LoFi Gallery in London Call for Submissions For Their Opening Exhibition

LFG call for submissions

Are you a LoFi Fool?

iPhone photography by Wayne J. Cosshall

A brand new London gallery is looking for the best and most interesting images taken with LoFi cameras – that’s Holga, Lomo, Polaroid, Diana and iPhone – to display in their inaugural exhibition in August.

It doesn’t matter if you’re amateur or professional, young or old. If you have a catalogue of work or a single great image. We care about good pictures. Any selected photos will be featured on the online gallery, with a smaller collection featured in the gallery space itself.

All work featured will be on sale to the general public, and cash prizes will be awarded at the inaugural exhibition for the most interesting photographs in three categories.

If you have some great LoFi pictures, email photos@lofigallery for details on how to apply.

Entry fees may be applicable.

LoFi Gallery, London Is a New Gallery for LoFo Photography

A brand new gallery celebrating the art of LoFi photography.

Jump Photo Arts, the team behind the phenomenally successful Starsnappers Project, is now launching a brand new art gallery in London dedicated to LoFi photography.

iPhone photography by Wayne J. Cosshall

The Starsnappers project began in 2003 when digital technology had already taken hold of the photographic industry.  Starsnappers developed its portrait workshops with the aim of allowing children to use state of the art digital camera equipment under the supervision of professional photographers.  The immediacy of the digital format allowed children to see the fruits of their creativity without the delay of image processing and printing.

Continuing their policy of embracing all things photography, Jump Photo Arts are now launching a brand new gallery celebrating artworks at the other end of the photographic spectrum. LoFi photography includes film cameras such as Holga, Lomo, Diana, and Polaroid.  iPhone photography will also be included due to the camera’s primitive lens.

Visitors will be able to view and purchase a selection of the most interesting examples of LoFi photography – all full-size and professionally framed.  It’s a great opportunity to pick up a unique, fascinating piece of art whilst fostering the careers of emerging artists and  talent alike.

It’s often difficult for artists at the early stages of their career to find professional outlets for their work. The LoFi Gallery, London will champion new practitioners who are keeping the art of analogue photography alive, whilst offering them a public platform to display their photos.

Artistic Director Marc Kenyon says: “In the age of instant digital photography, whereby you can keep clicking until you have a perfect recreation of your subject, we hope to bring back some of the mystery, spontaneity and magic to the craft. It’s about capturing a moment in time rather than replicating images. The photos we love are stimulating, beautiful, sometimes challenging, but always authentic.”

The LoFi Gallery, London is the first initiative from newly relaunched not-for-profit arts organisation, Jump Photo Arts. Formerly known as the Starsnappers Project, the change in name reflects the ambitious new rostrum of projects set to launch in 2012. Watch this space for more exciting new developments.

The LoFi Gallery, London will be based in Deptford, South East London. The inaugural exhibition will open on 1st August 2012.

If you would like to submit your Lo Fi images for consideration, please email photos@lofigallery.com

For press enquiries, please contact robhayes@lofigallery.com

A Hermetic View of What Makes An Image or Work of Art Great

Yesterday I was in a conversation with my closest friend, Steve Danzig, about how art affects us. I put forward to him what makes a work of art or a photograph great and it got me really thinking about it. So in this post I want to explore that.

For those who don’t know, Hermeticism is a philosophical system that has greatly influenced Western esoteric thought. For the last few weeks I have been totally absorbed, to the exclusion of all else, in Western Kabbalistic and esoteric thought as it relates to the arts as part of a Masters degree I am working on, so the topic is forefront in my mind at present.

One of the core concepts of the Western esoteric tradition, including Hermeticism, is that of the four classical elements: earth, air, fire and water. These four classical elements are tied to aspects of our being, so earth is the physical, air is the mental, fire is the inspirational and water is the emotional. In many systems of esoteric thought there is a fifth element, spirit. So at the personal level we consist of five ‘dimensions’ of ourselves: the physical, intellectual (conscious), inspirational (subconscious), emotional and spiritual aspects that as a whole make up who we are.

When I consider the artwork that has really touched me profoundly over the years I realise that such work has impacted me at all five levels or dimensions of my being. Take, for example, the large, dark paintings from Rothko’s mature work, the viewing of which I consider one of the most profound experiences of my life. These works impacted me on all five levels:

  • physically, by their size and dominant ‘presence’ in the space;
  • mentally, by stimulating thought of colour resonances, use of space and proportion, etc;
  • inspirationally, in that they appear in my dreams and have inspired some of my own, meagre in comparison, art explorations;
  • emotionally, as they evoked deep and profound emotional reactions;
  • spiritually, in that even now, many years later, when I bring them to mind there is a shift in consciousness and a profound connection with the ‘other’ that is impossible to put in writing.

