Photographer Jorge Parra is participating in this interesting exhibition called, “Mutations of the Medium in Contemporary Photography” at the Oscar Ascanio Gallery in the Winwood Art District of Miami .
The soft opening was on June 11th and the show is going public on Saturday the 13th, during the June Gallery Walk, from 6 pm to 11 pm, and will enjoy extended exhibition time!
New date: The event will close doors on August 15th.
Everyone is cordially invited to explore up until early August the works on display of 4 interesting artists( Vieri Tomaselli, Anabella Borges and Lidia Teixeira, plus Hester,) and Jorge Parra is showcasing images from 2 of his series, the “Dressed in Green” Series and the “Body Alchemy” Series, showcasing non-conventional Chemo-Digital Prints plus alternative prints on Industrial materials.
The recent situation with self-appointed artist Richard Prince, in yet one more of his appropriations of intellectual property of real artists and creators, centering his defense, first and foremost, in powerful attorneys, and secondly , and yet more important, using small yet exploitable loopholes in US Copyright Law, mostly arguing and “extended version” of the Fair Use Doctrine to justify the appropriation, are leading the discussion to varied and controversial positions.
Some experts in copyright and patent law argue that MAYBE there is a possibility Prince would not loose if an infringement lawsuit is finally going to court, due precisely to what could amount to a technical glitch, basically an ironical glitch, in a situation which has never happened before, therefore, there are no precedents as to what would happen in court, possibly rendering the complaints of original authors useless on legal grounds.
Those interested in hearing some of the many positions on the matter, may check links like:
That said, and there is still much to hear about this, what called my attention for real, is the reaction of one of the creators affected by the recent appropriation by Prince of images from different Instagram accounts, via screen shots or whatever technical method.
Mr. Prince managed to get well known Gagosian Gallery into running this show, where stolen shots went for sale for huge amounts of money (US$ 90000 per print), and sales were going great! But the Suicide Girls, a brand username used in their Instagram account, found some of their images as part of the Prince’s show.
When asked what was she (Missy Suicide) planning on doing about it, she mentioned the many times her images have been stolen before, knowing full well copyright law only protects powerful corporations, but does little for individuals, but in addition to that , she did something that, in my personal opinion is PURE GENIUS!!
The Suicide Girls printed their own images, the ones on display at the Gagosian, exactly in the way Mr Prince printed them, and now the prints are for sale at 99.9% discount, this is, you can get exactly the same print for only $90, if you buy it directly from her, instead of paying $90 K at the gallery.
Here’s an excerpt from the suicide girls on the matter: “Do we have Mr. Prince’s permission to sell these prints? We have the same permission from him that he had from us.” wink emoticon I’m just bummed that his art is out of reach for people like me and the people portrayed in the art he is selling.
“I hope you love them. Beautiful Art, 99.9% off the original price.” “We will be donating the profits from sales to EFF.org. Urban art publisher Eyes On Walls (EyesOnWalls.com) is supporting the project by fulfilling the large canvas reproductions at cost.”
Now, my point: I find it very interesting to see how the market is going to move, after finding out that what is being sold at a Beverly Hills gallery, on a -supposedly- exclusive basis, for large amounts of dollars, is now available for almost nothing, and in endless amounts. The art world has based the perceived value of artworks, among other things, in the scarcity of the product, and whatever Mr Prince thought he was doing, might eventually backfire, when collectors and people who can afford $90k for a print, realize they could have bought it for just $90 (and still can!!)
This would be some kind of Royalty Free business model entering the Art Market, and I am positive the can of worms that has been opened will still bring more surprises!
I have previously discussed the repercussions of digital technologies in the Fine Art Market, and this is one extreme case, one more case, where Copyright Law is being attacked by all fronts. In recent years, Corporate America, has made a strong lobby to see the rights of individuals reduced to zero or close to it, while their rights are enhanced to absurd levels (if in doubt, check the penalties for copying any one movie in a DVD or BluRay disk, as the FBI stamp and logo threatens the infringer with prison and fines of up to $250000, while ‘individual creators just end up empty-handed when infringed and abused.
