13 August 13-19, 2026 miaminewtimes.com | browardpalmbeach.com NEW TIMES | CONTENTS | LETTERS | NEWS | NIGHT+DAY | CULTURE | CAFE | MUSIC | Month XX–Month XX, 2008 miaminewtimes.com MIAMI NEW TIMES | CONTENTS | LETTERS | RIPTIDE | METRO | NIGHT+DAY | STAGE | ART | FILM | CAFE | MUSIC | believes all moments look different to different people, and the photographer’s opinion of their own work is of more value than what others think. “I have this rule with myself that I don’t look at the pictures of what I take at the mo- ment,” says Roxanny. “One, I’m trying to avoid getting kicked in the face or [having] my camera gear get hit by a stage diver. But two, it’s mostly because whatever I take, I take. I’m not trying to put this pressure on myself to get the best shots.” Roxanny, who’s been part of the Miami music scene for decades, believes that it’s more about “being in the moment” than see- ing if you got the perfect image. “I can bring up a picture from 2016, and everyone can literally remember the ambi- ance of it, what bands played, what age we were, what our outfits were; I think it’s defi- nitely a memorable thing that’s always trapped on a piece of paper,” says Roxanny. But as younger concert photographers flood the scene, Roxanny is turning her atten- tion elsewhere. “I think I’m just gonna leave the music photography for like the new generation that can deal with the stage divers and things like that,” says Roxanny. “I definitely want to work on more street photography — life pho- tography, you can say — because I think one of my biggest goals would definitely be having my photos displayed somewhere.” Yuval Ofir @YOPHOJO Yuval Ofir considers his craft a “pandemic by- product,” some mixture of soul-searching and chance that landed him firmly in the event world. Originally a writer, he moved from cell phone photography to a DSLR in 2022. “I fell into concert photography because it was a natural kind of pairing with the coverage that I was doing through writing,” says Ofir. Ofir doesn’t go for the “polished” look; he aims to capture the “in-between moments” of a night, whether amid set changes or back- stage. He wants people to feel seen: whether it’s the tal- ent performing, the audience watching, or the staff setting up. For him, style isn’t as important as vision. “Memory, as we know, is very fickle and malleable and imperfect,” says Ofir. “I think that memory can’t help but be informed by or shaped by photography and, by proxy, the photographer’s vision.” Because of the nature of his craft, he strays from heavy-handed edits, humorously men- tioning that he “shoots analog on digital.” “What I get in camera, that’s what it is,” he affirms. “I would say at this point, I use [Adobe Lightroom] mostly to crop and shift angles.” Ofir is looking to use concert photography as a doorway into more creative work. He jokingly references the Cameron Crowe clas- sic Almost Famous. “I didn’t realize until I rewatched it like a few years ago how much that must have in- formed my subconscious identity-building,” says Ofir. “I would love to be able to, in that vein, pivot into doing more behind-the- scenes shoots with bands and musicians.” [email protected] Left: Originally a writer, Ofir moved from cell phone photography to a DSLR in 2022. Right: Nicole points out that, in the music sphere, looks may precede sound. Photo by Yuval Ofir Photo by April Nicole YUVAL WANTS PEOPLE TO FEEL SEEN: WHETHER IT’S THE TALENT PERFORMING, THE AUDIENCE WATCHING, OR THE STAFF SETTING UP.
