Dublin Airport and the national road network.

WILLIAMSTOWN MARTELLO TOWER IS LOCATED IN BLACKROCK LINEAR PARK

May 23, 2025 by infomatique

THE 2025 PHOTONIQUE BLOG

WILLIAMSTOWN MARTELLO TOWER IS LOCATED IN BLACKROCK LINEAR PARK

00:00 / 4:45

FRIDAY 23 MAY 2025

The Williamstown Martello Tower, located in Blackrock Park, Dublin, is a squat, cylindrical masonry fort built between 1804 and 1806 during the Napoleonic Wars. Originally constructed in the inter-tidal zone, it was partially submerged at high tide, a unique feature among the Dublin towers. The building of the Dublin to Kingstown railway in 1834, followed by the creation of Blackrock Park in 1873, ultimately landlocked the tower and raised the surrounding ground level, burying its ground floor. This historical defence, designed to accommodate two 24-pounder cannons and resist cannon fire with its thick walls, was part of a chain of Martello towers along the Irish coastline intended to deter a French invasion. Today, the tower stands as a notable landmark, awaiting proposed restoration efforts to allow for community use.

The tower is situated within Blackrock Park, which forms a key part of the linear park and greenway system stretching along the south Dublin coastline. This accessible route, often referred to as the Blackrock Cycle Route or part of the wider East Coast Trail (formerly Sutton to Sandycove or “S2S”), provides a shared path for pedestrians and cyclists. It links various coastal villages and towns, offering scenic views and promoting active travel for both leisure and commuting. The park itself is a large grassed area, bordered by the DART (Dublin Area Rapid Transit) railway line, and offers a pleasant coastal walkway.

SHOULD I CHOOSE THE LEICA Q3 OR THE FUJIFILM GFX100RF

May 23, 2025 by infomatique

Choosing Your Vision: Fujifilm GFX100RF or Leica Q3?

The high-end photography market is currently experiencing a fascinating resurgence of the fixed-lens camera. This category champions the symbiotic relationship between sensor and optic, often encouraging a more deliberate and focused photographic approach. In a market largely dominated by interchangeable-lens systems, these specialised instruments offer a unique allure, representing a distillation of a manufacturer’s core identity and optical prowess.

Into this discerning arena steps the Fujifilm GFX100RF, a groundbreaking entrant announced in March 2025 for an April 2025 release. It boldly aims to merge the rarefied domain of medium format image quality with the relative convenience of a fixed-lens, rangefinder-style body. This camera is not merely an iteration; it is a statement, challenging established norms and expectations within the premium compact sector.

Its primary competitors are the Leica Q3 and its variant, the Leica Q3 43. The Leica Q3, a full-frame benchmark, is lauded for its exceptional Summilux 28mm f/1.7 ASPH. lens, refined user experience, and the quintessential Leica image rendering. The Leica Q3 43, introduced subsequently, caters to photographers who prefer a “perfect normal” 43mm focal length over the wider 28mm, offering a subtly different perspective while retaining the Q series’ core attributes.

The very existence of these two Q3 models, differentiated primarily by their fixed focal lengths and lens characteristics, points to a highly sophisticated market. This segment of photographers is evidently willing to invest substantially for tools precisely tailored to their creative vision, indicating a user base that is exceptionally deliberate in its equipment choices. The GFX100RF’s arrival, therefore, is not just the launch of another camera but a strategic manoeuvre by Fujifilm, signalling its intent to carve out a significant presence in a niche yet lucrative market segment that Leica has long cultivated. This challenge is built upon Fujifilm’s established success with the X100 series in the APS-C fixed-lens domain and the leveraging of its GFX medium format sensor technology, combined with a design philosophy that echoes the popular X100 series.

Core Philosophies and Design

The Fujifilm GFX100RF is built upon the principle of delivering “More Than Full Frame” image quality, derived from its 102-megapixel large-format sensor (43.8mm×32.9mm, providing an area approximately 1.7 times that of a 35mmfull-frame sensor) into what Fujifilm terms an “everyday medium format” camera. Despite its powerful sensor, it maintains a relatively compact and lightweight profile, weighing approximately 735g including battery and memory card.