So far, the only thing creators can do is to register their work at the Copyright Office BEFORE making the images publicly available. Many artist, and of course, the regular Facebook and Instagram user does not remotely think about it when getting ready to post their best shots, but visual artists should seriously consider investing a little money (with $40 you can register hundreds of images in one shot), as to, at least, expect the possibility of fighting a real fight in court when infringements and abuses happen with their work.
Stay tuned, as the re-appropriation of the appropriation of intellectual property will keep giving us surprises!!
Miami-based Photographer and Director Jorge Parra has just announced the launch of a totally new website, using responsive design, for his extensive portfolio of images, right there, in his well known domain
In addition of the “classic” sections for still photography, like Fashion, Beauty, Portraits, Leisure and Luxury plus Fine Art Photography, a new a cool section of Essays, the new site has the versatility Jorge’s work and personality demand, as visitors will keep finding new galleries and sections, works in progress, popping out, as times passes by.
As indicated, the site has been launched with Still Photography at it’s core, but Jorge is already editing and refining works for the upcoming Motion section, to include BTS videos, Music and Fashion clips, Testimonials, Time Lapse, Gif Animations and other experiments with images in motion.
Also, a cool new section of Instant Art, an ongoing and ever-changing portfolio ofAlso Shot on iPhone 6 Photography, fully shot and edited in Jorge’s cell phones, with the aid of different editing apps, will showcase Jorge’s curiosity for the abstract and the mundane, keeping his street photography portfolio alive, while transforming some of the images into instantaneous artwork, in almost real time.
The Essays section, where you can read Jorge’s point of view on critical and contemporary issues related to the visual arts as well as tidbits of images and brief news, works in progress and updates on several matters.
Links to Contact Jorge either directly ( phone / email) or via his Social Media Channels are also available, so, if you don’t find Jorge, you are not looking for him!.
This is an adaptive design website with responsive media, which works flawlessly in just every full screen size, from smart phones to tablets, to laptops, to Retina Displays, thus allowing about the best way to showcase Jorge’s visual art in the most effective and pleasing way.
Visit Jorge Parra’s website right now,and stay tuned for constant additions of content, both stills and motion plus essays, works in progress and unexpected content, just as Jorge’s explorations in creativity flow around. Share with your friends and colleagues the images you enjoy the most in your own social media channels and come back soon for more!!
I had previously posted a whole set of tips and suggestions on how to successfully use Linkedin as a professional networking channel, taking advantage of the fact, that, contrary to FaceBook and other channels, Linkedin gathers a huge percentage of professionals from all areas and fields of human performance. This characteristic makes Linkedin a potentially useful platform to build up new business relationships and strategic alliances, which can help on the profitability of your own business.
Thing is,Success is, from my point of view, more of a process than a goal. It can be easily proven that, once a goal is achieved, in any aspect of our lives, the mind already has yet another new goal to achieve, and on and on, indefinitely, so it makes sense to focus more on the process to achieve success than in the goals themselves. Improving the process will facilitate achieving new goals.
The well known formula: [Garbage In = Garbage Out] applies wonderfully to Linkedin and every other platform and channel you intend to use for marketing and promotional purposes.
Basically, if you do not commit to provide useful, appealing content, a well groomed profile and stay active on the process of updating all your info on Linkedin, and participate in Groups, you can not expect better results than the ones you have today. Too many Photographers believe that they just need to create a profile, as brief as possible, and sit and wait for a torrential rain of new clients and projects to pour on them. Then the complaints about Linkedin not being useful as an instant cash cow pop out in every forum.
I can not emphasize enough how critical it is to prepare a very effective Profile about yourself in Linkedin. Almost everything is relevant!! From your education to the causes and organizations you donate time and resources to, to the historical career path which has led you to who and how and where you are today, everything counts, if posted properly.
