Slumming it in Wexford.

We recently discovered that we’ve got access to a massive roof garden. We’ll be eating dinner there until it gets too cold again. 

Copenhagen is cooler than you. 

Stay classy, Dublin.

I went to my GAA match and watched Dublin trash Meath at gaelic football on the infamous hill 16. 

Champong Hero in traditional headdress. 

By Kevin Goss-Ross and Christoffer Rosenfeldt.

The world’s most incredible guitar tech at Roskilde Festival 2014. Right before working at The Awesome Welles' gig. 

By Kevin Goss‐Ross and Christoffer Rosenfeldt


Devil’s Glen, Ireland. 


The Spanish Arch in Galway city, built in 1584. 

Holding on to what’s important. 

Aston Quay, Dublin. 

Moore Street is my favourite little shithole in Dublin. Non safety matches, untaxed cigarettes, hair extensions, smartphone unlocking and questionable ‘fresh’ produce. It’s like walking into a different country. I took this portrait while testing light to take the final shot with my Mamiya RZ67, but I somehow destroyed that roll of film. Not that I’ll ever know, but I doubt the film shot would’ve been as good with the subject presenting himself in a specific way for the final photograph. 

Backstage at the cheeky exhibition / double A-Side launch at The Grand Social recently, Steve writes on his little guest list.

Chapter 3

And then I had my first roll of film scanned. With large puppy eyes and a tail rapidly wagging I excitedly went down to what was rumoured to be the kindest and most patient camera shop in all of Dublin. I told them that I was new to this, I told them to be gentle – it was my first time. I had no idea how much it would hurt. The next day, €15 poorer (develop and scan) and with blood stains all over the back of my trousers I picked up my CD, and the scans were terrible. I had been fucked. No dynamic range, low resolution, over saturated and enough contrast to blind a cat. Not only that, the sharp bits were so ferociously over sharpened it had a texture to it. Roger Young predicted it, and it happened. I went back to ask why them what had caused the texture, and I was told my picture viewing software was at fault: the scan was actually perfect. They didn’t even let me show them on a PC. So, in a huff I went down the road and paid the Camera Exchange €5 to scan a single negative properly. It was significantly better (10 000 pixels on the longest side) but was overexposed and closer to monochrome than colour. After some research I realised that Gunns’ scanning process is automated, while The Camera Exchange are using a prosumer grade flatbed (Epson v700). I eventually got talking to Dublin photographer Dee O’Sullivan who kindly scanned the same negative with her Canoscan 9000f MkII, which was better than either of the previous scans. Two days later, I had bought a second hand Canoscan 9000f off, and managed to produce a better scan (this image) with a €130 scanner than two labs in the city centre. After 26 scans, it’ll have paid for itself. I realise now that it all comes down to how many fucks you give about the scan. A lab is motivated by the amount of scans they can do a day, so why would they spend more time getting the most amount of detail out of a negative? High resolution scanning takes a long time, never mind doing multiple passes. As soon as I manage to shoot another roll without somehow nuking every frame on it I’ll go down to Ruared in Tallaght to see what their Hasselblad Flextight is capable of.