Estrategias de mercadeo online para el lanzamiento de la marca Rio Technology® en Colombia

RIO TECHNOLOGY SAS es una empresa que lleva 11 años en el mercado de la distribución al por mayor de tecnología a todo nivel y suministros para oficina en Bogotá y en algunas otras ciudades del país. Fue constituida formalmente en el año 2001 ante la cámara de comercio de Bogotá como una sociedad anónima, y en el año 2010 cambió su tipo de sociedad, y se convirtió en sociedad por acciones simplificada, aprovechando los beneficios que este tipo de sociedad comercial brinda a las empresas medianas y pequeñas en Colombia. La idea de este proyecto nace porque desde Julio del año 2013, la marca RIO® se encuentra registrada, lo que genera grandes inquietudes acerca del cómo poder aprovechar esta situación para que la empresa RIO TECHNOLOGY se dé a conocer en el mercado y lograr un mayor crecimiento de la misma mediante la promoción y fortalecimiento de su marca, generando mayores utilidades. El mercadeo online podría ser una excelente alternativa para lanzar la marca RIO® al mercado; usando las redes sociales, por ejemplo, pues estas han sido creadas para conectar personas, grupos, páginas, etc. Y además son un medio de comunicación muy efectivo, por lo que la empresa RIO TECHNOLOGY podría estar en contacto permanente y cercano con sus clientes, dando a conocer en todo momento su marca RIO® mediante estrategias promocionales. En la actualidad, las redes sociales han significado una gran oportunidad tanto para las grandes empresas como para las Pymes; pues por medio de ellas se llega a una gran cantidad de personas en cuestión de segundos, con lo cual, usando estrategias eficientes, se logran resultados potenciales que se ven reflejados en un fortalecimiento de marca. El objetivo de este proyecto es presentar a RIO TECHNOLOGY un plan estratégico de mercadeo online para lanzar y fortalecer su marca. Se busca que la empresa mejore potencialmente el nivel de sus ventas y comience a posicionar su marca en el mercado.

“Ce n’est pas elle qu’on voit”: the photograph in the work of Annie Saumont

The incorporation of ekphrastic evocations of photographs into fictional works is a growing trend charted by (mostly) literary and (occasionally) art critics interested in the effect of their inclusion in a narrative. What has emerged as a veritable affinity of photography with literature has produced a fertile interdisciplinary critical discourse around areas of intersection between visual and verbal. With regard to short fiction, the photograph is often subject to investigation as analogy, the photograph and the short story being considered metonymically related with regard to form and effect. This notion of a structural equivalence between short story and photograph is one stressed by author/photographer Julio Cortàzar, concerned to highlight the quality of intensity he ascribes to both forms, which he saw as ‘cutting out a piece of reality’ in order to ‘breaking out’ into a wider one. Given Annie Saumont’s oft-cited admiration of Cortàzar’s work it is unsurprising that in her own writing – of stories themselves often classed, in their elliptical density, as verbal snapshots – she should take an interest in photographs and/or photographers. This article seeks to explore and analyse different values Saumont ascribes to what was paradoxically described by Barthes as ‘invisible’, in that what we see when viewing a photograph is, (often treacherously), ‘ pas elle qu’on voit’: never, or never solely, the actual object itself …

Grafisk profilering och marknadsföring av fotogruppen Studio Fornby

SummaryA complete graphic profile program along with marketing material has been produced for seven photographers.The material has been produced in consideration to sell their pictures outside of Scandinaviaand Brazil as first priority. The criterion for the profile is to give a message of quality and ofScandinavia. Through research and interviews facts about typical scandinavian design have beenfound. Since the pictures will be exported abroad, a selling packaging solution has been developed. Theparts that are included in the marketing material are: a brochure, display solution, a website and printingexamples. One of the purposes with the project is that the company from the given price offer canevaluate the posibility to produce pictures.