Just recently, the Linkedin Blog published the 10 words people OVERUSE the most in Linkedin in their Profiles, and therefore, have been rendered technically useless for self-promotion, specially if you want to differentiate yourself properly, so your Linkedin Profile should avoid the following:
Ten most overused Profile buzzwords:
• Extensive experience
• Track record
Sounds familiar?? How many of these are right now in your Profile?
To make this brief, consider this: if by any chance you actually are NOT motivated passionate, creative, responsible, etc,etc, then you are not a good profesional anyways, and again, if you are all of the above, a cool Pro, make no mistake: every other Pro who is your actual competition, claims to be exactly the same cool Pro!
So, use your motivation, passion, creativity and experience to build up a better profile, avoiding most of the words above!!!
The matter of connecting with potential clients stays the same: One of the most useful decisions is joining Linkedin Groups, BUT, do not join a dozen of photographer’s groups, since basically none of them will need your services!! Of course, it makes sense to be in touch with the photographer’s community, so being in a couple of those groups is healthy to stay in touch with changes in the industry, etc, so, do not discard all of those, but know in advance those do not offer lots of marketing opportunities. For the same reason, Retouchers, Educators, Assistants, Coaches and Consultants need to be in photographer’s groups, since they can become their clients.
Think exactly in the same way, to decide what groups you should consider joining. You have to be in places where your potential clients also roam. If you are interested in architectural clients, join architect’s groups, same for Corporate, same for Fashion, same for Advertising etc,etc.
Participation in those groups will streamline the process of connecting with people who might become your future clients or strategic allies. It is also important to note that potential clients, prospects, may not necessarily react instantly to your profile and activity.They may bookmark your profile and will check it out for changes/updates in time, and might consider you for a project later on, when their need for your type of work arises. Months may pass by before this happens. Be patient!!
This is solid proof that success in Linkedin is a process, as you can not measure your success by what you have already achieved, but for what is coming ahead.
I have previously started a discussion on the impact of digital technologies in the way we do business, and it’s implications in the Visual Arts (see for example http://linkd.in/12i2K0Z), but there is still more to talk: a critical conceptual and relevant element in the discussion was very clearly exposed by Mr Herring in his presentation: the fact that many artists and creators are still having issues embracing digital technologies as the way to create new work.
Of course, we are the generation dealing with the transition process, and that is already hard and harsh. Many of us learnt our craft the “analog way” and many are reluctant to just switch over to digital technologies.
It was impressive to hear Herring talk about the problems in the music world, all the more so in classical music ( Mr Herring is in charge of developing the right digital tools and strategies to teaching classical music to young musicians, whose interests are mostly elsewhere) and the experience has been quite challenging and yet, successful.
Many other artists, and specially photographers, have had troubles in embracing digital cameras, computers, software, plug-ins etc, etc, after having lived for decades under the analog technologies, shooting in film, chemical processing, chemical printing, manual retouching of both negatives and prints, tons of darkroom techniques to produce “alternative” results, and then, in the scope of less than 10 years, it all changed. Film manufacturing is going to minimum amounts, Kodachrome ceased to produce new film, ( actually, Kodak went out of business!), Polaroid closed doors, and , while still a few artists keep shooting in film ( just the same in the movie industry), most shooters from older generations have had to forcefully adapt, in an attempt to not go down the drain.
It is then when Herring’s presentation brought in a fantastic insight to the state of things, bringing back from the past no other than Marshall McLuhan, a well respected communications visionaire from the 60’s and 70’s. Herring recalls one of the most remembered phrases, “The Medium is the Message”, and even though McLuhan did not even foretold the advent of the internet and the digital revolution, the relevance of his words resonate today more than ever.
Basically, in current terms, we have to understand, absorb and digest the fact that EACH NEW MEDIA IS MEANT FOR AN INTRINSICALLY NEW MESSAGE.
And here’s a simple train of thoughts I offer to explain this:
Back when the telegram was invented and put to use, communications were brief and to the point ( probably, the first iteration of Twitter). Then comes the Radio, and now the message is not just written word in a few characters on paper, there is now audio, and conversation is “streamed” through the airwaves. Then comes Television, and now the message involves both audio and moving images, generating an altogether new message (or type of messages), that no telegram or radio program could provide. You can, of course interject photography and movies in between.
