Streets Of Waterford

WATERFORD WALLS – TRIP PLANNING AND GEAR CHOICES [AUGUST 2025]

August 10, 2025 by infomatique

I have spent weeks planning a trip to Waterford to photograph the murals, and deciding on the right photographic equipment has been a challenge. After considering various options, I’ve decided to go with the Sony A1 II and the FE 24-105mm F4 lens, even though my initial preference was the A7RV. My decision is based on the need to test the A1 II, which I only received recently. I also suspect I’ll be using the Leica Q3 for most of my photography, especially when walking long distances, or when shooting in low light or poor weather conditions. I excluded my Fuji from consideration for a number of reasons.

The Leica Q3 is an excellent camera for low-light situations and is a joy to use. If I were forced to choose just one camera, this would be my pick, even though I prefer the Sony A7RV. However, experience has taught me not to rely on a single camera.

On a previous trip to Waterford in 2017, I was photographing a large mural by an artist named Arcy when a man stopped me and placed his hand on my lens, accusing me of “anti-social behaviour” for photographing street art. He was eating greasy food, and the incident left large streaks on my wide-angle lens. The damage was more severe than I first thought, and I had to take the lens to a camera dealer in Dublin for repair. On a later trip to Belfast, I had a bad fall after stepping on a loose kerbstone, which damaged my Sony A7RIV and the attached Voigtlander lens. For the rest of that trip, I relied on my iPhone 12 Pro Max, and I was so impressed with its performance that I now always bring it as an emergency backup.

Before I made a final choice I requested some expert advice and have included it below but as already mentioned I decided to bring the Sony A1 II even though I suspect that the A7RV may be a better option.

Expert Advice on Optimal Photographic Systems

My objective is to select the ideal photographic system for a five-day, weight-constrained trip to Waterford City to photograph the celebrated Waterford Walls murals. The challenge is to balance high-end image quality with the practical demands of a multi-day walking tour and train travel. The four cameras under consideration—the Sony A1 II, Sony A7RV, Leica Q3, and Fuji GFX100RF—each offer unique strengths, but not all are equally suited for this specific application.

A detailed analysis of the murals and the city’s environment suggests that a camera system with a high-resolution sensor is critical for capturing intricate details. This is especially true for the work of artists like Arcy and Sonny, who are known for their highly detailed photorealism. A camera that can deliver high-resolution files provides the flexibility to crop and reframe shots in post-production, which is invaluable for dealing with the city’s unique architectural elements.

Practical challenges, such as the Irish climate and the need to walk long distances, also informed the final decision. The potential for overcast or rainy days makes robust weather sealing and excellent low-light performance non-negotiable features. Cameras with fast lenses, like the f/1.7 Summilux on the Leica Q3, and effective in-body image stabilisation (IBIS), like the 8.5-stop system on the Sony A1 II, have a distinct advantage in these conditions.

The Contenders: A System-Level Deep Dive

Sony A7RV: The Resolution Specialist

The Sony A7RV is a formidable choice for this project. Its 61-megapixel sensor offers a key advantage for mural photography, providing maximum flexibility to crop and reframe shots after they’ve been captured. This is particularly useful for murals integrated into buildings with windows or other distracting elements. The body is also slightly lighter than the A1 II, and when paired with a pragmatic lens like the Sony FE 24-105mm F4 G, the total system weight of 1,386g is much more manageable for a walking tour.

Leica Q3: The Ultimate Minimalist’s Tool

The Leica Q3 presents a fundamentally different approach. It is an all-in-one compact camera with a 60-megapixel full-frame sensor and a fixed 28mm f/1.7 Summilux lens. At 743g with the battery, its weight is comparable to the Sony bodies alone. The fixed focal length encourages a more deliberate creative process, and the fast f/1.7 lens is a huge advantage for low-light situations. Its IP52 weather protection is another significant benefit for the Irish climate.

Sony A1 II: The All-Around Workhorse

The Sony A1 II is a flagship camera with a 50.1-megapixel stacked CMOS sensor. Its standout features include a blazing 30fps continuous shooting speed and an impressive 8.5-stop IBIS system. While its speed is largely overkill for static murals, its high-resolution sensor and class-leading image stabilisation are a significant asset for handheld shooting in challenging light. The main drawback is the system’s weight, which can be substantial when paired with a professional-grade zoom lens.