I have had similar reactions with other works of art: Pollack’s action paintings, especially Blue Poles, some of Bill Viola’s video works and such.

In thinking about all this I realised that, informally, I rate art and photography on this five point scale: the most profound work hits all five levels, other work may only hit one, two, three or four of them.

Contemporary art has stressed the intellectual, the conceptual and, indeed, there has been an active pull away from emotional and spiritual art. However, as the research I’ve been doing has shown, whilst the pull away from the emotional and spiritual in art has certainly been there at the institutional level and among most art critics, curators and art historians, it has certainly not been there for the actual creators themselves. A careful examination of the literature shows large numbers of artists who are connecting with their work at all levels and certainly aspire to state something profound in their work on all five levels. It is just that, for the sake of their careers, many artists are reticent to speak of such things until such time as they are well enough established that the institutions will want to show their work no matter what they say.

This idea of multi-dimensionality also explains why much of contemporary art is shallow. Certainly when I examine new work being shown I find it appealing at some levels, perhaps physically from its presence or use of materials, or intellectually from the conceptual aspects. But if that is as far as it goes it only rises to a one or two on my five-point scale. This is a particular problem for digital art and photography, which can often even miss out on the physicality aspect.

As an artist, I strive to bring all five aspects into play in my own work. I’ve not succeeded yet, to my satisfaction. In my writing I try for the same, as yet, unachieved target. And that is the thing that pushes me to keep trying, to keep going deeper into my own self and tap all levels when making my art.

It may benefit you in the production of your own work to just try looking at things from this way too and seeing how you feel about it.

Photography Wisdom Now Available As Five eBooks, a Print Book and an App for iPad

My Photography Wisdom book, containing 50 great chapters on improving your photography and digital art through a better understanding of the process, is now available in multiple forms.

Photography Wisdom itself is available as:

  • A print book from Amazon
  • An ebook for Kindle from Amazon
  • An ebook for Kindle and all other ebook readers, plus computer based reading programs from Smashwords
  • An ebook from Apple
  • An App for Ipad from the Apple App Store containing videos and soon to be updated to version 1.2


I’ve also published four smaller collections of ten chapters each selected from the full Photography Wisdom book on specific topic areas:


My author page on Amazon is here

In 2012 more books in the Photography Wisdom series will be coming out.

DIMi Is Now A Magazine

Yes, it is here. digital imageMaker international is now out as a magazine featuring profiles and interviews with leading photographers and digital artists of our time.

digital imageMaker international 01 brings you some of the world’s best photography and digital art in book form. This volume in an ongoing series brings you portrait photography by Nadia Salameh, art by Bonny Lhotka and David J. Bookbinder, insect photography by Jane Davenport, generative art by Don Relyea and a profile of the Digital Art Guild. Stunning images will stimulate and delight you while insightful interviews will educate and inform.

DIMi is available in three forms at the moment: print, PDF and eBook.

Print and PDF distribution is being handled by MagCloud

It is available for the Kindle from Amazon

It is available in all eBook formats from Smashwords

It is in the Apple ebook store

digital imageMaker international

By Wayne Cosshall in digital imageMaker international

60 pages, published 12 DEC 2011

DIMi brings you profiles of leading photographers and digital artists from around the world, with insightful interviews. Discover how the top photographers and artists work, their thought processes, favourite techniques and much more.

How To Win Photo Competitions – An eBook Review

How To Win Photo Competitions is an eBook it was about time somebody wrote, and who better that Peter Eastway, who has not only won many competitions at the highest levels but has also judged so many competitions himself.

How To Win Photo Competitions

By Peter Eastway

eBook, 2011


The ninety page eBook not only covers details of the judging process and tips on winning photos, but also on how to take and process a winning photo in the first place.

Sixty of the ninety pages in this book are on the shooting and processing of strong images. That will be a problem to some, but I feel it works. Much of this material is not new, after all how much new can one say about composition or using a histogram. But it is all written from the perspective of competition use, and that makes it very valuable by giving it the specific focus required.

The other thirty pages of the book are specifically focused on competitions, from why to enter competitions to details of the judging process. This information is well organised and effective. The part I personally liked the most was right at the end, where Peter discusses some of the decisions he made in preparing certain winning images. Other people will find their own favourite parts.