So here we are, with each new media, a new message was intrinsically created and developed.Then we jump back to current times, with the Internet and all the digital technologies popping out.
We then have to question ourselves: for these new media, which are the new messages?
For the initial years, the term Disruption has been used over and over. Digital is destroying our way of life, or at least the one we have lived through several years/decades. The Digital Crossover is right there, in front of us.
But disruption is the initial stage and things just change and move on. Most everyone was convinced at the onset of the 20th century that Painting was going to die, due to the disruption created by Photography, but then again, Painting just took another, less pictorial, representational road, and thanks to that we have contemporary Painting, well away from Photography.
We then have to deal the realities of living the “disruption era” of digital technologies, the Digital Crossover. As a sad reality, among the visual artists, I see so many photographers still entangled in this recurrent and pointless drama. The fact that so many shooters are just trying to emulate analog photography, while using their digital cameras, is merely a disappointing way to deny the new message that is implicit in digital photography!
The fact that cameras look almost exactly the same may be part of the issue, but when I see so many of my colleagues, for example, longing for grain (and actually, adding noise to digital captures, in order to make them look like grainy film) and so many other complaints about how film photography was soo much better, I only have one solution to their longing: get back to film photography. Use the old media in the context it was developed. Artists and creators can still go a long way creating interesting images in film ( some movie directors, like Tarantino have sworn they will stop shooting movies when they run out of film), but in the meantime, if you are going to embrace digital technologies in your visual art, then get ready and curious to explore a new media, create and produce your own, new/revamped message.
Recently I tried to sit with my teenage daughter, to explain to her the basics of Photoshop, and she flatly refused to go there. She quickly showed me all the editing she does directly on her smart phone, and even challenged me to do it as fast as she does. For her, Photoshop is already old school!
So, for this coming generations, who were born in this digital/technological environment, for them the new media and it’s new message are matter-of-fact. Looks like once again, and more than ever, we have to keep learning from our kids, and stay in touch with the ever-changing technological landscape, as we learn to embrace the new world we are crossing over.
The same applies to so many other careers and professions, from lawyers to architects, to engineers, etc., meaning, we all have to stay in learning and experimenting mode, in order to stay relevant, as the business models also keep changing, sometimes in unexpected and aggressive ways.
My question/challenge to the Visual Artists is: are you willing to explore and craft your new (or revamped) message, as a way to stay relevant in this digital world we are crossing over, full speed ahead?
About the Author: Jorge Parra is a Photographer who shoots mainly Fashion, Beauty and Portrait for Advertising, and based in Miami, FL. He is also an Advanced Photography Instructor at the Miami Ad School.
Jorge’s photographic work can be seen in his spanking new website,
We are living the interesting yet critical transition period during which most of the analog world is crumbling, and giving up way to an entire paradigm, where digital technologies are replacing the old ways, new rules are redefining many concepts in most industries and markets, changing education, culture, the arts (pls, check our previous posts in this matter).
One interesting case in point is how the definitions of what used to be a “Specialized”Professional Photographer, as opposed to the classic “Generalist” shooter, this guy who used to be the “Jack of all Trades”, have changed in time.
Most photographers who have dealt mostly with Advertising projects have traditionally been more successful when they were truly specialized shooters. Either still Life, or landscape, or architectural, or People/Lifestyle,etc, with a known style have been (and some still are) picked more frequently for large scale productions. “Being in the top of their game” has been a requirement for hiring shooters for national , international and global campaigns.
That is not the case at all times anymore. Photographers who have worked specialized in just one area of expertise are now doing this “cross-over” to often unrelated fields, and success has not left them behind. Add to that that motion works, video and cinematography are now part of the skills required by many demanding jobs, and here you have, an old concept has totally changed:
Traditionally, the Generalist was the guy who would do (or at least try) to do it all, commercial assignments, weddings on the weekends, family portraits, catalogs, etc,etc, and in most cases, this traditional “Jack of all Trades”was barely capable of producing, mediocre work, and, at best just “good enough” images. Think of it as the TV spot about the couple taking their car to the repair shop, and finding out the mechanic in charge happens to be also their tax accountant… Of course, no one wants that!!