Fuji GFX100RF: The Medium Format Anomaly

The Fuji GFX100RF is technically impressive with a 102-megapixel medium format sensor. However, it is ill-suited for this trip due to two critical design compromises: a fixed 35mm f/4 lens and a lack of in-body image stabilisation (IBIS). A 102-megapixel sensor is only useful if the image is perfectly sharp, and the lack of IBIS makes it tricky to hold steady at slower shutter speeds. A tripod would be required to get the most out of the sensor, which contradicts the goal of a minimal-weight walking trip.

Performance Scorecard

Feature Sony A7RV Leica Q3 Sony A1 II Fuji GFX100RF
Portability 2 4 2 4
Low-Light Capability 4 5 5 1
Resolution/Cropping 5 4 3 5*
Weather Sealing 4 5 4 4
Lens Flexibility 5 1 5 1
*The Fuji’s resolution is technically the highest, but its lack of IBIS and slow lens render it practically unusable for handheld shooting in many scenarios.

Final Synthesis and Actionable Recommendation

The optimal choice for this trip is the Sony A7RV, paired with a lighter zoom lens such as the Sony FE 24-105mm F4 G. This system provides the most complete and versatile solution for the user’s needs. The A7RV’s immense 61-megapixel sensor offers unparalleled resolution and cropping flexibility, while the system is significantly lighter and more manageable for a five-day walking tour. The runner-up is the Leica Q3 for photographers who prefer a minimalist approach and the creative discipline of a fixed focal length.

The Sony A1 II is an expensive and heavy over-specification for this project, as its flagship features are largely extraneous for photographing static murals. The Fuji GFX100RF is a brilliant concept undermined by critical design flaws for this use case, as it would require a tripod to be used to its full potential.

As a final actionable step, I would advise you to plan your route in advance by researching the locations of the most recent murals and dropping pins on a digital map. Also, consider downloading the free #MovingMurals app, which transforms certain artworks into augmented realities, adding another dimension to the experience.

MY AUGUST 2025 VISIT TO WATERFORD

August 10, 2025 by infomatique

I must admit that I was surprised to discover that I have not visited Waterford since 2021 especially as I was convinced that I had visited late in 2023.

I am trying to produce a comprehensive record, with photographs, of my visits and while the plan was to visit the city once every year every thing changed because of Covid-19 and I had no option but to cancel a number of visits.

While I thought that I had visited in 2023 this was not the case as my mother who was 103 years of age, at the time, was unwell so I had to cancel my October 2023 visit a few days before I was due to travel. The hotel would not allow me to reschedule for March 2024 and as I had difficulty finding suitable accommodation Waterford did not remain on my schedule for that year.

This year, 2025, I have booked the Granville.

As already mentioned, I thought that I had visited Waterford in 2023 but when I checked the records I discovered that cancelled the October trip and did not visit in 2024.

I stayed at the Portree in August 2021. I also stayed at the Portree in August 2019. This hotel is now block booked and effectively unavailable to visitors,

I stayed in the Fitzwilton in July 2018 and in August 2017. I was unable to book a room here in 2023 or 2024.

I had a room in May 2016 at the Waterford Marina Hotel. While I cannot find any records I know that I stayed at the Waterford Marina Hotel in 2015 or 2014.

THE MUCH ADMIRED MURAL BY SONNY SUNDANCER IT WAS COMPLETED 23 AUGUST 2017

August 10, 2025 by infomatique

PHOTOGRAPHS PUBLISHED 10 AUGUST 2025

As I had the opportunity to photograph the artist in action on the Monday I decided to revisit on the last day of my visit to the city to see the completed work and to gauge local opinion. I got to speak with many people and most were really excited to have such a work of art in their area. The 2017 mural by Sonny Sundancer, titled “Electric Fury,” on Newgate Street, was widely described in the articles found as a “standout” and “unmissable” piece.