Aesthetically, the GFX100RF adopts a rangefinder-style design that evokes both the popular Fujifilm X100 series and classic film cameras, featuring an offset electronic viewfinder (EVF) and meticulously machined aluminium dials intended to provide a premium, tactile handling experience. Central to its appeal is Fujifilm’s “Straight Out of Camera” philosophy, heavily reliant on its acclaimed Film Simulation modes that draw inspiration from the company’s extensive heritage in colour science. This design approach appears to be a strategic amalgamation, combining the formidable image quality of the GFX system with the cherished form factor and usability of the X100 series. The aim seems to be the creation of a new “halo” product – one that is both aspirational for those new to medium format and a conveniently portable companion for existing GFX system users. As photographer Reuben Wu noted, its utility as a single camera for both “everyday” and “hero” images successfully bridges a gap in his workflow.

In contrast, the Leica Q3 and Q3 43 embody Leica’s long-standing philosophy of marrying technical possibility with photographic practicality, a concept dating back to Oskar Barnack. These cameras focus on full-frame refinement, featuring a 60-megapixel BSI CMOS sensor, and are built around the esteemed optical heritage of Leica lenses – the Summilux 28mm f/1.7 ASPH. for the Q3 and the APO-Summicron 43mm f/2 ASPH. for the Q3 43. The design is iconically minimalist, emphasising robust build quality, intuitive handling, and a direct, engaging shooting experience that is quintessentially Leica. The Q series is often perceived as an accessible entry into the broader Leica M system, offering a taste of the brand’s unique appeal. The Leica Q3 weighs 743g, comparable to the GFX100RF. Leica’s Q series, especially with the advancements in the Q3, continues to polish its successful formula. It delivers a quintessential Leica experience encompassing image quality, build, and handling, augmented with modern conveniences such as effective autofocus, a high-resolution EVF, and enhanced connectivity. This positions the Q3 as a highly refined, albeit premium, instrument for discerning photographers who value the brand’s heritage and its distinct image rendering characteristics.

Despite their fixed lenses, both the Fujifilm GFX100RF and the Leica Q series are marketed as remarkably versatile tools. This versatility is largely enabled by their high-resolution sensors, which permit significant cropping (effectively a digital zoom), and by the thoughtful selection of their respective focal lengths. This challenges the traditional notion that fixed-lens cameras are inherently limiting, instead promoting a philosophy where the initial capture is a high-quality starting point for further creative refinement.

Image Quality: A Tale of Two Sensors and Lenses

The heart of any camera lies in its sensor and lens, and here the GFX100RF and Leica Q3 models present distinct offerings.

Sensor Showdown

The Fujifilm GFX100RF boasts a 102-megapixel medium format CMOS sensor, measuring 43.8×32.9mm. Fujifilm promises “unsurpassed image quality,” highlighting “stunning detail and colour,” a wide dynamic range, low noise with a native ISO sensitivity down to 80, and the ability to capture 16-bit RAW files. The larger sensor area is often associated with a distinct “medium format look,” characterised by smooth tonal transitions and a particular micro-contrast.

The Leica Q3 and Q3 43 are equipped with a 60.3-megapixel full-frame BSI CMOS sensor. A key feature is Leica’s Triple Resolution Technology, allowing users to capture DNG RAW and JPG files at 60MP, 36MP, or 18MP, offering flexibility in file size and workflow. The native ISO sensitivity extends down to 50. These cameras are known for delivering excellent detail and Leica’s signature image rendering.

Analytically, the GFX100RF holds a clear advantage in sheer resolution and sensor surface area. This typically translates to superior dynamic range and noise performance, particularly at base ISO sensitivities. However, the Leica Q3’s BSI sensor is a highly capable performer in its own right, and its flexible resolution options are a practical benefit. The subjective “medium format look” of the GFX100RF remains a significant, if less quantifiable, point of differentiation.

