A series of photos showing the progress of dawn, not over one day, but at the same time each day from winter to midsummer, as I walk through the fields to work
In the summer of 2012, I found a long deserted pathway through the fields at Laughanstown in south county Dublin, near to a place where I was working at the time. My discovery and first lunchtime amble along the pathway is illustrated in my short story The Melting.
The pathway runs through open fields alongside the LUAS tram line, and I soon got into the habit of taking a daily walk along the pathway, getting off the tram a couple of stops before walk, and happily walking in solitude through fields alive with fresh morning air, only the occasional whirr of a passing tram to disturb the birdsong. A lovely way to start the day, drifting happily in thought and body. Were I a lamb, you might even say that gambolled happily across the meadow each morn.
When winter came, I was loath to give up this pleasure, even when darkness made it more difficult, and started bringing a torch so I could pick my way along the path towards the lights of civilisation – and work – in the far distance. It was cold, dark, and sometimes hard going, but the sense of solitude and the fresh air more than made up for it.
Far from any houses, the blackness was absolute, and one morning (Jan 2nd this year) at 0724 I took a photo to illustrate the darkness of the walk, zooming in on the lights of Tullyvale and Cherrywood in the distance.
The next morning, the blackness was not quite complete – a tiniest sliver of a crack of dawn was visible over distant mountains, and I took another photo to show the difference a day (and two minutes later) had made.
This gave me an idea. As I walked the route at least three days a week, always at the same time (taking the same outbound tram departure) why not take a series of pictures, to catalog how the dark of winter slowly gave way to the dawn of spring, and the daylight of summer as I took my morning walks.
Those first two pictures were taken randomly, and not at exactly the same point, and possibly not covering exactly the same span, but for this project I would need some way of locking my physical location, so that the field of view would be as close as possible to exactly the same in each picture.
So I used a line of electricity pylons to determine the photograph point – they would not be in shot themselves, but when I reached a point on the path where the crosstree of one pylon aligned exactly with the southern edge of another, I would stand in the righthand rut of the track, thus controlling my physical location. I would then line up the second closest overhead wire carrier on the tramway to the rifghthand edge of the photo, and this would ensure I was covering the same area in each shot. Only the vertical plane had no real means of control.
And so, here are some of the results, as we journey from winter to spring, at the same time each morning, give or take a couple of minutes.
A week after my first photos, the 11th of January 2013 at 0724. The difference in the amount of dawn is quite visible, it is still pre-dawn lightening of the sky, but the clear day makes it much more visible. The field and pathway are still in absolute blackness at this time.
January 15th at 0724, another clear morning, apart from a low lying bank of cloud over the distant hills.
Just a couple of week later, the 6th of February, at 0722. Quite a difference in two weeks – another clear day, but this time the sky is blue, the shapes of things are more visible, and I can see the puddle ahead of me.
Now this is amazing – it is only two week later, the 21st of February, at 0723, and yet the difference in light, even with a totally overcast day, is amazing. Now everything is visible. To the right is the tram line, heading towards Cherrywood in the far distance. The buildings in the centre of the picture are the apartments of Tullyvale. To the left of them a sliver of the Irish Sea is visible, and then Killiney Hill rises on the left edge of the photo.
Four days later, the 25th of February, again at 0723, and a different type of cloud cover darkens the scene, but leaves room for a lovely yellow and pink line above lower lying clouds concealing the rising sun.
A couple of weeks later again, 7th March at 0723, and it is now pretty much daylight. It’s been raining for days, and the distant hills are lost in soft Irish mist.
The 29th of March at 0728, the sun is fully risen, and hidden behind the clouds, sending lovely shafts of light down onto the sea. The foreground looks darker to the camera due to shooting into the sun, but was bright enough to the human eye.
April 17th at 0724 – no fear of sunlight affecting the camera here, as the weather has turned “Irish” again!
And then . .
And then I moved away from that location
but . . .I knew I must come back for midsummer photos.
Midsummers day itself, though hot and sunny later, was wet and misty early on – June 21st 2013 at 0726.
And now I’m working on the other side of the city, and I don’t get to walk through the fields each morning any more. But thanks to a whim and a sudden inspiration back in the dark days of winter, I have a whole selection of photos of my beloved few moments of morning commune with nature, to go with a whole set of cherished memories.
I hope you’ve enjoyed the trip as much as I have!
Amongst the response to my post on things seen in 2012, the Fairy Tree and the Forbidden Ground sign have elicited the following query from a UK-based reader, the always inspiring Christopher England (whose own blog can be found here).
“I’ve never seen fairy trees before. I guess it’s an Irish thing. It reminded me of the Tibetan wind-prayer flags that are placed alone and forever, right up in the remote parts of the mountains. Although they do wear and come to pieces in the wind, many remain there long after the person originating the prayer has died. That always makes them something special, imho”
The fairy tree, while not exclusive to this island, does seem to have a long connection with Irish superstition and folklore.