However, my introduction to the festival was not without incident. Upon leaving my hotel, I photographed a large mural by an artist named Arcy. Almost immediately, a man stopped me, placing his hand on my camera lens and accusing me of supporting “anti-social behaviour” by photographing street art. He was eating greasy food, and the incident left large streaks on my wide-angle lens. Unfortunately, I later discovered that his hand must have had something sharp in it, as the damage was more severe than I first thought. Upon returning to Dublin, I had to take the lens to a camera dealer for repair.

I also found navigating the festival a challenge. The available maps were unhelpful, and I struggled to locate and identify many of the murals. This meant I often wandered the streets at random, which is how I stumbled upon Sonny Sundancer’s piece. Even today, I continue my efforts to identify and locate many of the earlier murals. Also, the weather was really bad to the extent that I spent about 50% of my visit in my hotel room as my equipment was not weather proof.

The Vision and Inception: Reclaiming Public Space

The Waterford Walls festival was conceived as a direct response to a challenging period in the city’s history. In the mid-2010s, Waterford was grappling with the profound effects of an economic downturn. The city centre was described as having a “depressed” and “hopeless” atmosphere, marked by vacant factories, boarded-up shops, and empty office blocks. This decline was exacerbated by new motorways and the rise of out-of-town shopping centres, which drew commercial activity and footfall away from the city centre, leaving it feeling like a “ghost town.”

Co-founder Edel Tobin expressed frustration with this situation, noting that property owners seemed disconnected from the visual decline of their own buildings. The festival was born from a desire to turn this negativity into a positive force, transforming the city’s symbols of failure into a vibrant canvas for art. The goal was to encourage people to “lift” their eyes from the ground and reconnect with their urban environment.

The 2016 festival was a significant expansion of the previous year’s project, growing into a city-wide cultural movement. Over 40 artists participated, transforming 40 walls across Waterford City and, for the first time, extending to the nearby town of Tramore. The festival’s ethos, as articulated by Tobin, was to “re-energise, re-imagine and re-claim the shared public space” of Waterford.

A key factor in the festival’s success was its progressive operational model. Unlike other mural festivals that are limited to a single designated area, Waterford Walls was granted “access to an entire city.” This wide-ranging permission demonstrated a “mutual trust” between the festival team and the local council, allowing for the “fantastical and progressive idea of handing the entire city over to a group of artists.” This collaborative, grassroots approach was central to the festival’s success, transforming Waterford into a dynamic, living gallery.

Public Reaction: Enthusiasm Meets Apprehension

In the lead-up to the 2016 festival, public discourse was a mix of excitement and debate. The event received widespread, positive media attention, including an RTE “Supporting the Arts” video broadcast on primetime television. Rugby pundit Brent Pope was named a brand ambassador, urging locals to “get behind the Waterford Walls” and “embrace the whole idea.”

However, not everyone was enthusiastic. Some held a more traditional viewpoint on the role of art in public spaces. One online commenter argued that all art “should be inside galleries,” advocating for a city that is “grey and uniform” and using the hashtag “#notonmystreets.” This conservative stance was quickly challenged by others who argued that “the world is a gallery.” This debate highlighted a broader societal tension between those who wanted to preserve a familiar past and those who embraced a forward-looking, expressive vision for the city.

Challenges and Issues of the 2016 Festival

While the festival was largely celebrated, its execution was not without challenges. One issue was a “tension between artistic freedom and community consensus.” Some business owners felt there was a “lack of consultation” and called for “more respect for businesses,” suggesting that the engagement process did not reach all stakeholders equally.

Aesthetic choices also became a point of contention. A local councillor publicly criticised a mural, calling it “dreary and depressing.” While research indicates this criticism was aimed at a different mural from a previous year’s festival (specifically, a piece on the former Xtravision premises in Tramore), it speaks to the ongoing challenge of achieving universal aesthetic consensus.

The festival also faced practical issues. The weather proved to be a persistent obstacle, with it “raining almost every day,” which made it difficult for artists, particularly those from warmer climates, to work. Additionally, a local blogger noted that the festival’s official map was unhelpful for locating some artists, a logistical issue that may have hindered the public’s ability to fully experience the art trail.