Optical Characteristics

The Fujifilm GFX100RF is paired with a newly developed Fujinon 35mm f/4 lens, which provides a 28mm equivalent field of view in 35mm terms. This lens comprises 10 elements in 8 groups, including two aspherical elements, and features a Nano-GI coating to suppress reflections and ensure high resolution from edge to edge. Its maximum aperture of f/4 is equivalent to approximately f/3.2 on a full-frame camera in terms of depth of field. While some photographers may find an f/4 aperture limiting for low-light performance and achieving shallow depth of field, others contend that f/4 is a common and versatile working aperture in medium format photography. A critical feature of this lens is its leaf shutter system, enabling flash synchronisation at all mechanical shutter speeds, up to 1/2000s (technically up to 1/4000s, though with some risk of flash cut-off). Beyond flash sync, the leaf shutter offers near-silent operation and introduces minimal vibration, a crucial benefit given the camera’s lack of in-body image stabilisation. Further enhancing its versatility, the lens incorporates a built-in 4-stop neutral density (ND) filter, a significant practical advantage for managing exposure in bright conditions or for creative slow-shutter effects. The lens offers a minimum focusing distance of 20cm.

The Leica Q3 features the renowned Summilux 28mm f/1.7 ASPH. lens. This optic is celebrated for its exceptional sharpness, even when used wide open at f/1.7, its beautiful image rendering, and a distinct character that contributes to the “Leica look”. Its f/1.7 maximum aperture provides a substantial 1.7EV light-gathering advantage over the GFX100RF’s f/4 lens, which is particularly beneficial in low-light conditions. The Leica Q3 43 is equipped with an APO-Summicron 43mm f/2 ASPH. lens, designed to offer a “natural perspective” akin to human vision. The APO (apochromatic) designation indicates a high degree of correction for chromatic aberrations, promising excellent colour fidelity and sharpness. Both Leica Q3 models also employ leaf shutters, providing the benefit of high flash synchronisation speeds. For close-up work, the Q3 has an integrated macro mode allowing focusing down to 17cm, while the Q3 43 also features a macro capability with a minimum focusing distance of 27cm. The wider apertures of the Leica lenses (f/1.7 and f/2) naturally afford much shallower depth of field possibilities compared to the GFX100RF’s f/4, allowing for greater subject-background separation.

The Stabilisation Debate

A crucial point of divergence is image stabilisation. The Fujifilm GFX100RF does not feature in-body image stabilisation (IBIS) or optical image stabilisation (OIS) for still photography; it offers digital image stabilisation for video recording only. Fujifilm has stated that incorporating IBIS would have necessitated a larger lens and consequently a larger camera body, thereby compromising its compact design objective. The low-vibration nature of the leaf shutter is presented as a mitigating factor, and some photographers argue that IBIS is less critical for wider angle lenses or that skilled practitioners can achieve sharp images without it. Nevertheless, the absence of stabilisation for stills is a significant concern for many potential users, particularly for handheld shooting in lower light levels.

In contrast, both the Leica Q3 and Q3 43 are equipped with optical image stabilisation (OIS). This provides a clear advantage for handheld photography in dim lighting or when using slower shutter speeds, enhancing the cameras’ versatility.

The GFX100RF’s f/4 lens and lack of IBIS, while subjects of debate, are evidently deliberate design trade-offs made to achieve the primary objective of a compact medium format camera body. This inherently positions the camera towards photographers who prioritise maximum resolution in well-controlled or bright lighting conditions, or those who are comfortable employing a tripod, rather than those who demand ultimate all-around low-light handheld flexibility. The Leica Q3’s combination of a significantly faster lens (f/1.7 or f/2) and OIS, on the other hand, creates a much more forgiving and versatile shooting envelope. This is especially true in low-light scenarios and for achieving pronounced subject separation, making it a more adaptable premium compact camera for a wider range of conditions.