Fotografers och föräldrars attityder kring skönhetsretuschering i skolfotografier : En semistrukturerad intervjustudie

Through semi-structured interviews with 8 school photographers and 10 parents,this study attempted to clarify what photographers and parents of children(aged 1–5) in preschool think of photography business in the current situationprovides retouching children’s school photographs and what they considers tobe acceptable. The result shows that companies do not offer photo retouchingfrequent, but performs this service at the direct request of the customer. Themajority of parents agreed that dirt and food was accepted to be removed fromthe photograph, and that this does not affect the child's self image. The photographersbelieve that one should be very careful when it comes to children andretouching, and that the debate is important.

Lost houses of the Molonglo Valley : Canberra before the federal capital city

Three generations of settlers, convicts and emigrants occupied the valley of the Molonglo River for eighty years before Canberra was planted here in 1913. Stretched between the great houses of Duntroon and Yarralumla, they lived in some twenty cottages, almost all of which were demolished as the city centre and suburbs developed. This book recreates a lost world via archival sources that describe the land and houses, genealogical records showing the inhabitants and their family relationships around the district, and the work of official photographers and amateur artists who recorded the landscape as the city grew.--Publisher description.

Changing journalism for the likely present

Media convergence and newsroom integration have become industry buzzwords as the ideas spread through newsrooms around the world. In November 2007 Fairfax Media in Australia introduced the newsroom of the future model, as its flagship newspapers moved into a purpose-built newsroom in Sydney. News Ltd, the country’s next biggest media group, is also embracing multi-media forms of reporting. What are the implications of this development for journalism? This paper examines changes in the practice of journalism in Australia and around the world. It attempts to answer the question: How does the practice of journalism need to change to prepare not for the future, but for the likely present.

Early in November 2007 The Sydney Morning Herald, the Australian Financial Review and the Sun-Herald moved into a new building dubbed the ‘newsroom of the future’ at One Darling Island Road in Sydney’s Darling Harbour precinct. Phil McLean, at the time Fairfax Media’s group executive editor and the man in charge of the move, said three quarters of the entire process involved getting people to ‘think differently’ – that is, to modify their mindset so they could work with multi-media.

The new newsroom symbolised the culmination of a series of major changes at Fairfax. In August 2006 the traditional newspaper company, John Fairfax Ltd, changed its name to Fairfax Media to reflect its multi-platform future. In March 2007 Fairfax launched Australia’s first online-only daily publication in Queensland, brisbanetimes.com.au. In May 2007 Fairfax completed its merger with Rural Press to become the biggest media company in Australasia, with annual revenues of about $2.5 billion and market capitalisation of about $7 billion. Two months later Fairfax got even bigger when it acquired at least one radio station in all Australian capital cities plus television studios when it bought Southern Cross Broadcasting. Fairfax is expected to bid for one of the two digital television licences made available by the changes to media ownership laws promulgated in May 2007.

The aim in moving Fairfax from a print to a multi-platform company was to reach as large an audience as possible. ‘We have a total readership in print of over 4 million per day and online of over 5 million per month’, CEO David Kirk said at the time of the Rural Press merger. ‘Our brand of quality, independent, balanced journalism will serve and support more communities than ever’ (Kirk 2007). A few months earlier chairman Ron Walker had written in the company’s annual report: ‘Fairfax is evolving into a truly digital media company’ (2006: 2). Within five years Fairfax would be a significantly bigger Internet company that distributed its content ‘over more media’, Kirk wrote in the same report (2006: 5).

Kirk developed a three-pronged strategy. The first part of the strategy involved the need to ‘defend and grow our newspaper publishing businesses’ – that is, to consolidate and develop the existing newspapers, whose circulations were holding steady during the week and improving on Saturdays. The second part involved plans to ‘accelerate the revenue and earnings of our digital business’. The third part was ‘to build a digital media company for the twenty-first century’ (Fairfax annual report 2006: 3). In June 2007 Kirk appointed Tim Mannes project leader for the Fairfax Media-Rural Press integration. ‘The purpose of the integration work is to bring the two companies together and build what is truly Australasia’s leading media company’, Mannes wrote in a memo to all staff on 7 June 2007. ‘It’s vital throughout this process that we maintain continuity and momentum and protect the interests and needs of our customers’ (2007: 1).