Now, digital technology, in combo with the human curiosity and creativity, opens up a new vision and understanding of what a “Diversified”, Cross-over photographer is and can do, and by all means, is NOT a Generalist no more.
Adding Photoshop and illustration skills (not just retouching), in combo with CGI implementation, (even via team collaboration), the ability to direct people and even inanimate objects in motion sequences, TV commercials, music clips, etc, plus the ability to go from studio to locations, from outdoors to indoors, from natural to artificial lighting, from people to objects, in a seamless manner, makes them a new type of shooter.
In short, the classic definition of a Generalist is merely a concept of the past.
The Diversified, Cross-over visual artist is a new kind of creator, full of passion , know-how and sharp as the traditional Specialists, with all the skill sets required for highly demanding jobs, and yet capable to jump from Advertising to Editorial, from Fashion to Landscape, from Portraits to Still Life, and produce outstanding results.
It is important to mention that this is NOT easy to achieve: There is a quite long learning curve for the Diversified shooter, given the demands imposed from the specialty crossover process. New still image processing software, new video/motion equipment in the market, editing software, post-processing understanding and capabilities, plus several production capabilities need to be learned, mastered and performed impeccably in order to be really successful in this new world.
Two relevant examples of the “cross over” photographers, visual artists with with no apparent photographic specialty can be seen in the work of two fantastic shooters:
Other successful examples are easy to find online.
One interesting personal observation in this regard, is my personal experience with Advertising Photography: most of the times shooters are called for his/her strong vision on a field, BUT, on some occasions, they are hired (by interesting and challenging creatives or clients) to shoot some project outside their “comfort zone”, and this helps building up a body of work of seemingly unrelated areas, all just unified trough the photographer’s particular vision.
Same thing can happen with editorial work: you can be shooting fashion this week, and next you may be shooting corporate portraits, and next you can be directing a video.
Resolving the production values required to put together such different kind of projects through his/her vision, is what helps the photographer develop the skill sets necessary to perform the cross-over successfully, something the “classical” specialist may not be trained to do.
In conclusion: I feel it is time to say goodbye to the term and related poor reputation of the“Generalist”, and embrace the new, “Diversified Photographer”, the successful Cross-over shooter, one qualified and able to do specialized, high end work in different fields. The changes in meaning and scope may also apply to other creative careers indeed.
About the author: Jorge Parra is an Advertising, Fashion and Fine Art photographer, well known for his ability to work and direct people, and upon the request of clients and creatives, he has diversified his portfolio into other areas, like Architecture/ Interior Design Photography, gaining clients from the Leisure and Luxury markets in the process. All about Jorge can be found in his Visual Hub (www.TheVisualHub.com)
During the last 8 years, Advertising Photographer Jorge Parra has been working on a series of photographic projects in Architecture and Interior Design, mostly focused on the Leisure and Luxury markets, shooting Hotels, Spas, Restaurants, as well as private residences and vacation villas. Jorge is well known as a People Photographer, shooting Advertising, Fashion, Beauty and Lifestyle Photography for over 2 decades. However, a number of Creative Directors as well as Architects and Designers who recognize and value Jorge’s vision, have been pushing him out of his comfort zone, by inviting him to shoot architectural and interior design projects. The logic behind these requests was the interest of these creatives in exploring different approaches to producing and photographing these projects from a fresh perspective. In addition to these challenges, Jorge has been traveling around the world, shooting some large-scale fantastic Lighting Design Projects for public spaces in distant cities like Ankara in Turkey, Dublin in Ireland and Madrid, Spain. New projects are being produced in the USA and will be showcased in the near future. Lighting Design Photography is an area where only a few photographers have been successfully involved.
