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Identifikasi Kualitatif Tingkat Kompetisi Bisnis Fotografi dan Alternatif Tindakan untuk Menghadapainya M. Kholid Arif Rozaq
Rekam: Jurnal Fotografi, Televisi, Animasi Rekam 7
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/rekam.v0i0.374

Photo studio is an exciting venture and a growing number who started it. This effort is essentially a business-related field of recording media. These businesses receive services in the field of Photography and Video Recording, it becomes a necessity in documenting the important moments in human life. Regarding of photo studio, one thing that is interesting to examine is the level of competition among business photography. The study tries to offer a concept of Porter's five forces analysis.This study is a descriptive research and qualitative analysis. According to Robert K. Yin (2011), one of the methods that can be used in qualitative research is to conduct indepth interviews (depth interviews) on the object of research.Some of the dominant characteristics of the most prominent are (1) market size, (2) the pace of technological change and innovation, (3) capital requirements and the ease of entry and exit of business, (4) Scope of Competitive rivalry, (5) industry Profitibility and (6) the degree of product differentiation.Verification has been done to conclude that the level of competition in the photography business is high. The implication is that the structure of the industry is "less profitable" for participating companies to gain profit. Therefore, it is necessary to make strategic steps to win the competition. The steps are basically to reduce the level of competition that occurs.

Are You Sure You Have a Strategy Muhammad Kholid Arif Rozaq
Rekam: Jurnal Fotografi, Televisi, Animasi Rekam 6
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/rekam.v0i0.368

Tujuan tulisan ini adalah untuk mendiskusikan alternatif dalam prosesformulasi strategi. Seniman dalam menghadapi era industri kreatif tentunya membutuhkan strategi tertentu. terutama konsep dasar dalam formulasi strategi pada tingkat strategi bisnis, khususnya dalam industri kreatif. Telaah literatur menitikberatkan pada pendekatan strategi, apakah menggunakan strategi darurat (emergent strategy) atau strategi yang terartikulasi (deliberate strategy), atau campuran keduanya. Tulisan menawarkan salah satu pendekatan formulasi yang dikemukakan oleh Hambrick dan Fredrickson, 2001 yang dikenal dengan istilah Strategic Diamonds. Sebuah simpulan mengindikasikan bahwa Strategic Diamonds (Hambrick, 2001) sangat berguna dalam mengindentifikasi apa sebenarnya yang menjadi inti dari sebuah strategi. Elemen-elemen dari Strategic Diamonds dapat dipertimbangkan sebagai “penghubung” atau “titik pusat” dalam merancang sebuah sistem yang komprehensif dan terintegrasi. Tulisan ini mengusulkan kepada pelaku bisnis atau seniman untuk engartikulasikan strategi secara jelas (deliberate view), dan mengikuti Lima Elemen yang dikenal dengan Strategic Diamonds: arena, vehicles, differentiators, staging and economic logic sebagai inti dari penyusun sebuah strategi.

REPRESENTASI AROMA PARFUM DENGAN PENDEKATAN METAFORA DALAM FOTOGRAFI PRODUK Rassel Rassel; M. Kholid Arif Rozaq; M. Fajar Apriyanto
Specta: Journal of Photography, Arts, and Media Vol 2, No 2 (2018)
Publisher : Institut Seni Indonesia Yogyakarta

Abstrak Terdapat banyak merek parfum yang beredar di pasaran. Hal tersebut tentu mempersulit konsumen untuk menentukan aroma yang cocok dengan keinginan dan kepribadiannya, karena pada umumnya konsumen tidak mengenal jenis bebauan yang menjadi bahan pembuatan parfum secara spesifik. Berdasarkan hal ini muncul gagasan untuk mencocokkan aroma parfum dengan beberapa kepribadian lalu merepresentasikan aroma parfum tersebut melalui media fotografi. Informasi tentang produk parfum yang telah dikumpulkan melalui observasi akan ditampilkan secara visual fotografi dengan menggunakan objek pendukung yang memiliki interpretasi secara metafora sedekat mungkin dengan aroma, bentuk botol kemasan, tujuan, dan inspirasi pembuatan parfum, atau kepribadian dalam color rosette test. Karya fotografi yang diciptakan merupakan karya fotografi produk yang pemotretannya dilakukan di dalam ruangan dengan menggunakan sumber pencahayaan berupa lampu flash dengan tambahan peralatan penunjang berupa softbox, lightbox, blackglass, dan color gel. Teknik fotografi yang diterapkan pada proses penciptaan karya meliputi teknik pencahayaan seperti hi-key dan low-key disertai penggunaan teknik high speed pada beberapa karya yang menggunakan objek pendukung yang bergerak. Karya tugas akhir fotografi ini diharapakan dapat membantu konsumen menginterpretasikan aroma parfum secara visual agar lebih mudah memilih produk parfum yang disukai sesuai dengan kepribadian yang dimiliki.Kata kunci: representasi, aroma parfum, fotografi produk, color rosette test, kepribadian Abstract Representation of Parfum Aroma with Metafora Approach in Produt Photography. There are many brands of perfume circulating in the market, it certainly makes it difficult for consumers to determine the scent that matches the desires and personality because consumers generally do not recognize the type of smell that became the ingredient of perfume making specificly. Based on this came the idea to match the scent of perfume with some personality and then represent the fragrance of the perfume through the photography. Information about perfume products that have been collected through observation will be visually displayed photographically by using a support object that has metaphorically interpreted as close as possible to the fragrance, the shape of the packaging bottle, the purpose and inspiration of the perfume making, or the personality in the color rosette test. The work of photography created is the work of product photography that shoot indoors by using the flash lights as the light source with additional supporting equipment such as softbox, lightbox, blackglass, and color gel. Photography techniques applied to the process of creating works are photography lighting techniques such as hi-key and low-key and by the use of high speed techniques on some works that use moving support objects. This photography work is expected to help consumers interpret the perfume scent visually to help them choose the preferred perfume product in accordance with their personality. Keywords: representation, perfume's fragrance, product photography, color rosette test, personality