The Aftermath: A Transformed City

The public’s reaction to the completed murals of the 2016 festival was overwhelmingly positive. The art was described in blog posts and online comments as “beautiful,” “spectacular,” and “amazing.” Many felt that the art “made such a difference” and brought “so much joy to this town.”

The art was seen as more than a cosmetic improvement; it became a source of renewed civic pride. The festival was credited with giving residents a reason to “look inward again” at their city, creating a new “sense of place.” A remarkable testament to this newfound respect was the fact that murals from the previous year had been largely undamaged or defaced. This challenged the old notion of street art as vandalism, demonstrating the community’s ownership of the artwork.

The murals also carried powerful social messages that resonated deeply with the community. Joe Caslin’s mural, entitled Ar scáth a chéile a mhaireann na daoine (‘we live protected under each other’s shadow’), raised awareness of mental health. This strategic use of a prominent, abandoned landmark made the art a vehicle for a broader social dialogue. Louis Masai’s wildlife murals similarly brought global environmental issues to a local level, ensuring the art fostered a deeper emotional and intellectual connection with the community.

Conclusion

The 2016 Waterford Walls festival was a pivotal moment in the city’s cultural and socio-economic recovery. While it faced legitimate challenges, these were ultimately overshadowed by its success in revitalising the urban environment and fostering a profound sense of civic pride. The festival’s true achievement lay in its ability to transform the city’s narrative. It took the most visible symbols of Waterford’s post-recession decline—its derelict and forgotten walls—and reframed them as a canvas for new, vibrant expressions of community, hope, and identity.

This journey serves as a powerful case study in cultural urbanism. The festival’s success was not built on a large budget but on a progressive vision, a collaborative spirit, and an intuitive understanding of the profound social and psychological power of public art. By inviting artists to engage with the city’s physical spaces and by encouraging the community to take ownership of the creative process, the festival was able to successfully “reinstate civic pride” and reposition Waterford as a dynamic cultural hub.

THE JOHN CONDON MEMORIAL BY PAT CUNNINGHAM – PHOTOGRAPHED MAY 2016

August 9, 2025 by infomatique

PUBLISHED 9 AUGUST 2025

A Photographic Retrospective and Historical Context

In May 2016, a visit to Waterford inspired me to photograph the John Condon memorial, a poignant sculpture located outside the Bishop’s Palace Museum. I was using a super-wide Voigtlander lens, which unfortunately caused extreme distortion in the resulting images. Lacking the software to correct this at the time, I filed the photographs away.

Now, as I prepare for another trip to Waterford, I decided to revisit those old photos. Modern software tools allowed me to process the images and correct the distortion, making some of them usable for the first time.

This re-examination prompted me to delve deeper into the story behind the memorial and the young soldier it honours.

John Condon: The Young Soldier

Inside the Bishop’s Palace Museum, exhibits related to John Condon include his medals and a part of one of his boots. He was long considered the youngest soldier to die in the conflict, and his tombstone states he was just 14 years old. However, his family believes he was slightly younger when he joined the 3rd Battalion of the Royal Irish Regiment.

Known as “The Young Soldier,” Condon was in the trenches for only five months before perishing in the Second Battle of Ypres in 1915. Family members recount his death was caused by the mustard gas the Germans used for the first time. The soldiers were caught in a terrible dilemma: they could not flee for shelter without being shot for cowardice, leaving them exposed to the gas.

After his death, Condon was buried in a mass grave, a common practice at the time. In 1923, his remains were identified and re-interred in Poelcapelle Cemetery in Flanders. The key to his identification was a number engraved into the leather of his boot, a tragic detail that underscores the anonymity of war.

The Memorial

Outside the museum stands the memorial itself: a 4.3-metre-tall, conical-shaped sculpture, a striking green tribute bearing John Condon’s name.

According to sculptor Pat Cunningham, the piece’s purpose is not to glorify war but to serve as a symbol of remembrance and reconciliation for Waterford’s war dead. It stands as a solemn and enduring monument to the profound sacrifice made by its namesake and others like him.