The resulting body of work includes visuals for Conde Nast Traveler, Luxe Magazine, Hilton Hotels, SLS Hotels, Mandarin Hotels, Ritz Carlton Hotels, plus several travel and luxury commercial and private residential projects, plus the cool lighting design projects.
The next natural phase for The Synthetic Habitat Project involves a fine blend of Fashion and Architecture, both Stills and Motion, putting together all of Jorge’s skills, in an ongoing series of images to be published in the near future.
We talked in Part 1 about the major challenges most professional photographers have to deal in commercial/advertising markets due to the democratization process introduced by digital technologies, as cliches and new standards. like “good enough images” or “Your camera takes great pictures” have affected the perception of what a REAL professional photographer brings to the table for the execution of a project.
The Fine Art market has also been shaken in both directions, for the benefit of it, but also to absorbe certain negative aspects that are reshaping the way collectible visual art is perceived.
One one end, Photography has got another setback. Back in the analog – film- era, it was relatively easy to point out how many original prints were done from each negative. There was a lot of art, technique, craftsmanship and commitment for an artist to be able to identically reproduce a few ( limited number) of prints, and offer them for sale as a Limited Edition Series. A scarcity criteria will just pump the prices up as the availability of less prints in the market would command for a higher price tag to acquire one such work. Much certainly, serious Art Collectors look ONLY for this kind of work to invest in, and the smaller the number of originals in a series, the better.
Now, when discussing modern photography, digital technologies allow for endless reproduction of copies that look and feel exactly like the original,basically, you can provide an infinite set of originals, and then the scarcity criteria gets removed from such work, and it becomes an inexpensive commodity, sometimes termed Wall Art.
It is up to the artists to be able to generate a scarcity criteria, not only by limiting the number of original prints, but also by means of interacting more in-depth with the media, mixing techniques from different crafts,etc,etc, as to be able to provide try few true originals to the market.
There is also a number of ethical and moral issues involved here, since the “sudden” presence of a new series of images from an originally closed series, printed at a different size or using another substrate, has been used as an excuse to keep profiting, while theoretically bringing down the value of the first, “original” series. See for example the case for photographer W. Eggleston, sued by a collector of his work:
Many things can be said about the actual loss of value – or not- of the original Limited Edition Series”, which turned out to be” not-so-limited”, but one thing is certain: this situation is a by-product of digital technologies redrawing the art scene.
Painting, in it’s classical definition, has not seen the same abundance of copycats, as it takes a real artist to generate a copy of some artwork which could be truly thought to be an original, and even at that, there are numerous expert museum and gallery curators, who are usually consulted when a “new” painting from a classic artist emerges in the market.
With artists like Vermeer, who painted such few original pieces, you can easily tell which works are his and which could be just a fake.
That said, a new market for art reproduction of original artwork has emerged (more wall art), as thousands of digital prints from one original painting can be sold for a few dollars.
In general, the process of transforming once-original artwork, with limited originals, into a commodity, with potentially endless copies, and how to deal with it, is still a matter of discussion in art circles, schools and museums.
The situation gets even more complicated with digitally generated art, something that has been created not in the real world, but in the world of vectors, pixels and software (read about CGI, for dramatic examples), or a mixture of analog and digital, work plus the exponential growth of Motion Works. And it still gets even worse in the universe of social media sharing, plus all digital distribution channels, those that exist now, and those that are yet to be created!
In conclusion: I have the clear sensation that we are living the “transition-to-digital period”, where many things are yet to be re-defined, and this process will provide the changes in attitudes and concepts that are necessary to design a new business model for the Visual Arts, both for Commercial Work and also for the Fine Arts.
Digital Technologies are barely entering our lives and the more, massive invasion is yet to come (look for “The Internet of Everything“), so, as it has usually been the case with disrupting technologies and trends, we still don’t know where we are going, but it will certainly be a challenging process, full of new experiences, where creativity will be, as always, the key to the solutions.