Although I was unaware of them myself before coming across this example in a Dublin park, according to this site they can be found at many locations around the country. There is certainly a lot of fairy folklore in Ireland, and I remember my father pointing out to me the fairy rings and fairy forts in rural Cork and Tipperary when I was very young, and noting how farmers would avoid ploughing or disturbing the ground at these locations.
Perhaps more common in Ireland is the Holy Well or Holy Bush – these can be found in many rural locations, and to this day you will still find strips of ribbon and clothing tied to trees at a “holy” location on a roadside.
The only time I ever saw anything similar in the UK was at Barnes Common, where the tree that killed Marc Bolan is still visited and decorated regularly by his fans, despite the passage of four decades.
Chris goes on to comment on the “Forbidden Ground” sign I photographed in Co. Kerry.
“Also, possibly an Irish thing, is the phrase ‘Forbidden Ground’. An interesting choice of words I’ve not seen before, being more used to ‘Restricted Area’ or the like”.
This one is certainly not Irish, and I am as baffled as Chris by its usage to cordon off a closed pathway in Reenagross Park, Kenmare. I have never seen the phrase “Forbidden Ground” used in a civilian context, and the crime-scene style tape makes it look even more curious. That forbidden zone is just begging to be penetrated if you ask me!
Chris goes on to comment:
“with regard to the many ‘Do Not’ signs in the Dublin Dockland, and mindful of it being an area with an ‘Explosive Atmosphere’, they do seem to have missed out a pretty obvious one of ‘Do Not Smoke’”
Just down the road from the original sign here:
there is another one, on a presumably similarly explosive compound, which does caution against smoking, as well as “spark ignition vehicles” (petrol engines to you and me) – the first time I’ve seen that warning., although apparently if you make a prior arrangement, they are not dangerous . .
As for what is hidden behind the fence, well that also has some interesting signage:
The “Stripping Pumphouse” eh?
Now THAT’S what I call “forbidden ground” in goold old catholic Ireland!
Hidden gems and forbidden ground – things I’ve seen walking in 2012
A year ago this week, I mentioned here that I had started to walk regularly as part of a pathway back to fitness.
My approach to this was to be fairly utilitarian – using walking as a means to fitness and sometimes a means of transport. My friend Chris who commented encouragingly on my efforts suggested that walking might introduce me to things I’d never seen before, but I didn’t really accept that. After all, most of my walking would be in Dublin or other places I already knew well, and what would there be to see that I’ve not already seen?
I also commented in my post, mindful of how new year efforts often peter out, that we would see at the end of the year if I managed to continue the daily walks. Well I did, barring a couple of weeks here and there when I was caught up in some pressing domestic matters.
Perhaps the best way to update you on my progress in the past 12 months, and to illustrate how wrong I was – the walks quickly became as much about discovery as utility – is to share some of the interesting things I stumbled across over the last 12 months (bearing in mind that what is interesting to me might not qualify as interesting to everyone!)
Included below are pictures of things taken only on my walks – not my day to day life – which otherwise would have been unseen by me.)
All of these pictures can be viewed in larger, high-res detail by clicking on the photo.
So there we have it, a few of the the interesting sights I would not have seen if I hadn’t kept up walking throughout 2012.
Below are my stats for the year from the wonderful “Walkmeter” app.
I hope to do even better in 2013. Steve
In addition to the new books I am working on, I have written and continue to write a number of short stories which are based around my own life experiences or things I find interesting.
This story was written in June 2012, and had its debut at the Last Wednesday Series writers open-mic in Dublin on the 27th of that month. I’m presenting it here for your enjoyment, and hope to include it in a collection of my shorter work later in the year.
I’m not sure if you would classify this story as biography or fantasy, but it’s certainly a real-life account of how my mind was working on two perfectly ordinary days . . .
by Steve Conway
It’s freezing cold, and it’ll be several long minutes before the car begins to heat up, and the window de-ices enough for me to move, but I don’t mind really. I am too busy watching the collapse of an empire.
As an introvert, I live a rich inner life, and as a writer, perhaps even more so. It could be that the introspective nature and the gra for writing are linked in some way, but whatever the reason, I find it amazingly easy to tune out of the everyday world around me and retreat into a rich and colourful inner fantasy life.
Or maybe I’m not retreating from the world at all, but just looking at it with other eyes.
The iced over car windscreen is, you see, not a windscreen, but an overview of a fantasy land somewhere beyond reach, it’s people ground down and subjugated in an icy totalitarian regime, frozen in its leaders cruel idology.
Like all such tyrannies its must be resisted and overthrown, but choice of how to do so carry consequences. Oh, I could send in the shock troops – the windscreen wipers or the plastic ice scraper – to hack away ineffectively at the frozen landscape, but think of the casualties of such brutal action. There is death and destruction in the rasp of wiper-blade over still-frozen window.