Colour Science and Character

The Fujifilm GFX100RF provides access to Fujifilm’s extensive suite of 20 Film Simulation modes, which are highly esteemed for their “straight out of camera” appeal and their foundation in Fujifilm’s analogue film heritage. This is consistently cited as a major selling point for Fujifilm users.

Leica’s colour science is often described as producing natural, rich, and “film-like” images, frequently associated with excellent tonality and micro-contrast that contributes to the famed “Leica pop”. The Leica Q3 also offers “Leica Looks,” which are creative filter options.

The discussion around “image character” – comparing Fujifilm’s simulations against Leica’s inherent rendering – is intensely subjective but acts as a potent brand differentiator. For many photographers operating in this premium market segment, the aesthetic quality of the image directly from the camera, or requiring minimal post-processing, is as crucial as the raw technical specifications. This indicates that the artistic interpretation of sensor data is a critical factor in their choice, extending beyond mere megapixel counts or lens sharpness metrics.

Handling, Ergonomics, and User Experience

The physical interaction with a camera is paramount, especially for tools designed for considered photography.

Physical Build and Portability

The Fujifilm GFX100RF weighs approximately 735g. It is described as “relatively wide and boxy” but “not particularly heavy,” making it manageable for all-day carrying. One reviewer noted it is “small enough to bring everywhere, but big enough to hold securely”. Its top plate is milled from a single block of aluminium, contributing to a premium feel. Weather resistance is provided, but it is conditional upon the attachment of the supplied adapter ring and a compatible filter. Some users have found the handgrip to be somewhat shallow.

The Leica Q3 weighs 743g, making it very comparable to the GFX100RF in weight. It is lauded for its solid build and premium tactile quality. The Q3 features IP52 ingress protection, offering resistance against dust and water spray. Ergonomically, the Q3 is generally praised when used with two hands or a neck strap; however, one-handed operation can be less secure due to a shallow thumb rest, for which an optional accessory grip is available.

In comparison, both cameras are substantial yet portable. The GFX100RF’s lightness for a medium format camera is frequently highlighted as a positive attribute. The Leica Q3’s construction instils a sense of solidity and durability. The conditional nature of the GFX100RF’s weather sealing is a point to consider for users frequently shooting in adverse conditions.

Controls and Interface

The Fujifilm GFX100RF is described as being “brimming with controls”. It features machined aluminium dials for shutter speed, ISO, exposure compensation, and an aperture ring on the lens, all designed for a highly tactile experience. A unique feature is the dedicated Aspect Ratio Dial on the rear of the camera. Additionally, a digital tele-converter selector lever is located on the front. For navigation, it includes a rear joystick. The camera is equipped with a 3.15-inch, 2.1-megapixel LCD screen that tilts up and down, but not to the side for front-facing views. The EVF is a high-resolution 5.76 million-dot OLED panel with 0.84x magnification. Some reviewers have found the placement of the Q (Quick Menu) button to be slightly awkward, and the digital zoom lever prone to accidental nudging. The user interface has been optimised for the 3:2 aspect ratio of the new LCD monitor. Fujifilm’s decision to incorporate numerous dedicated dials, despite its compact design aspirations, underscores a commitment to a direct and engaging shooting experience. This is likely to appeal to photographers who find contemporary cameras overly reliant on menus, preferring physical interaction with their settings.

The Leica Q3 adheres to a minimalist design philosophy but also provides tactile manual controls. It features a shutter speed dial, a thumb dial, and an aperture control ring on the lens. The button layout on the Q3 has been improved compared to its predecessor, the Q2, with key buttons such as ‘Menu,’ ‘Play,’ and a custom function button relocated to the right side of the body, facilitating easier one-handed operation. The Q3 features a tiltable 3-inch, 1.84 million-dot touchscreen LCD. Its OLED EVF offers a resolution of 5.67 million dots (some sources state 5.76 million dots). The Leica menu system is often praised for its simplicity and intuitive navigation. The refined ergonomics of the Q3, particularly the enhanced button layout and the introduction of a tilting screen, demonstrate Leica’s responsiveness to user feedback from previous Q models. These changes aim to improve usability without compromising the brand’s core minimalist design principles, an iterative approach crucial for retaining a loyal user base.