The business model appears attractive. Kirk said Fairfax’s increased scale and diversity would mean it relied less on classified lineage advertising in major metropolitan newspapers, so it could ‘rapidly develop the best online response to changing media advertising patterns’. In the two years to 2006, online’s contribution to Fairfax’s profits had grown from 1 per cent to 14 per cent with ‘much more to come’. Online’s share of the national advertising pie had grown from 2 per cent in 2002 to 10 per cent in 2006 (Beverley 2007: 6) and had jumped to 14 per cent in 2007. Analysts said they were happy with Fairfax’s move ‘from a newspaper company to a media company’ and banks such as Credit Suisse upgraded their profits forecast (AFR 19 September 2007: 37).

Planning for the move to One Darling Island Road in Sydney’s Darling Harbour started early in 2006. Fairfax CEO David Kirk took personal responsibility. He and chairman Ron Walker visited integrated sites around the world, along with a group of editorial bosses. The favoured site was The Daily Telegraph in London, which embraced convergence from June 2006. CEO Murdoch McLennan hired a consultant from Ifra, Dr Dietmar Schantin, director of the Newsplex, to facilitate the move from mono-media to multi-media at The Telegraph. Schantin said change was less about new technologies and more about altering the established mindset. The focus must be on the audience: ‘The whole idea of audience orientation seems to be quite new for some newspapers. In the past it was more “we know what is good for our readers and so we distribute the content”.’ Newspapers were a service industry whose service was information and news, he said. Newspapers had to learn to ‘serve’ its audience with the things the audience wanted to know, on any appropriate platform. ‘We start from the audience. What they want is a very important point. That does not mean that a newspaper should just do what the audience wants. The newspaper [also] needs to stick
to its core values’ (Luft 2006, Coleman 2007: 5).

Tom Curley, CEO of the world’s biggest newsgathering organisation, Associated Press, gave an important speech to the annual Knight-Bagehot dinner in New York in November 2007. The news industry had come to a fork in the road and needed to take bold steps to secure the audiences and funding to support journalism’s essential role for both the economy and democracy, he said. Otherwise the media industry would find itself ‘on an ugly path to obscurity’. He similarly emphasised the need to serve the audience: ‘Our focus must be on becoming the very best at filling people’s 24-hour news needs. That’s a huge shift from the we-know-best, gatekeeper thinking. Sourcing, fact gathering, researching, storytelling, editing [and] packaging aren’t going away’
(Curley 2007).

Kirk appointed a ‘newsroom of the future’ committee from editorial (reporters and photographers), IT and HR. The committee initiated a study tour by editorial executives of leading integrated and converged newsrooms in the UK and the US in April 2007. This became known as the ‘Tier 1’ course and involved the editor and deputy editor of The Age, and the news editor of The Sydney Morning Herald. The Herald’s editor went to the annual conference of the World Association of Newspapers in Cape Town, South Africa in June 2007 because that event featured convergence as one of its main themes (PANPA Bulletin June 2007: 6). The committee designed a two-day awareness course for senior editorial managers, known as ‘Tier 2’, that was run in Sydney in July 2007. The ‘Tier 3’ program for all editorial staff started in August 2007 and this ‘multi-media awareness program’ continued until the end of the year. A ‘Tier 4’ course for about 10 per cent of editorial staff (about 40 journalists), where they learned a range of multi-media skills, was scheduled to start after the Beijing Olympics in 2008. The author facilitated most of the Tier 2 and 3 courses.

The Tier 3 and 4 courses have profound implications for journalism education in Australia because they represent the start of major changes to how journalists work in Australia. The process reflects evolution in newsroom practices around the world. In November 2006 Ifra, the international media research company, asked newspaper executives worldwide about their priorities for 2007. The survey attracted 240 responses from 43 countries and results appeared in January 2007. Integration, editorial convergence and cross-media strategies attracted the most attention. Four in five executives rated it one of their top priorities, and half made it their main priority in terms of allocating ‘significant’ funds (Ifra 2007: 34). Ifra repeated the survey in November 2007 and published the results in January 2008. Expanding web strategies was first on the list for 2008, just ahead of editorial convergence strategies, which topped the list in 2007. Improving video and audio content jumped 14 places, and mobile phone strategies leapt 9 places between 2007 and 2008 to be near the top of the list (Ifra 2008: 8).