The Lost Boys of the Great War: A Study of Underage Enlistment

The Thomas Woodgate Memorial: A Poignant Tribute in Kilkenny

The Thomas Woodgate Memorial stands as a powerful focal point for remembrance in Kilkenny City, honouring a young life lost in the First World War. Unveiled on October 11, 2020, at Bateman Quay, the memorial commemorates Thomas Woodgate, a 14-year-old from Callan, County Kilkenny, who tragically died when the RMS Leinster was torpedoed in 1918.

Composed of two life-size statues on an iron plinth, the monument visually represents Woodgate’s truncated journey: one statue depicts a young boy leaving Ireland, while the other shows a soldier. The choice of Corten steel for the memorial is symbolic. This “weathering steel” develops a protective layer of rust over time, a metaphor for how historical memory endures despite the passage of time.

The monument’s creation was driven by the Kilkenny Great War Memorial Committee, which not only raised funds but also conducted the meticulous research that corrected Woodgate’s official age. Chairman Donal Croghan’s research, using Callan parish records, revealed that Woodgate was born in 1903, not 18 as previously listed on his tombstone. The memorial honours not only Woodgate but also all young people who left Ireland to fight in conflicts, and serves as a reminder of all those lost in the sinking of the RMS Leinster.

The Final Voyage: The Tragedy of the RMS Leinster

Thomas Woodgate’s life was cut short in one of the deadliest maritime disasters in the Irish Sea. On October 10, 1918, the RMS Leinster departed Kingstown (now Dún Laoghaire) for Holyhead, carrying nearly 700 passengers and crew. Shortly after 9 a.m., the ship was torpedoed by the German submarine UB-123. A second and third torpedo caused a massive explosion, sinking the ship rapidly and resulting in an estimated 564 to 571 lives lost.

Thomas Woodgate, just 14 years and 9 months old, was on board, travelling to join his training squadron in Egypt as a private in the Royal Air Force. His death makes him the youngest known Irish casualty of the First World War.

The ‘Boy Soldier’ Phenomenon: A Systemic Analysis

Woodgate’s story is an individual tragedy, yet it reflects a much wider historical phenomenon: the enlistment of thousands of underage boys in the British and Allied forces. Up to 250,000 boys under the official age of 19 are estimated to have joined the British Army alone.

Motivations for Underage Enlistment:

Many boys were lured by a romanticised view of war and a desire to escape poverty.

Intense nationalism, propaganda, and peer pressure—including the shaming tactic of presenting a white feather—created a powerful sense of duty.

Military service offered a steady wage and regular meals, an attractive alternative to civilian life for boys from disadvantaged backgrounds.

A System of Complicity:

Underage enlistment was not just a result of boys’ cunning but of systemic failures. The official age for service was 18, but the system was lax.

Many boys, particularly from lower socioeconomic backgrounds, lacked birth certificates, providing a systemic loophole. Recruiters often turned a blind eye.

Recruitment officers received a financial bounty for each new recruit, creating a profound contradiction between official policy and on-the-ground incentives.

The primary criteria for enlistment were physical: a minimum height of 5 feet, 3 inches and a 34-inch chest. A well-developed 16-year-old could easily pass for an 18-year-old.

Historical Memory and a Corrected Record: The Legacy of John Condon

For nearly a century, Private John Condon of Waterford was revered as Ireland’s youngest casualty. His memorial stands as a testament to his sacrifice, and the Commonwealth War Graves Commission (CWGC) recorded him as the “youngest known battle casualty of the war.”

The discovery of Thomas Woodgate’s true age did not diminish Condon’s sacrifice but provided a more accurate historical record. The diligent research of the Kilkenny Great War Memorial Committee led to a correction by the CWGC, which had previously listed Woodgate as 18. His tombstone in Grangegorman Military Cemetery has since been updated to reflect his correct age.

This shift from Condon to Woodgate as the ‘youngest casualty’ is a testament to how historical memory is constructed, maintained, and corrected. It highlights the importance of local historical efforts and meticulous research in ensuring the past is honoured with accuracy and respect.