Autofocus Performance

The Fujifilm GFX100RF employs an Intelligent Hybrid AF system, combining contrast and phase detection autofocus, and includes subject detection capabilities for animals, birds, automobiles, motorcycles/bikes, airplanes, and trains. User experiences describe the AF as “fine,” “snappy,” and “almost flawless” in many situations, with “very good” eye detection. However, it is generally noted that it is not optimised for fast-action sports photography, and some users have found it “not the zippiest”.

The Leica Q3 and Q3 43 also feature a hybrid autofocus system, incorporating Phase Detection AF, Contrast AF, Depth from Defocus (DFD), and AI-assisted subject recognition. While generally effective, some reviews mention instances of the AF hunting or back-focusing, particularly in bright sunlight, and some users have reported dissatisfaction with its performance, labelling it “bad AF”.

Comparing the two, both utilise modern hybrid AF technologies. Some anecdotal evidence suggests the GFX100RF may have a slight edge in terms of responsiveness, though neither is positioned as a camera for high-speed sports. The GFX100RF’s subject detection modes appear to be more extensive.

Battery Life

The Fujifilm GFX100RF uses the NP-W235 battery and is rated for an impressive 820 shots per charge according to CIPA standards.

The Leica Q3 uses the BP-SCL6 battery, with a CIPA rating of 350 shots per charge.

This significant disparity in battery life gives the GFX100RF a substantial practical advantage, particularly for travel photography or long days of shooting where access to charging may be limited. This could be a decisive factor for photographers who prioritise uninterrupted shooting sessions and wish to minimise “battery anxiety.”

Versatility and Creative Features

Beyond core image capture, these cameras offer features that enhance their creative potential and adaptability.

Digital Crop Modes and Aspect Ratios

The Fujifilm GFX100RF features a digital tele-converter that crops its 35mm (28mm equivalent) lens to simulate effective focal lengths of 45mm (36mm equivalent), 63mm (50mm equivalent), and 80mm (63mm equivalent). A standout feature is its dedicated Aspect Ratio Dial, offering quick selection from nine different formats, including newly added 3:4 and 17:6 ratios, some of which are derived from Fujifilm’s historic analogue cameras. Crucially, when shooting in these modes, the full uncropped RAW file is preserved, allowing for maximum flexibility in post-production. This unique Aspect Ratio Dial is more than a mere novelty; it represents a deliberate design choice to encourage photographers to make compositional decisions in-camera and to connect with Fujifilm’s rich analogue heritage. It fosters a more considered, formative photographic process, appealing to users who enjoy a tactile and deliberate approach to their craft.

The Leica Q3, with its 28mm lens, offers digital crop modes to simulate 35mm (resulting in a 39MP image), 50mm (19MP), 75mm (8MP), and 90mm (6MP) equivalent fields of view. Similar to the Fujifilm, the uncropped DNG RAW file is saved alongside the cropped JPEG, ensuring no loss of original sensor data. The Leica Q3 43, starting with its 43mm lens, provides crop modes for 50mm (31MP), 75mm (21MP), 90mm (14MP), 120mm (8MP), and 150mm (5MP) equivalents.

Both camera systems leverage their high-resolution sensors to offer considerable cropping flexibility. The GFX100RF’s dedicated physical dial for aspect ratios provides a unique ergonomic advantage for in-the-moment adjustments. The Leica Q3 offers a more granular selection of crop steps. The utility of these digital crops ultimately depends on the individual photographer’s workflow and their acceptance of the resolution trade-off for achieving tighter framing. The preservation of the full uncropped RAW file by both systems is a critical safety net, acknowledging that creative intent can evolve after the initial capture and ensuring maximum latitude for post-processing adjustments.