Bondi Beach NSW, 28 May 2011, 11:06

This artwork is the result of the curators’ premise to invite an artist or artists to produce an initial image according to a brief. These initial images were then given to photographers to respond to and re-interpret the initial image. The curators produced a broadsheet publication and an online document cataloguing the works.

Glamour photography makes suburban stars of us all

For the last two decades, studio photographers have been trying to create photos that replicate those produced for stars and for those destined for the cover of magazines. This article explores this phenomenon from the perspective of its suburban site for the production of the sensation of fame through glamour photography.

The photographer's shadow

The 'Photographer's Shadow' was acquired by the Auckland City Art Gallery (Chartwell Collection)

1984 Yearbook Innervisions

Vol. 4; 129 p. b&w, color photographs; Sept. 1984 TOC: Leadership in Profile…10/Yearbook Reception…14/Mr. and Mrs. Fiorello LaGuardia…17/Faculty and Staff…20/College Wide Activities and Events…39/Continuing Education…42/Recreation…46/Student Government…51/Honors Night…56/Activities Events and Trips…65/Graduate Special Section…77/Graduates…83/In Memoriam…124/Yearbook Committee…127/Ads…129 YEARBOOK CREDITS: Project Director, VINCENT BANREY; Copy/Caption Writers and Editors: UMOJA KWANGUVU and CATHERINE WHAN-ABBATE; Photographers: YVONNE CANNON, YOUNG CHOI, WALTER JACKSON, UMOJA KWANGUVU, RANDY FADER-SMITH, CLASSIC STUDIOS; Production Committee: ARLENE BANREY, ELIZABETH BAUMANN, GEORGE BERMUDEZ, BRIDGET DAVIS, MARGARET FERNANDEZ, FRAN GIBSON, RAMONA H. KENOL, EDDIE LEBRON, REGINA McDONALD, HORACIO OWENS, JOSE PENA, KEVIN RILEY, SHIRLEY SAULSBURY, CORDELIA WHICHARD; Typing: BLANCA ARBITO, ENID RIVERA, CAROLYN TAYLOR, CATHERINE WHAN-ABBATE, ADRIENNE WILLIAMS, AUDREY WILLIAMS.

1983 Yearbook Innervisions

128 p. b&w, color photographs TOC: LaGuardia the Man…4/Cooperative Education…12/Faculty and Staff…20/College Wide Events and Activities…37/Recreation…45/Nursery Program…51/Student Government…55/Student Activities…59/Dedication to Graduates…71/Graduates…81 YEARBOOK CREDITS: Project Director, VINCENT BANREY; Committee Chairperson, WALTER JACKSON; Copy /Caption Writer and Editor, UMOJA KWANGUVU; Photographers: ROBERT BROWN, WALTER JACKSON, RANDY FADER-SMITH, MARK SEALY, CLASSIC STUDIOS; Designed by VINCENT BANREY; Layout: VINCENT BANREY, SANDRA BRADLEY, BRIDGET DAVIS, REINALDO DENNY, UMOJA KWANGUVU, KEVIN RILEY; Typesetting, AUDREY WILLIAMS; Typing: SANDRA BRADLEY, TANYA BUSH-CORONA, BRIDGET DAVIS, ROSALIE NIEVES; Graphics: VINCENT BANREY, GEORGE BERMUDEZ, REINALDO DENNY, WALTER JACKSON.