Judging the book as a whole, I would say it is the perfect book for amateur and semi-professional photographers who want to make their competition success less hit and miss. For professional photographers there is a lot to also get from this book, but I would hope that much of the material in the shooting and processing sections would be familiar. The information specifically about competitions is great and really should be read, while the shooting and processing sections will make your photography better, so are also worth careful study.

The thing I really love about this book is that it really gets you thinking about your images from purely a competition standpoint. There are few other books that will do that.

My only real criticism of this eBook is the price. Let’s be blunt, I think it is overpriced, especially given that there is really about 40-50 pages of truly competition-focused material. While there is lots of debate about the pricing of eBooks and many publishers defend identical pricing for print and eBooks, I just don’t buy it and I don’t think many consumers do either. A pro will not think twice about the price, perhaps, but an amateur will. That would be a real shame because amateurs will benefit most from this book. Whilst dead tree books beautifully illustrated in full colour do cost more to print, that is not the case with eBooks. So, if this eBook was half (still a bit high IMHO) or a third the price (just right, in my view) I would recommend it with no reservations. At essentially $50 I still recommend it, but I know many of the people who should read it will not, and that would be a real shame.

You might also be interested in reading my latest post on the HP Professional Photography blog about why to enter competitions.


New Wacom Bamboo Stylus for iPad

Following on from talking about brushes for the iPad, Wacom has just announced a Bamboo Stylus for use with the iPad. It has a 6mm diameter tip, 25% smaller than the 8mm used on some other stylus designs. This should make for a more precise use. It weighs 20 grams and is claimed to be finely balanced. It will be available in May for US$29.99.

Painting On The iPad Is Easier With A Brush

The iPad is an obvious device for painters to try to use, though it does lack the pressure sensitivity of things like a Wacom tablet. But a finger is just not the same as a brush.

A number of companies are now offering brushes for the iPad that you just might find easier to use.

Joystickers offer the Flow, a paintbrush that your iPad can work with.

Nomad Brush have the Nomad Brush, another paintbrush that works on the iPad. This is a longer haired brush for more flowing action.

PenGo don’t have a brush but do have a pen stylus that could also be a good option for painters.

I know people who are loving painting on their iPads. While it is not my cup of tea personally, they are producing amazing work and if it rocks your boat then go for it.

Call for Artists: SDAI 51st International Award Exhibition

The San Diego Art Institute’s “Museum of the Living Artist” is a 501 c 3 non-profit organization that promotes the visual arts.
We are calling artists to submit to our 51st International Award Exhibition.

SDAI is a great institution supporting the arts. It has excellent, modern exhibition facilities.

The exhibition will run from April 16 to May 29, 2011

Juror is Roxana Velásquez, Executive Director – San Diego Museum of Art

Deadline for online submission is January 30, 2011

All media (except crafts/functional art). Total awards $6,750.

Entry Fee: $50/2 and $40/1 – discounts available for SDAI members.

Online submission only at www.sandiego-art.org (prospectus contains all details).
Contact info: Kerstin Robers       admin (at) sandiego-art.org


San Deigo Art Institute
SDAI Exhibition Space



Digital ImageMaker International is Coming Out as a Magazine and App for iPad

Call for Submissions

Digital ImageMaker International is coming out as both a print magazine and as an app for iPad.

DIMi looks at all areas of image making that involve some aspect of the digital. We are aiming to create ways for people to get recognition for their work, to help them get gallery shows and to ultimately help them obtain sales if that is important. The content includes, but is not limited to:

  • Digital art
  • Photography, whether commercial, documentary, art or personal, that involves digital in some part of the process, whether capture, processing or output
  • Traditional photographic processes that include either digital image capture or a digital negative in their production
  • Fractals
  • 3D graphics
  • Video
  • Animation

As such, we are seeking submissions of the following:

  • Portfolios of high quality work
  • Strong single pieces from emerging practitioners
  • Articles: how-to, philosophy of imaging, inspirational, exhibition reviews of major shows and such

For photography and digital art educators we are keen to publish portfolios of collected student works.

For an example of how the app form will function you can look at our first book as an app, Photography Wisdom for iPad at http://itunes.com/apps/PhotographyWisdom

More to control submissions, we are placing a submission fee on portfolios and individual images. Portfolios attract a submission fee of US$7.50 while individual images attract a submission fee of $4.50 paid through PayPal only. For submissions from within Australia this price includes 10% GST. This is non-refundable, does not guarantee you publication and your submissions will only be examined after payment through Paypal has been received. In the case of tertiary educators submitting portfolios of student work we will forego the submission fee so long as you are from a recognised tertiary educational institution and clearly identify it as such on your submission.