Video Capabilities

The Fujifilm GFX100RF can record 4K video at up to 30p (DCI or UHD) using H.264 or H.265 codecs, with options for 4:2:2 or 4:2:0 chroma subsampling and 8-bit or 10-bit colour depth internally. It supports ProRes RAW and Blackmagic RAW output via its HDMI port for external recording. Fujifilm’s F-Log2 gamma profile is available for maximising dynamic range in video. Digital Image Stabilisation is available for video mode. The camera includes dedicated microphone input and headphone output ports, and supports Frame.io Camera-to-Cloud integration for streamlined workflows. Despite these features, some reviewers consider its video capabilities to be secondary to its stills performance, almost “vestigial”.

The Leica Q3 and Q3 43 offer more ambitious video specifications, capable of recording up to 8K resolution at 30p (C8K cinematic 17:9 or standard 8K 16:9). They support multiple video formats, including H.265 and Apple ProRes (ProRes 422 HQ internally for Full HD resolution up to 60p). The cameras also provide 4K recording at up to 60p, and include L-Log and HLG (Hybrid Log-Gamma) profiles for enhanced dynamic range and HDR workflows. Connectivity is provided via USB-C and HDMI ports. However, a potential drawback for 8K/30p capture is a noticeable rolling shutter effect, measured at around 33ms (UHD). While the Q3 body itself lacks dedicated microphone or headphone ports, external microphone connection via the USB-C port is mentioned.

The Leica Q3’s superior video resolution and internal ProRes options for FHD suggest an aim to appeal to a broader range of “content creators” beyond traditional still photographers. In contrast, the GFX100RF’s video features, while robust and including professional RAW output, seem to position video as a strong secondary capability to its primary focus on still image capture.

Other Notable Features

The Fujifilm GFX100RF includes the previously mentioned built-in 4-stop ND filter and access to 20 Film Simulation modes. It is also equipped with dual UHS-II SD card slots, offering flexibility for backup or overflow storage.

The Leica Q3 and Q3 43 feature an innovative Perspective Control function, which can automatically correct converging verticals in JPEGs and embed correction data in DNG files. They offer the convenience of wireless charging via an optional handgrip accessory and boast fast, stable connectivity with the Leica FOTOS mobile app. Both Q3 models utilise a single SD UHS-II card slot.

The Deciding Factors: Why Choose One Over the Other?

The choice between these premium fixed-lens cameras hinges on a photographer’s specific needs, priorities, and shooting style.

For the Resolution Seeker and “Medium Format Look” Devotee

The Fujifilm GFX100RF is the clear choice here. Its 102-megapixel medium format sensor delivers an unparalleled level of detail, extensive cropping flexibility, and the distinct rendering often associated with larger sensors – characterised by smooth tonality and a unique depth. This makes it exceptionally well-suited for applications where maximum image fidelity is paramount, such as large-scale printing, detailed landscape work, architectural photography, and meticulous studio or fine art projects.

For the Low-Light Specialist, Speed & Shallow Depth of Field Enthusiast

The Leica Q3 or Q3 43 holds the advantage. The significantly wider maximum aperture of their lenses (f/1.7 for the Q3, f/2 for the Q3 43) combined with optical image stabilisation makes them far more capable for handheld shooting in low-light conditions. These wider apertures also allow for greater subject-background separation, producing a shallower depth of field that is often desired for portraiture and creative effects.