Pin Up Style dalam Fotografi Fashion Kontemporer Tiara Sekar Adhitia; M. Kholid Arif Rozaq; M. Fajar Apriyanto
Specta: Journal of Photography, Arts, and Media Vol 3, No 1 (2019)
Publisher : Institut Seni Indonesia Yogyakarta

Fashion becomes a social symbol that gives the cultural identity to a person. Pin up style has existed since the late 1950s. This style which is a combination of urban style and pop culture is identical with a light, tight, and semi-open dress. The image sticking on pin up style fashion makes the women called as "teasing ladies". The chosen genre is contemporary fashion photography that is a genre in photography which aims to show the clothes and other fashion items influenced by the impact of modernization.The result of this final assignment project is a series of fashion photography which uses the fashion style of 1950s that is pin up style. In every visualization of the creation of this photographic work, it aims to present the story based on the ideas and the concepts as well as to introduce the type of pin up style for each photograph. The background, the property, the make up, the hair style, as well as the surrounding objects are used to support the story in the resulted photographs. Keywords: pin up style, fashion, contemporary fashion photography

VISUALISASI TIGA WASTRA ETNIK NUSANTARA PADA KARYA BUSANA OERIP INDONESIA DALAM FOTOGRAFI FASHION EDITORIAL Yogi Febrianto; M. Fajar Apriyanto; M. Kholid Arif Rozaq
Specta: Journal of Photography, Arts, and Media Vol 3, No 2 (2019)
Publisher : Institut Seni Indonesia Yogyakarta

AbstrakPenciptaan karya ini menghadirkan busana yang memadukan tiga wastra etnik Nusantara karya Oerip Indonesia yang diprakarsai oleh Dian Erra Kumalasari dalam bentuk foto fashion editorial. Wastra berasal dari bahasa Sanskerta yang berarti kain penuh makna. Fotografi fashion editorial digunakan untuk mengilustrasikan sebuah cerita, artikel, teks, atau ide dalam konteks majalah atau untuk memperindah tema tertentu secara visual, khsususnya visual fotografi. Unsur kebudayaan berupa wastra divisualisasikan ke dalam karya foto melalui proses eksplorasi ide dan ekperimentasi. Proses penciptaan karya ini juga melalui beberapa tahap perwujudan yakni perancangan, persiapan, pemotretan, dan editing. Hasilnya adalah beberapa karya fotografi fashion editorial yang menampilkan busana-busana yang memadukan tiga wastra etnik dengan tujuan untuk memperkenalkan merek fashion Oerip Indonesia kepada khalayak luas. Selain itu, karya-karya fotografi yang diciptakan juga diharapkan dapat bermanfaat sebagai wacana apresiasi tambahan dalam mengenal ragam budaya Indonesia yang dapat diaplikasikan dalam kehidupan modern.Kata kunci: wastra, busana, Oerip Indonesia, fotografi fashion, editorial AbstractVisualization ff Three Nusantara Ethnic’s Wastra by Oerip Indonesia’s Fashion Works in Editorial Fashion Photography. The creation of this photography work presents fashion that combines three Nusantara ethnic’s wastra by Oerip Indonesia which was initiated by Dian Erra Kumalasari in the form of editorial fashion photography. Wastra comes from Sanskrit which means cloth full of meaning. Editorial Fashion Photography is used to illustrate a story, article, text, or idea in the context of a magazine or to beautify a particular theme visually, especially visual photography. The creation of this photographic work is a process of reproduction of cultural elements in the form of wastra into a form of photographic work through the process of exploring ideas and experimentation which is then manifested in the form of works of fashion photography. The process of creating this photographic work also through several stages of embodiment such as designing, preparation, shooting up to the editing stage. The photography work created in are some editorial fashion photography works featuring outfits that combine three ethnic wastras with the aim of introducing Oerip Indonesia's fashion brand to a wide audience. In addition, photography works created are also expected to be useful as a discourse of additional appreciation in recognizing the variety of Indonesian culture that can be applied in modern lifeKeywords: wastra, clothing, Oerip Indonesia, fashion photography, editorial

