Thursday

The Digital (and Conceptual) Crossover in the Visual Arts

© Jorge Parra


This discussion comes out of a real aha! moment, after attending the presentation of Howard Herring, President and CEO of the New World Symphony America’s Orchestral Academy , during one of the fantastic Creative Mornings Miami events, under the efficient leadership of Maliks Benjamin

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, 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, what 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 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, 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?

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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. 

A good part of his photographic work can be seen in his recently updated website, 



Monday

Specialization through Diversification? How Digital Technology is transforming the meaning of old tags and categories for Photographers


All photos © Jorge Parra

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, a concept 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:
Take a look at Nadav Kander’s website. The work is totally different, from portraits, to landscape,etc, there are several styles of work, but all are glued by a vision.
Same can be said of internationally renowned Platon, who may jump seamlessly from photojournalism, to Advertising, into Fashion and other fields:
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 traditional “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)

Thursday

The Synthetic Habitat Project: Architecture, Interior Design and Lighting Design Photography for the Leisure and Luxury Markets.

Miami Advertising/Commercial photographer Jorge Parra relaunches the Synthetic Habitat Project: Architecture, Interior Design and Lighting Design Photography for the Leisure and Luxury Markets.



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, Hunter Douglas, plus several  travel and luxury commercial and private residential projects, publications like the Encyclopedia of World Architecture, plus the cool lighting design projects. 
Please, visit Jorge’s Synthetic Habitat Project and feel free to drop a comment.


Jorge 's next and natural phase for The Synthetic Habitat Project involve a fine mix of Fashion and Architecture,  both in Stills and Motion, in an ongoing series of images to be published in the future.
Cheers!!

Sunday

Business challenges for the Visual Arts in the Digital Era. Part 2: The Fine Art Market

Hooray Picasso!! by ©2014 JorgeParra

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.
Jorge Parra

Thursday

Business Challenges for the Visual Arts in the Digital Era - part 1- The Commercial Market

Digital Nude. © Jorge Parra

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!
Saving a buck here and there, by hiring the wrong (inexpensive) person, can become a disaster for your marketing efforts and eventually, for your business. The use of inexpensive, Royalty-Free or Micro-Stock images has led competing companies to use the very same image for their advertising campaigns, harming them both.
(see for example,http://fairtradephotographer.blogspot.com/2010/03/microstock-why-would-reputable-company.html).
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!
About the Author: Jorge Parra is the owner of Jorge Parra Photography and founder of the Miami Visual Collective. More of Jorge's ideas can also be found in his Blog.

Tuesday

FOR IMMEDIATE RELEASE: "Synthetic Habitat", Architecture, Interior Design and Lighting Design Photography by Miami Advertising photographer Jorge Parra, launches fully revamped website

©2014 Jorge Parra

MIAMI January 20th, 2014--  Miami Advertising photographer, Jorge Parra  launches a fully revamped website for his Architectural  and Interior Design Photography Projects  

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.

Jorge Parra can be contacted directly via email (contact@synthetichabitat.com),  by phone at 1-786-222-9405, and through his agency, ArchNetStudio, in the West Coast
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Press Release: Jorge Parra Photography Receives 2013 Miami Award


Jorge Parra by ©
Matt Pace


FOR IMMEDIATE RELEASE

Miami Award Program Honors the Achievement

MIAMI December 3, 2013 -- Jorge  Parra Photography   has been selected for the 2013 Miami Award in the Photographers category by the Miami Award Program.

Each year, the Miami Award Program identifies companies that we believe have achieved exceptional marketing success in their local community and business category. These are local companies that enhance the positive image of small business through service to their customers and our community. These exceptional companies help make the Miami area a great place to live, work and play.

Various sources of information were gathered and analyzed to choose the winners in each category. The 2013 Miami Award Program focuses on quality, not quantity.

Winners are determined based on the information gathered both internally by the Miami Award Program and data provided by third parties.

About Miami Award Program

The Miami Award Program is an annual awards program honoring the achievements and accomplishments of local businesses throughout the Miami area. Recognition is given to those companies that have shown the ability to use their best practices and implemented programs to generate competitive advantages and long-term value.

The Miami Award Program was established to recognize the best of local businesses in our community. Our organization works exclusively with local business owners, trade groups, professional associations and other business advertising and marketing groups. Our mission is to recognize the small business community's contributions to the U.S. economy.