Specific Use Cases

Street photography: The GFX100RF offers the benefits of a quiet leaf shutter, the creative potential of its Aspect Ratio Dial, and Fujifilm’s popular Film Simulations. However, its f/4 lens and lack of IBIS can be limitations for capturing fleeting moments in varied or dim lighting. It is perhaps better suited to a more deliberate, “slow street” approach or documentary work where conditions are more controlled. Its digital teleconverter can also be a useful tool for framing. The Leica Q3, with its faster lens, OIS, and responsive autofocus, is generally more adaptable to the unpredictable nature of street photography. Its 28mm lens is a classic focal length for this genre, while the Q3 43 offers a slightly tighter alternative. Both Leica models are relatively unobtrusive, an advantage in candid situations.
Travel photography: The GFX100RF provides exceptional image quality for capturing landscapes and detailed scenes, benefits from excellent battery life, and includes a practical built-in ND filter. Its compactness for a medium format camera is a significant plus. However, the absence of IBIS can be a concern for spontaneous, handheld shots in less-than-ideal lighting. The Leica Q3 and Q3 43 offer a versatile lens, OIS for stability, and are well-suited to varied lighting conditions encountered during travel. The Q3’s IP52 rating provides a degree of weather resistance. Both are compact and robustly built. A potential concern for some Leica users on critical trips might be the single SD card slot.
Landscape and architectural photography: The GFX100RF’s high resolution, wide dynamic range, and excellent edge-to-edge lens sharpness are ideal attributes. Its various aspect ratios can aid in compositional choices. For such work, tripod use is common, which mitigates the limitations of the f/4 aperture and lack of IBIS. The Leica Q3 and Q3 43 also offer good resolution and excellent lens performance. The Q3’s Perspective Control feature is a useful bonus for architectural work, and the 28mm focal length is well-suited for these genres.
Portraiture: The GFX100RF’s 28mm equivalent lens is quite wide for traditional portrait styles but can be effective for environmental portraits that include more of the subject’s surroundings. The f/4 aperture limits the potential for achieving very shallow depth of field and significant background blur (bokeh). However, the digital crop modes can provide tighter framings equivalent to 50mm or 63mm. The Leica Q3’s f/1.7 aperture at 28mm offers more subject separation than the GFX100RF. The Leica Q3 43, with its 43mm f/2 lens, is arguably better suited for more traditional portrait perspectives and achieving a pleasing depth of field.

The decision between these cameras often comes down to a photographer’s primary shooting conditions and their willingness to accept certain trade-offs. The GFX100RF demands more available light or greater stability (e.g., a tripod) to achieve its best results, but it rewards the user with an extraordinary level of detail. The Leica Q3, conversely, offers greater flexibility in challenging lighting conditions, albeit with a smaller sensor and consequently lower ultimate resolution.

Price, Perceived Value, and Brand Ecosystem

The Fujifilm GFX100RF is priced at approximately $4,899 USD or £4,699 GBP. This positions it as a medium format camera that is price-competitive with some high-end full-frame systems and notably less expensive than the Leica Q3. For existing Fujifilm users, it offers the benefit of integration with the Fujifilm X/GFX battery system and a familiar user interface. Fujifilm cameras also enjoy strong support from software like Capture One, including access to Film Simulations.

The Leica Q3 carries a UK price of around £5,550 (the US price has risen from its launch price to approximately $6,295). The Leica Q3 43 is even more expensive, at approximately £5,900 or $6,895 USD. This premium pricing reflects the Leica brand cachet, exceptional build quality, the renowned quality of its lenses, and its “Made in Germany” manufacturing. Leica offers its FOTOS app for seamless mobile workflow integration, and its products typically command strong resale values.

The concept of “value” in this context is complex. While the GFX100RF is less expensive than the Q3, its inherent limitations (f/4 aperture, no IBIS) might lead some photographers to perceive the Q3 as offering better “all-around” value, despite its higher price, if versatility across a wider range of shooting scenarios is their primary concern. Conversely, for those specifically seeking medium format image quality, the GFX100RF can be seen as “cheap” when compared to interchangeable-lens medium format systems. Brand loyalty and existing ecosystem investments also play a crucial role. A photographer already invested in the Fujifilm system might naturally gravitate towards the GFX100RF due to its familiar interface, Film Simulations, and shared battery platform. Similarly, a Leica enthusiast will likely appreciate the Q3’s lineage, unique rendering characteristics, and the overall Leica experience.

