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Venezia workshops
Photo ref
Tóth József photography
Me and my photography, located in Budapest: my "journey" started for almost twenty years ago, when I was strongly affected by traveling all over the world. I've shot primarily hotels and buildings on request, made my own travel photos with enthusiasm and published some guidebooks about Thailand, Greece, Bali and Malaysia etc. Nowadays I lead my own publishing company and Photography became my profession and so my persistent subject of infatuation. I constantly develop my facture and try to let my own style recognizable especially in the areas of portrait, nude and street photography. My projects also include an album about Venice with my own way of seeing and capturing things.
József Tóth was born in 1970, in Budapest. His passion towards photography has already shown itself in his childhood. Already in his younger years, he learnt the technical bases of photography. He made his first black and white photos with an analogue camera and then developed them in his own darkroom. He was especially fascinated by realistic image representation; billboards were made out of his works and published across the country, having become sought after primarily because of his unique way of seeing things. Apart from the harmonious, accurate description, his photos of buildings were characterized by a unique depiction of lights, structures and shapes. His photos made during his travels, raised the interest of many Hungarian and foreign travel agencies; this way, in the course of the years, a number of journals of magazines in the area of travelling published his materials.
Besides the building and travel images, later the artist experimented in the area of street photography, as well as portray and fashion photography, similarly with great success. In the recent 12 years, he made excellent photo illustrations for a number of books and albums.
Keeping photography as a creative way of self-expression, since 2002, József Tóth is the manager of a company engaged in book publishing and press works, which is also closely linked to his previous activities. He has designed and created more than 80 books and uncountable press products. Clients ordering the most versatile press services all over Europe witness the precise and reliable work of his company, whether it is organizing exhibitions, graphical design of travel brochures and company images, or preparation of promotional materials.
Since the mid '90s, not a single year has passed without him visiting Venice, Italy. In the past few years, they have already portrayed the city's beauty together with his wife, Kíra Kenéz, and the result of their work are several tens of thousands of brilliant photos and post cards from Venice, as well as an extraordinary artistic publication that came out in 2012 with the title "Postcards from Venice". The artist sees the city almost as his second home, so it is not a coincidence that his first significant exhibition was organized here, in the luxurious building of Scuola Grande di San Teodoro.
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Diversifying the world's entertainment business with Diversified Entertainment
The Entertainment Industry is a business that can and should be diversified.
If not, the market may not thrive.
But what is a diversified business?
What is the model that allows for the best returns for a company?
Here is my approach to diversifying the entertainment business.
In my view, the best model is an entertainment business that focuses on delivering the highest quality content to its audience, at the lowest possible cost.
It also focuses on providing a consistent source of income that provides a long-term return.
I will use my experience and experience as an investor, a veteran of the entertainment industry, to illustrate my reasoning.
I have extensive experience investing in entertainment companies.
I also have a deep knowledge of the businesses I am investing in.
I am the former Chief Financial Officer for the major entertainment companies, including Universal Studios, Warner Bros., and Sony.
I built a solid foundation of expertise in the entertainment sector as the CFO of the Entertainment Technology Group, a division of IAC Entertainment, Inc., a technology company.
I had the opportunity to run this division from 1997 through 2001.
When I left, I also became the Chief Operating Officer of the company.
In the first half of 2001, I had my company grow by almost 400 percent, from $9 million to $25 million in revenue.
In 2002, I returned to my position of Chief Operating Manager and, for the next two years, I worked as an adviser and consultant to IAC.
From 2003 through 2005, I served as the CEO of Iac.
I was a part of the executive committee of IAc, as well as the chairman of the board of directors of the parent company, IAC Inc. In 2006, I left IAC to take a job at Warner Bros. I spent my final year at Warner as the chief operating officer.
I left Warner in 2013 and was one of the early investors in several large entertainment companies in the United States.
During my tenure at IAC, I was responsible for expanding the portfolio of content produced and distributed through its distribution arm, the IAC Distribution Group.
I created a strong pipeline of movies and television programs that have become critical to the growth of the global entertainment industry.
I helped bring new programming and characters to life in our homes, schools, and businesses.
In 2015, I became the Chairman of the Board of Directors of the Universal Studios Motion Picture Group, the parent of Universal Studios Theme Parks, and IAC's worldwide content distribution arm.
In 2017, I retired as the Chief Executive Officer of IAmMedia, a content distribution company that produces a wide range of premium and exclusive content.
I worked at Universal Studios as its Chief Operating and Creative Officer from 2009 to 2012, as its CFO from 2012 to 2016, and as its Chairman from 2017 to 2018.
I enjoyed my time at Universal, which I felt had provided me with a unique opportunity to understand the business and the value of the brands and franchises that make it so unique.
The Entertainment and Entertainment Media industries have a lot in common.
The core elements of the industries are entertainment, television, and film.
Each of these industries, with its own unique strengths and weaknesses, must be differentiated to succeed.
We must differentiate between entertainment, entertainment content, and entertainment and media content.
Entertainment content and entertainment media must be different.
We also need to distinguish between entertainment products and entertainment services.
We can do this because the entertainment and entertainment industries are in a unique position in that they are driven by a very different set of incentives.
The entertainment industry has one of two incentives.
It can be a marketplace for consumers who want to enjoy the products, or it can be an incentive for producers and distributors to distribute those products.
It is the former that drives the entertainment companies' profits.
The business model of the industry has changed dramatically in the last five years.
Consumers want a product and want to buy it.
Consumers have a desire to experience the entertainment experience.
Entertainment companies can help them get that experience.
The two most important drivers of the incentive are the amount of money producers can make from advertising and distribution, and the number of advertisers and distributors that they can attract.
The amount of advertising and advertising revenue has grown dramatically, while the number and quality of advertisers has declined.
There is no way to predict the future, but there is one thing that we can predict with absolute certainty: The number of consumers that are willing to pay to watch movies and TV shows that they have never seen before is going to be reduced significantly.
This is true of both the movies and the television shows that are being produced and broadcast.
Consumers need to feel a sense of ownership and ownership in the content that they watch.
The only way that this is possible is if these businesses are differentiated from one another.
Consumers should not feel like they are paying a premium for the same experience.
They should be paying for something that they will
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redpajama_set_name: RedPajamaCommonCrawl


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