No, I prefer the revolution to happen from the grass roots, as the whispered idea of freedom issuing forth from my heater blower, slowly infiltrates and changes minds, causing the tyrant to lose his grip, one ice crystal at a time, as his empire crumbles.
At first there is no change, and then, gradually the dark stain of change creeps upwards from the bottom of the windscreen. The initial defences are down, the lands in the far south unfrozen, and soon whole chunks of ice start detaching from the mass and sliding down the screen accelerating their fall towards the heat, like defecting troops fleeing their routed armies.
And that tight knot of extra hard ice in the middle of the window? That is the seat of government and it is besieged and falling, and the ruler and his minions are fleeing north to that part of the top of the land still in the grip of winter, but there will be no escape, for my warm ideology will waft its way to there too, by and by.
And while all this is flashing through my head, I am far too busy and entranced in my own imaginings to mind the cold of the morning, or the delay to my journey, and by the time the last castle falls the car is warm and I’m ready to be on my way.
Another time, a different place.
It is baking hot, and I am walking down a dry dusty road, and straight into a 1950s movie. The dust road is arid, it runs through the desert alongside a railroad, and my destination is a forgotton, tumbleweed-infested station where no one ever gets on or off.
In my mind I have wandered into the world of the 1955 Western Noir classic A Bad Day At Black Rock, one of Spencer Tracey’s finest, in which, for the first time in twenty years, the train stops in the eponymous town, a stranger alights and trouble ensues. Maybe I’m the stranger, maybe I’m the secret he’s searching for, but I’m certainly in the middle of a dusty wilderness.
Actually, in real life, I am in South Dublin, walking alongside the Green LUAS line extension to Cherrywood, at a place where it runs for a mile or so through a semi-razed wilderness, a bulldozed land now returning to nature, a site of several hundred acres where a vast new town was planned, but which never got under way before the boom ended. The LUAS trams go whizzing by every few minutes, and I’m getting close to the ghost station of Laughanstown, where the trams stop, but no one ever gets on or off. There is nothing at Laughanstown but a tiny country lane and a single house, and the tram stop built in anticipation of the vast new development rarely gets any custom. There isn’t actually any tumbleweed blowing past, but it wouldn’t look out of place if it did.
Normally on my lunchtime walks when I exit the high tech office building where I earn my bread I stick to the nearby roads, and wander through a local park, lush and green. But I spy an opening in the fence that has previously sealed off the dirt road through the abandoned wilderness and I am onto it like a shot, wanting to explore pastures new, and silent.
The sun is baking, the rubble-strewn track is rough beneath my feet,I am sweating copiously, but I’m in the bliss of absolute solitude. No one ever comes this way because there is nothing to come for, who in their right mind would walk through this rubble on a scorching day, heading alongside the LUAS line for a ghost station that no one uses? And as I walk I seal myself into the world of the western, the 1955 film keeping me mentally far away from the work-day reality I’ll have to return to in an hours time.
And then, shimmering in haze ahead of me on the dusty track, there is a flash of brilliant pink.
For a moment it is impossible to define any form or purpose, but eventually it solidifies into a feminine form, far in the distance, coming towards me as I am coming towards her. The heat haze makes her seem to float, and immediately I am in a different space in my head, the film gone, I’m now living in the lyrics of the Talking Heads song “And She Was” watching this mirage-like woman as she seems to glide this way and that over the ground without really touching it at all.
I wonder idly if there is a song playing in her head as she sees me moving inexorably towards her . Perhaps she hears an indie beat from The Automatic asking her what kind of monster is cresting the hill ahead of her.
More than likely, of course, she doesn’t notice me at all.
She is so vividly pink, the two of us alone in this desolate landscape are such utterly opposite magnetic poles as we come towards each other, that surely there must be some sort of explosion if we touch.
She is female, young, brightly clad and long of hair, blonde, I am male, older, dressed in black and grey, hair short and greying.
But we pass without any chemical reactions or explosions, and after a while she is swallowed up into the landscape behind me.
There is nowhere she can possibly be going. If she was heading to any destination the LUAS would have been quicker, and this track was not usually accessible. She was walking into that wilderness for the sheer joy of it, and as we passed I could see through her smiled greeting the same dreamy look in her eyes as I must have had, and I loved her for it.
I am not the only loner in the desert today. And that, somehow, just the seeing of her, and the realisation that she is there for the same reasons as me, reconnects me with humanity, and makes a difficult work day more bearable, and all this without a single word spoken.
A bad day at Black Rock.
But a good day at Laughanstown.
Spotted this when browsing the DVD section of HMV at Westfield, London.
Can’t help but wonder if the sticker placement was by accident or design . .
Click on any picture for a bigger version.
If you’re wondering where the studio, tx and people shots are . . . they’re coming later in the week.