The Ultimate Indulgence: Could One Justify Owning Both?

The prospect of owning both a Fujifilm GFX100RF and a Leica Q3 (or its 43mm variant) is one that likely appeals to a select group: highly affluent photography enthusiasts or professionals with exceptionally diverse needs and the means to satisfy them. For such individuals, the decision would not be about redundancy but about possessing a curated set of specialised tools, each optimised for different photographic intentions and conditions.

The cameras offer genuinely complementary strengths. The GFX100RF would excel in planned, high-resolution assignments: meticulous landscape work, detailed architectural studies, controlled studio sessions, fine art projects, or capturing “hero shots” where ultimate image fidelity is paramount. Its more deliberative operational nature and the sheer quality of its medium format output would be its defining characteristics in such scenarios. The Leica Q3 or Q3 43, on the other hand, would serve as the versatile everyday carry camera, perfectly suited for dynamic street photography, immersive travel documentation, capturing events as they unfold, performing admirably in low-light situations, and facilitating a more spontaneous, reactive shooting style.

Beyond their technical capabilities, these cameras offer distinct shooting experiences. The GFX100RF provides the unique rendering and immense detail characteristic of medium format, potentially encouraging a slower, more composed approach to image-making. The Leica Q3 delivers the classic Leica full-frame aesthetic combined with speed and agility, making it adept at capturing fleeting moments. This “owning both” scenario highlights a fascinating segmentation within the high-end market, where photographers, if their budget permits, are willing to invest in multiple specialised instruments rather than seeking a single, compromised “do-it-all” camera. This reflects a dedicated pursuit of uncompromised quality tailored to specific applications. Furthermore, the desire to own both could be fuelled by an appreciation for the distinct “artistic signatures” of each brand – Fujifilm’s renowned colour science and Leica’s legendary lens rendering – effectively treating the cameras as different palettes for creative expression.

Concluding Perspectives: Navigating the Apex of Fixed-Lens Photography

In summary, the Fujifilm GFX100RF stands as a bold and innovative camera, offering unmatched resolution within a relatively portable medium format, fixed-lens package. It is ideally suited for the deliberate photographer who values ultimate detail, the unique qualities of medium format imaging, and the creative tools offered by the Fujifilm ecosystem. Its strengths lie in its sensor, its tactile controls, and its ability to produce stunning images when conditions allow or when used with appropriate support.

The Leica Q3 and Q3 43 represent the pinnacle of refined full-frame fixed-lens performance. They offer exceptional lens speed, the practical benefit of optical image stabilisation, and a highly versatile shooting experience. These cameras are tailored for the photographer who values the Leica heritage, its specific image rendering, and a highly capable all-around tool that excels in a wide variety of conditions, particularly where available light is challenging.

Ultimately, the determination of the “better” camera is entirely subjective, contingent upon an individual photographer’s priorities, preferred shooting style, typical subjects, and, of course, budget. Both the Fujifilm GFX100RF and the Leica Q3 series represent remarkable achievements in fixed-lens camera engineering, each carving out a distinct niche at the apex of the market. The GFX100RF is undeniably a bold statement from Fujifilm, potentially signalling further innovation and competition in this specialised segment.

The emergence of the GFX100RF alongside the established Leica Q series collectively validates the enduring appeal of the premium fixed-lens camera. This category offers a focused, high-quality shooting experience that neither an interchangeable-lens camera with a general-purpose zoom lens nor a smartphone can fully replicate. The technological trade-offs inherent in their designs – the GFX100RF sacrificing lens speed and IBIS for medium format compactness, versus the Leica Q3 opting for a smaller sensor but incorporating a faster lens and OIS – illustrate the fundamental challenges in camera engineering. They underscore the delicate balance between achieving ultimate image quality, ensuring portability, and providing broad versatility, leading to differentiated products that cater to distinct photographic philosophies and priorities.