Konservasi Preventif Lukisan Koleksi Museum Istana Kepresidenan Yogyakarta (Preventive Conservation Painting Collection Yogyakarta Presidential Palace Museum) M. Kholid Arif Rozaq; Vicky Ferdian Saputra; Mikke Susanto
JURNAL TATA KELOLA SENI Vol 5, No 2 (2019): Desember 2019
Publisher : Program Pascasarjana ISI Yogyakarta

Museum Istana Kepresidenan Yogyakarta sebagai lembaga kenegaraan memiliki fungsi untuk melindungi, mengembangkan, dan memanfaatkan koleksi yang dimiliki. Konservasi preventif merupakan tindakan untuk mencegah dan meminimalisasi kerusakan atau kerugian di masa mendatang dengan cara mengontrol berbagai faktor deteriorasi objek koleksi. Penelitian ini bertujuan untuk mengetahui bagaimana praktik konservasi preventif lukisan di Museum Istana Kepresidenan Yogyakarta. Metode pendekatan yang digunakan adalah deskriptif analisis danevaluasi. Hasil penelitian, ditemukan bahwa praktik konservasi lukisandi Museum Istana Kepresidenan Yogyakarta telah sesuai dengan standar pelayanan yang diacu. Akan tetapi masih ditemukan beberapa kerusakan yang disebabkan oleh faktor deteriorasi seperti faktor inherent vice dan faktor elemen iklim.AbstractYogyakarta Presidential Palace Museum as a state institution has the function to protect, develop and utilize its collections. Preventive conservation is an action to prevent and minimize future damage or loss by controlling various deterioration factors of collection objects. This study aims to determine how the practice of preventive conservation of painting in the Yogyakarta Presidential Palace Museum. The method used is descriptive analysis and evaluation. The results of the study, it was found that the practice of conservation of painting at the YogyakartaPresidential Palace Museum was in accordance with the service standards referred to. However, it still found some damage caused by deterioration factors such as inherent vice factors and climate element factors. Therefore it is necessary to reevaluate the service standards that have been set as guidelines for preventive conservation practice of painting.

How does the museum post-pandemic recovery? Exhibition design of DPR RI Museum Vicky Ferdian Saputra; M. Kholid Arif Rozaq; Rini Riris Setyowati
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol 17, No 2 (2022)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/dewaruci.v17i2.4549

Museums are essential for connecting with and educating the public about their collections. A schism has developed between the public and museum institutions due to the Covid-19 pandemic's limits on museums. The inaugural exhibition of the DPR RI Museum aims to answer the challenge of readiness to recover museums' post-pandemic situation and conditions by rebuilding public involvement and communication. This study uses a mixed method equipped with research and development (R&D) using the ADDIE model product development systematics. The steps taken in organizing the exhibition are; (1) analysis of the historical context of the DPR RI building; (2) exhibition design; (3) development of 3D exhibition layout design; (4) implementation (exhibition); and (5) evaluation. A series of conferences and workshops supported the exhibition to educate the general public about the DPR RI's role as a home for the people. The results of museum content research and the development of a 3D museum layout model for exhibitions based on the validation of museum exhibition layouts are feasible to implement as a museum exhibition. Organizing exhibition events is the bond between the museum and the public, as evidenced by visitors' enthusiasm and positive response. This exhibition provided an important contribution to the post-pandemic situation, specifically as an effective and informative mode of communication in presenting the history of the DPR RI buildings to the general population.