As digital technologies are constantly reshaping lifestyles, industry business models, the markets and the society at large, culture is also massively influenced, and there are still so many questions to answer as to what are the new directives, what will become the actual drivers and trend setters of our future, and truly important here, the profitability factor in several fields who were truly successful in the analog world, but are not yet properly adapted to the digital changes. There are many careers which used to be a perfect niche, a shot to the floor, as a proven way to success (lawyers, architects, just to name a few), who now see their market drastically changed and profits diminished. Same thing occurs for some aspects of the Visual Arts.
We will first talk about Visual Arts, mainly photography, and it’s interaction with the business markets, and then we will talk about the world of Fine Art in the digital era.
Digital technologies have brought a true democratization of the photographic process, with both positive and negative connotations. The presence of decent cameras in almost every smart phone out there, (not to mention the ever-improving quality of affordable, pocket digital cameras) is providing the background for a market flooded with “good enough” and cheap (or free) images that are affecting the way professional photographers are perceived. Most of the times, the perception is blurred, and Pros have to clearly showcase their differentiation capabilities to prove their worth in the market.
Well known cliches, like, “everybody is a photographer now”, is helping build the most amazing collection of images of human life, the environment and everything related, but is not necessarily positive in the commerce / advertising world.
The discussion about good enough images and cameras has reached a point where the perception of the average guy is that “a great photo comes from a great camera”, rendering the creator, the photographer, a second-hand matter.
If we add to this that millions of freely available images are added on a daily basis through so many digital online channels, the concept of what is a professional photographer in this digital era, needs to be reviewed, specially when we talk about commercial / advertising photography, used by businesses to promote their products and services.
The actual bottom line is that there is no way to impose criteria on people, it is and will always be a subjective issue, a matter of perceived value, except for the fact that a true professional photographer will be able to bring to the table, not only the much needed images, but all the production values that are involved in making those images, both before and after the capture process. Agencies and clients looking for visual services must focus not only in the glitz coming from highly photoshopped images, but how the business-savvy of each artist can certainly accommodate to corporate/industry business standards, and I promise you, not every person with camera can do that!
Photographers also have to adjust their business models and the way they interact with the markets, in order to maintain and improve their perceived worth. Current photographer trade organizations are not really up to the dynamic of the changing markets and trends, and creators need different strategies to cope with those changes. The trade groups had their relevance back in the days, but are not currently capable of influencing the directions of the markets, setting trends or even protecting the professional photographer’s interests in a tangible way. (see for example: http://asmp.org/articles/getty-images.html).
I firmly believe that smaller, clearly focused groups, like the Photographer’s Collectives, are becoming a better working structure, based on the cooperative business model for true professional shooters, and the aggregation of different collectives may certainly become the replacing structure of aging trade groups.
We created the Miami Visual Collective (www.MiamiVisual.com), a group comprised of professional advertising/commercial photographers in Miami, in an effort to add our names, and both contribute and influence to the current trends and changes in the industry. There are already a good number of such collectives in the US and Canada, and we expect more collectives appearing in the markets in the coming years. We are already exchanging ideas with Canadian collectives, and this trend will keep growing.
In Part 2 of this text, I will discuss the influence of digital technologies in the Fine Arts Markets. Stay tuned!
Working in tandem with a creative consultant, photographer and director Jorge Parra, edits and restructures the large amount of photos he has shot in these challenging and amazing fields, to produce a revamped website with a more conceptual approach, and much larger images, for a more pleasing experience.
Different sections of the portfolio online include, the “classical” sections of Architecture and Interior Design Photography, but Jorge’s involvement with the luxury market keeps growing, so he decided to also include both personal work and lifestyle images, (travel, club life, spas, yatch, ) , which would not usually be part of an architectural photographer’s portfolio, but reflects Jorge’s cross-over vision and passion for working with people, spaces and travel images.
Additionally, Jorge’s work in Lighting Design Photography, has proven to be one of the most fascinating and challenging projects he has been involved in, where light is the actual subject matter, as seen through the designer’s eyes, as an added value for human comfort, when rebuilding/refurbishing public spaces with just light.