SOURCE: Miami Award Program

CONTACT:
Miami Award Program
Email: PublicRelations@awardredemption.org
URL: http://www.awardredemption.org
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Monday

Providing Visual Support for our Returning Troops

IS VERY


There are many ways to provide some simple help, assistance or support to our soldiers when they return from war duty, and it can be just the moment they may need it more!

As provider of visual services to the commercial / advertising community, Jorge Parra Photography is  more than happy to offer a substancial discount (75% to 90%) to military individuals and their family groups, who may want to have a simple series of portraits taken in their own homes, after the returning soldiers have settled.

Our previous experience  of many years doing portrait shootings for kids waiting for adoption ( The Heart Gallery and The Waiting Projects), people waiting for organ transplants (Univ. of Miami Organ Donor Program) , women with breast cancer (  American Breast Cancer Foundation) or the portraits of kids with terminal illnesses( Flashes of Hope), have proven us time and again  the positive and powerful impact a good portrait can have on an individual and his/her  family / group, and this is the modest offer we can do, within our actual capabilities, to try to provide some comfort to our returning heroes.

So please, make contact with Jorge Parra, using the standard channels (listed below), and let's plan for a few hours of family fun and some cool portraits!!.

Spread the word and help out with this initiative. Our soldiers very well deserve this, and more!!

This is NOT a Veteran's Day special or anything like that. This is our year-long commitment to support our troops!

Jorge


Jorge Parra Photography   |    7 8 6 . 2 2 2 . 9 4 0 5   

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          email: photography@jorgeparra.com







Thursday

SYNERGY OF ART AND COMMERCE IN PHOTOGRAPHY: An Exhibition in Miami



The new Fall 2013 season begins for the members of the Miami Visual Collective with a fantastic Gallery Exhibition that will showcase both the harmony and the contrast between Visual Art Work, Personal Projects, and Advertising/Commercial images.
This exhibition features visual work from all areas, creating this "SYNERGY OF ART AND COMMERCE IN PHOTOGRAPHY", by the Collective's founding members Jorge ParraMatthew Pace, Paul MorrisSid Hoeltzell and Jorge Cardenas.
Here is our Press Release:
FOR IMMEDIATE RELEASE:
MIAMI VISUAL COLLECTIVE (MVC) Show Opening:
“Synergy of Art and Commerce in Photography”
Gala event scheduled for September 28,  2013, poised
to showcase MVC’s commercial and Fine-Art images.
Gala Opening: September 28th, 2013. 7:30 PM
BORDERS GALLERY
1601 S.W 1st. Street. Miami Florida 33135
305-649-0324
Miami, FL– August 24th, 2013 – Miami Visual Collective (MVC) announces a gala event beginning September 28, 2013, to showcase the two sides of their talent, to be held at the prestigious Borders Gallery at 1601 SW 1st Street, Miami, FL 33135
Miami Visual Collective is a group of professional photographers who come together to share knowledge, friendship and collective promotion via a web blog presence and gallery exhibits.  MVC members have put together a new show with a desire to appeal to audiences from both the art world and the commercial arena. The show features selected works from commercial assignments in synergy with personal fine art projects.
The September 28th event, entitled “Miami Visual Collective Presents Synergy of Art and Commerce in Photography” is intended to bring members of the fine art, and commercial imaging worlds together to enjoy the show, meet the five photographers and indulge in food and drinks with friends. 
A true encounter of the creative minds, producers and talent in Miami!
Inhabiting different corners of the photography world, the members of Miami Visual Collective each boast a particular commercial strength in areas like – aerials, food, fashion, cars/trucks, dance and corporate photography – and while those elements define their commercial side, they also exhibit an artistic passion, producing limited edition collections and contemporary art for display, professional collections, art dealers, and the commerce/corporate sector.
We all hope to see you attending this great Gala Show soon!

Cheers!

Wednesday

Jorge Parra's Vision of Casual Summer Luxury

©Jorge Parra
The image for the Summer e-Promo was shot in South Beach during the rush of the Mercedes Benz Fashion Week, under the hot summer sun of July.

The shooting was done at the Rooftop of the "W" Hotel, with fantastic swimwear from the "LUXE COLLECTION" by Lisa Vogel, with accessories by designer Heather Hawkins.

Many thanks to Mac Cosmetics for the styling and to model Maddie Collins from Ford Models Miami

Cheers!

Jorge