1985-1986 Yearbook

TOC: Life at LaGuardia…3/ LaGuardia At Work…11/College-Wide Activities…20/Mayor LaGuardia…26/Martin Luther King…28/Statue of Liberty…30/Activities and Trips…33/Recreation…52/Student Government and Clubs…56/Faculty and Staff…64/Letters to Graduates…83/Class ’85…87/Class ’86…115/Dedication to the Challenger…156/Boosters and Ads…158 Yearbook Committee: Project Director, VINCENT BANREY; Asst. Project Director, CATHY WHAN; Editor-in-Chief, MARGARET NEISS; Layout Editor, HORACIO OWENS; Asst. Layout Editor, MARICRUZ SAUNDERS; Copy Editor/Captain Editor, UMOJA KWANGUVU; Typesetter, EDWARD HOLLINS; Cover Artist, DAVID VAZQUEZ; End Sheets Photo, YOUNG BAEK CHOI; Finance Manager, GEORGE BERMUDEZ; Photographers: HORACIO OWENS, MARINA DIAZ, MARGARET NEISS, LORI GEORGE, RANDY FADER SMITH, UMOJA KWANGUVU, JUAN SEGARRA, PETER ABBATE, CLASSIC STUDIO; Production Staff: HORACIO OWENS, MARGARET NEISS, MARINA DIAZ, UMOJA KWANGUVU, MARICRUZ SAUNDERS, IRENE LEBRON, ARLENE BANREY, QUAALAN SAMUELS, MAYRA ALDONADO, CATHY WHAN, RAVI RAMDASS, GEORGE BERMUDEZ, BLANCA ARBITO, EDWARD HOLLINS, BRIDGET DAVIS; Feature Writers: YVONNE CANNON AND HARRIET ASCHOFF ("LaGuardia at Work"); GEORGE BERMUDEZ ("Mayor LaGuardia, A Civil Rights Political Leader"); SCOTT ENGEL ("Statue Of Liberty"); JEFFREY DAVIS ("Tribute to Ron Miller"); MARICRUZ SAUNDERS ("Challengers"); CASSANDRA WILLIAMS ("King: The Vision and the Fulfillment").

1987 Yearbook

TOC: Clubs & Organizations…18 / Current Events & Music…30 / Faculty & Staff…33 / Activities & Events… / Honors & Graduation…65 / Graduates…75 / Yearbook Credits…111 / A Thank You…112 YEARBOOK COMMITTEE: Project Director, Vincent Banrey; Asst. Project Director, Catherine Whan; Editors (1986): Maricruz Saunders; (1987): Juan Jimenez, GloryAnn Torres; LAYOUT DESIGNERS: Vincent Banrey, Stephanie Bowen, Yvonne Brown, Jacqui Fernandez, Milton Ferreira, Omar Harris, Cornelius Huskins, Juan Jimenez, Wayne Keane, Richard Massie, Victoria Pamias, Richard Provost, Maricruz Saunders, GloryAnn Torres, Pedro Torres, Joan Walker, Catherine Whan. PHOTOGRAPHERS: John Carrero, Young Baek Choi, Randy Fader-Smith, Milton Ferreira, Roger Ince, Juan Jimenez, Umoja Kwanguvu, Seymour Lerman, Clinton Linton, Richard Provost, Jaidee amsinghani, Maricruz Saunders, Frank Tocco, GloryAnn Torres, Catherine Whan, Alan Young. ARTISTS: Cover Design: Madeline Vega; Endsheets: Oscar "DJ Ozzie" Ramirez; Division Pages: Jose Marti; International LaGuardia: Jacqui Fernandez; Illustrations: Richard Massie, Jacqui Fernandez, Madeline Vega. WRITERS: Yasmin Ahmed, Vincent Banrey, Warren Gardner, Juan Jimenez, Umoja Kwanguvu, Luis Merchant, Victoria Pamias, Richard Provost, Christiana Somerville, GloryAnn Torres, Joan Walker, Catherine Whan. SIGNIFICANT OTHERS: Word Processing: Blanca Arbito, Edward Hollins, Catherine Whan. Vincent Banrey Spread: developed by Blanca Arbito, Edward Hollins and GloryAnn Torres, Jacqui Fernandez, Catherine Whan. Creative Consultant: Edward Hollins. Promotions: George Condors. SPECIAL THANKS TO: Frank and Seymour of Classic Studios; Chuck Lindsey, Photo Workshop Instructor; Ted Schiffman of Taylor Publishing Co.; Dan Horn and Thurston Reyes of LaGuardia Theatre; and the Recreation staff. ALAN BERMAN IN MEMORIAM: Sketch, Tom Fink; Alan Speaking, Brian Gallagher; Remembering Dr. Alan Berman, Tuzyline Allan.