The Stories of Woodgate and Condon

Thomas Woodgate was a Private 2nd Class in the RAF, born on December 31, 1903. He died on October 10, 1918, at the age of 14 years, 9 months, and 10 days, drowning after the RMS Leinster was sunk. His memorial is in Kilkenny, and he is buried in Grangegorman Military Cemetery in Dublin. He is now considered the youngest known Irish casualty of the war.

John Condon was a Private in the Royal Irish Regiment, born around 1901. He died on May 24, 1915, at the age of 14, killed in action during the Second Battle of Ypres. His memorial is in Waterford, and he is buried in the Commonwealth War Graves Commission cemetery in Essex Farm, Flanders. He was long considered the youngest known battle casualty of the war.

Conclusion

The stories of Thomas Woodgate and John Condon offer a powerful lens through which to view the “boy soldier” phenomenon. Their memorials serve as physical reminders of the thousands of underage boys who were driven to war by a complex mix of motivations. The tragic circumstances of Woodgate’s death on a civilian ship underscore the nature of total war, while the systemic flaws that enabled underage enlistment highlight the desperate needs of the military.

The historical re-evaluation of their stories, driven by the meticulous work of local historians, demonstrates the dynamic nature of historical memory and the importance of correcting the official record. The legacy of these “lost boys” endures not just in the battles they fought or the tragedies they endured, but in the monuments and stories that compel us to remember the profound sacrifices of a generation.

ELECTRIC FURY BY SONNY SUNDANCER – NEWGATE STREET WATERFORD

August 9, 2025 by infomatique

ARTIST AT WORK AUGUST 2017

A Detailed Look at “Electric Fury” by Sonny Sundancer

Location: Newgate Street, Waterford

The “Electric Fury” mural is located on Newgate Street in Waterford, Ireland. This striking artwork was created as part of the annual Waterford Walls festival. The festival has successfully transformed the city into a vast, open-air gallery, using public art to breathe new life into urban areas. This initiative has firmly established Waterford as a notable destination for street art enthusiasts. The Newgate Street location is part of a larger trail of murals and street art pieces that can be discovered throughout the city.

Newgate Street has a significant history that connects the mural to Waterford’s medieval past. Its name is a direct reference to the “New Gate,” one of the principal gateways in the city’s ancient defensive walls. While the gate and most of the surrounding wall were removed in the 18th century, the street’s name remains a historical marker of the city’s expansion. The area around Newgate Street is still home to some of Waterford’s remaining medieval defences, such as the French Tower. The mural’s location, therefore, beautifully juxtaposes contemporary art with the city’s rich historical layers.

The Art: “Electric Fury”
Created in August 2017, “Electric Fury” is a powerful, large-scale mural of a roaring tiger. The piece is part of the artist’s “To The Bone” project, which aimed to raise awareness and funds for endangered wildlife globally.

The mural showcases Sonny’s distinctive style, which fuses hyperrealism with vibrant, abstract splashes of colour. The tiger’s face is painted with incredible detail, effectively conveying its ferocity and majesty. Surrounding the animal are bold, abstract elements, including bright pinks and purples, that create a sense of movement and energy. This blend of styles is characteristic of Sonny’s work, which aims to create a dreamlike world where nature and the urban environment collide.

The artwork carries a poignant message: it highlights the precarious state of tigers in the wild, whose numbers are dwindling due to threats such as poaching and habitat loss. The mural serves as a compelling reminder of the urgent need for conservation and the profound beauty of a wild world on the brink of extinction.

The Artist: Sonny Sundancer

Sonny Sundancer, born Sonny Behan, is a British-born urban contemporary artist who moved to South Africa as a child. This experience ignited his lifelong passion for wildlife. Largely self-taught, he is renowned for his large-scale murals that often feature majestic animals.

His work is characterised by a unique fusion of hyperrealism and abstraction, creating dynamic pieces that capture both the beauty of nature and the grittiness of the urban landscape. Sonny’s passion for using his art to advocate for wildlife conservation has led to collaborations with prestigious organisations such as the World Wildlife Fund, the United Nations, and UNICEF. He has created impactful public art installations in numerous countries, using his creative voice to bring important environmental and social issues to the forefront.