The Paypal account for TechnoMagickal Pty Ltd is wayne at (@) dimagemaker.com

Article submissions are not paid at this stage, though we intend to start paying for articles from issue 2 onwards if possible. Basically it goes against the grain not to pay, so we will as soon as we can.

DIMi is not a how-to magazine. Its focus is more on what people are doing and why. That said, we will include quality how-to features that make sense in the context of the other content.

The aim is to make the most use of the potential the digital tools are giving us. The print edition is being done as print-on-demand.

We are looking to publish only the highest quality work. Because of potential issues with the app store approval process we cannot accept pornographic or explicit sexual material or any material that can be construed as inciting hatred, discrimination, etc. We may have to be careful with nudity as well but will explore this as we go. Naturally we reserve the final right to decide what work we accept and publish. We are hoping we can relax some or all of these restrictions over time as everyone figures out how to deal with these issues and art in electronic distribution.

We are also happy to publish articles that we disagree with or work that we find challenging. That’s the nature of the art and writing world and it is pretty pointless taking your bat and ball and running off home to mummy when people disagree with you. Such work might generate interesting debates that might help to clarify the issue over time for our readers, so it is great.

So what do we want from you? Well, if you have portfolios of interesting work then we want to see them. We need JPEGs of the images initially, sized to maximum dimension 1024 pixels (and I mean exactly that), along with a Word or similar document with something like an artist’s statement or statement of your philosophy or approach. If we choose to publish your submission we will contact you for higher resolution images (for the print version) as well as to conduct an interview to fill out the text. Please limit initial submissions to 8 -10 images initially. If we want to publish your work we will likely ask to see more.

Those submitting student’s work should pick a representative sample of the work you expect to be publishable. That means going through your students’ work and choosing that which you consider good enough to publish and submitting a selection that represents the whole range from the best to the worse you think is able to be published.

If you have an article you would like to submit we are happy to consider it. Again send JPEG screen resolution images with the article initially and we will go from there. An article is not an opportunity to slip in a portfolio by another name.

If you have single knock-out images rather than a whole portfolio, then we would be happy to examine them for possible publication in a section that will run each issue of inspirational material.

For those submitting video or animation material we obviously cannot work with Flash.  We would prefer a link to where we can view the video on the web somewhere initially, so we only have to handle large files when we know we will publish them. Video will go in the app but not, obviously, in the print edition. That will go online and a link provided.

With whatever you submit, your submission means that you are willing to have your work published by DIMi, that you own the copyright for the submission and have all relevant rights and permissions to do so, such as model and property releases, etc. Further your submission means that you indemnify Digital ImageMaker International, Technomagickal Pty Ltd and Sci-Art Trust, plus our assignees and partners, from any claims relating to copyright, rights and permissions relating to your submission.

DIMi wants no rights over your submission beyond a perpetual and non-exclusive right to publish your work in any form, electronic or print, indefinitely, but only in the form of the DIMi magazine or any special issues or accumulations (such as a Best of DIMi) or in the advertising of such. Your work will always be published with your name and, wherever possible, a link to a site where people can see more of your work and contact you, except in the case of illustrations showing the magazine in advertising or on the app store.

If you are submitting an article then the above all applies, as well as the requirement that the article has either not been published or submitted elsewhere, or if it has been published elsewhere that you retain the rights to further publication.

We are also happy to accept suggestions for ways we can better serve our readership.

The first issue will be published when we have enough suitable material. Following that we are aiming for a new issue every second month, but would like to ramp that up quickly to a more frequent schedule. We would rather do smaller issues more frequently as this will keep the print cost down and thus make it more feasible for featured artists and photographers to use multiple copies as promotional tools and when seeking things like gallery representation, exhibitions, grant proposals, etc.

People with work in the issue will be provided with a PDF the article covering them. Print and app versions will have to be bought.

Feedback is welcome.

Please email me offlist on wayne at (@) dimagemaker.com

Please put the word SUBMISSION in the Subject if that is what you are doing.

BTW if you email a submission and don’t hear anything for some time, don’t stress. If you haven’t heard within a month or two then an email from the same address you sent the submission from enquiring if we received it makes sense as you might have been caught by a spam filter or such. If you don’t get a reply from that, try an email from a different address.