1989-1990 Yearbook

Vol. 8, Sept. 1990; 136 p.; b&w, color photographs TOC: Activities & Events…17 / Clubs & Programs…33 / Graduation…49 CREDITS: FACULTY ADVISOR, Vincent Banrey; PROJECT DIRECTOR, Catherine Whan; EDITORS, Luis Lopez; ASST. EDITOR, Rodolfo Medina; ART: Rodolfo Medina (Cover Design; Back Endsheet; Division Pages), Peter Abbate (Front Endsheet). GRAPHIC ARTIST: Rodolfo "Funky Cold' Medina. LAYOUT DESIGNERS: Vincent Banrey, Marino "Tito" Cabrera, Ann Marie Edwards, Charletin Enock, Ana Lisa Gonzalez, Edward Hollins, Luis Lopez, Peter Martinez, Rodolfo Medina, JilI Nage, Angela ?, Keith ?, Daly Rodriguez, Catherine Whan. WRITERS: Marino "Tito" Cabrera, Vincent Cousin, Edward Hollins, Luis Lopez, JilI Nage, Cathy Passiglia, Eartha Porter, Daly Rodriguez, Christiana Sommerville, Catherine Whan. PHOTOGRAPHERS: Peter Abbate, Marino "Tito" Cabrera, Charletin Enock, Milton Ferriera, Fran Gibson, Alexandra Gomez, Bernadette Henry, Edward Hollins, Juan Jiminez, Umoja Kwanguvu, Luis Lopez, Rodolfo Medina, Allen Scribner, Frank Tocco, Catherine Wran, Alan O. Young. Special Thanks to Cathy Soria of Classic Studio (as well as Frank & Tommy).

1998 Yearbook

Sept. 1998; 72 pages; pages 69-72 (Yearzine) b&w, color photographs TOC: Reflections…1 / Dedication…2 / Table of Contents…3 / Message from the President…4 / Message from the Student Government President…5 / The Deans…6 / Robert Francis Kennedy…7 / Student Activities Club Life…8 / Student Activities Club Fair…10 / We Build Potential…12 / Student Government Association 1997/98…14 / Poetry Writing my way out of the Ghetto…16 / Multi-Cultural Appreciation Week 16A-D / Dr. Martin Luther King Jr….17 / Future Leaders Early Childhood Learning Center…18 / Poetry + 5K Race…20 / The Class of 1997/98…21 / Message from the Yearbook Committee…61 / Tribute to Donald Barker Health Center…62 / Poetry Stepping Out…63 / Credits…64 Credits: PROJECT SUPERVISOR: IRENE SOSA; PROJECT COORDINATOR: EDWARD HOLLINS; ASST. PROJECT COORDINATORS: VINCENT COUSIN, ALLEN SCRIBNER, MADODHREE YAMRAJ; EVENT PHOTOGRAPHERS: VINCENT COUSIN, ALLEN SCRIBNER, RANDY FADER-SMITH; GRADUATE PHOTOGRAPHERS: SAMUEL LEE, LUIS REYES; POETRY: MATTHEW JOFFE, LISA KREMENS, THOMAS MCCRAY, JR. Special Thanks: -THE STAFF OF STUDENT LIFE & DEVELOPMENT (FRAN, GREGORY, LUIS, MILLIE) -ENOCK CHARLOTIN -DR. NOMA KRASNEY -HIGH SPEED PHOTO (LOUIS, FERNANDO, JAMES -THANKS GUYS, GREAT JOB!) -WARREN COOPER (TAYLOR PUBLISHING) -ANILA JOHN (S.G.A OFFICE MANAGER) - RON BOERKE (EVENTS OFFICE)