Model Tata Kelola Pameran Virtual Oppo Art Jakarta 2020 Muna, Cut Nailil; Rozaq, Muhammad Kholid Arif
JURNAL TATA KELOLA SENI Vol 10, No 2 (2024): Desember 2024
Publisher : Graduate School of Indonesia Institute of the Arts Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/jtks.v10i2.12356

Penelitian ini membahas pameran virtual yang dikelola Art Jakarta di masa pandemi. Tujuannya adalah untuk mengeksplorasi potensi teknologi digital sebagai media presentasi karya melalui pameran virtual. Pokok permasalahan dijawab peneliti dengan mengacu pada konsep fungsi manajemen George R. Terry. Penelitian dijalankan secara kualitatif dengan metode studi kasus. Pengumpulan data primer diperoleh melalui observasi dan wawancara mendalam terhadap Fair Director, Artistic Director, serta partisipan pameran. Data sekunder diperoleh melalui studi kepustakaan. Berdasarkan temuan data, fungsi manajemen yang meliputi perencanaan, pengorganisasian, pengarahan, dan pengawasan, telah diimplementasikan Art Jakarta dimulai dengan merancang perencanaan, menjalankan rencana operasional, dan mengevaluasi pameran. Melalui pameran virtual, aktivitas promosi dan pemasaran menjangkau lebih luas dan efisien. Kolektor seni dari berbagai negara dapat mengakses pameran setiap hari selama 24 jam. Art Jakarta juga memperoleh sejumlah database pengunjung dari hasil registrasi dan link khusus milik seluruh partisipan pameran. Terdapat kekurangan pada pameran virtual yaitu kesulitan menikmati jenis karya seni tertentu dan para stakeholder kesulitan membangun interaksi sosial karena tidak ada tatap muka. Secara keseluruhan, proses pelaksanaan pameran berhasil divisualisasikan menjadi sebuah model tata kelola pameran virtual. Manfaat penelitian ini diharap mampu memberi kontribusi pemikiran dalam bidang manajemen seni, khususnya pada konteks penyelenggaraan pameran virtual. Governance Model of the Oppo Art Jakarta 2020 Virtual Exhibition ABSTRACT This research discusses the virtual exhibition managed by Art Jakarta during the pandemic. The aim is to explore the potential of digital technology as a medium for presenting works through virtual exhibitions. The researcher answered the main problem by referring to George R. Terry's concept of management functions. The research was carried out qualitatively using the case study method. Primary data was collected through observation and in-depth interviews with the Fair Director, Artistic Director, and exhibition participants. Secondary data was obtained through a literature study. Based on data findings, management functions, which include planning, organizing, directing, and supervising, have been implemented by Art Jakarta starting with designing plans, carrying out operational plans, and evaluating exhibitions. Through virtual exhibitions, promotional and marketing activities can be achieved more widely and efficiently. Art collectors from various countries can access the exhibition every day for 24 hours. Art Jakarta also obtains several visitor databases from registration results and special links belonging to all exhibition participants. There are drawbacks to virtual exhibitions, namely the difficulty of enjoying certain types of works of art and stakeholders having difficulty building social interactions because there is no face-to-face contact. Overall, the exhibition process was successfully visualized into a virtual exhibition governance model. It is hoped that the benefits of this research will be able to contribute to thinking in the field of arts management, especially in the context of holding virtual exhibitions.

The Promotional Strategy of Srisasanti Gallery for the Addy Debil Exhibition "Feeling Fluorescent" Conducted in Collaboration with the Museum of Toys in Yogyakarta HRP, Anisa Rahmadhani; Arif Rozaq, Muhammad Kholid; Ratna, Raden Rara Vegasari Adya
TUMATA: Journal of Cultural and Arts Management Vol 2, No 1 (2024): June 2024
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/tumata.v2i1.13369

The influence of digitalization has expanded the dissemination of art information through social media platforms such as TikTok and Instagram. This enables more effective and widespread promotion of art exhibitions. Therefore, Srisasanti Gallery has adopted various promotional strategies, including collaborations with other institutions such as the Museum of Toys, to increase visitor enthusiasm for art exhibitions, as exemplified by the "Feeling Fluorescent" exhibition by Addy Debil. This research utilized a descriptive qualitative method with a case study approach. Data were collected through participatory observation, semi-structured interviews, and documentation. The research findings reveal that Srisasanti Gallery implemented a promotional strategy (Mahmud Machfoedz, 2010: 3-16) by segmenting the target audience, sending invitations, compiling a list of content creators, media placement, distributing exhibition posters, designing content, and planning a promotional timeline. Additionally, other promotional mix elements (Hamdani, 2006 in Sunyoto, 2015: 160-161) such as advertising, personal selling, public relations, word of mouth, and direct marketing were also effectively utilized by Srisasanti Gallery. The involvement of content creators in disseminating information about the exhibition on social media platforms like TikTok and Instagram also had a significant impact in attracting a large number of visitors. The promotional strategy developed by Srisasanti Gallery not only succeeded in making the exhibition go viral on social media but also yielded positive results in terms of visitor numbers, reaching 6000 visitors during its month-long run. This success serves as evidence of the effectiveness of the promotional strategies implemented by this gallery, which may potentially serve as a model for promoting future cultural art events.

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