Small Teams Making Great Content

For those brands and agencies who feel that they're tasked with making a lot with a little, I thought it would be worth sharing a look at some of my favorite blogs/social campaigns that are run by just one or two people. The work below, in my opinion, is compelling and original on it's own.... But what makes it even more impressive is that it's curated or created by just one or two people. Some of them are even side projects of sorts. Next time you think the digital advertising campaign you're working on doesn't have enough money or resources to make great work, take a look at these sites to get some perspective on what's possible.

 

Nick Onken

I've followed Nick's blog for quite some time, and I've watched as it grew from focussing on the business of photography into a full on lifestyle media site. Nick records his own podcasts, writes commentary and shoots original content... And he does all of this while working as a busy full time commercial photographer.

 

Ariele Alasko

Ariel Alasko is a furniture builder and woodworker based in Brooklyn. Her website is very well done, but the real standout is her Instagram account, which is approaching a quarter million followers. She announces sales of items like carved spoons and bowls on her Instagram, and the premium priced products invariably sell out very quickly. 

 

The Glamourai

I've been following this blog ever since running into stylist Kelly Framel at fashion week a few years ago. At first glance, you might think that The Glamourai is supported by a giant publishing team. On a regular basis they roll out original fashion editorials whose production value and art direction rival anything you'd see in a major fashion publication. Take a closer look, though, and you'll see that the site is entirely written by Kelly, with her sister serving as the market editor and production manager. 

 

The Glow

I was fortunate to have the chance to work with Kelly Stuart when she hired me to to photograph fashion week for Elle a couple years ago. While working as a full time photo director at Hearst (which, as you can imagine, isn't one of those phone-it-in kind of jobs), she also found the time and resources to put together The Glow. The entire site (and now book) is produced by her and editor Violet Gaynor.


People in the advertising world have a tendency to look to what other brands and agencies are doing for inspiration. However, with digital publishing allowing individuals to put out great content that others are actually consuming, it can be super useful to look at content being made by people outside the ad world.

These are a few sites that I really admire for being able to make so much from relatively limited resources. If anyone else has suggestions on individuals or small teams making great digital work, I'd love to hear about it!

Photography for J. Crew Digital
with Bryan Derballa

When I was a fresh transplant to Brooklyn in 2006, one of my sources of photography inspiration was Love Bryan, a blog curated by Bryan Derballa. The blog came in an unusual format, displaying the work from several photographers in personal, long form photo essays.

I hadn't met Bryan, but I followed along with his career as I started seeing his name popping up in credits for the Fader, Vice and the Wall Street Journal.

More recently, I was excited to see his work on posts for the J. Crew blog. Coinciding with when Mickey Drexler took over as CEO in the early 2000s, the brand has grown into one that truly stands out in terms of creative direction. They are consistently creating fresh and forward thinking images. Their social media and digital presence is, in my opinion, one of the most well executed programs in fashion, and brands working in any area can take inspiration from it. In particular, I think the editorial/storytelling approach that they've taken on their blog is a brilliant way to create content that people actually want to subscribe and tune in to.

Bryan has a key role in creating visual content for J. Crew's digital presence on their tumblr, and Instagram feed. When I recently ran into Bryan at a seminar for PDN 30, I jumped on the opportunity to say hello, and a few weeks later we sat down to talk more about the work he's been creating for J. Crew.

How did your relationship with J. Crew start?

Several years ago I shot J.Crew’s presentation at Fashion Week for T-Magazine – I think it was only the second presentation they’d ever done at Fashion Week. I shot it and just did my thing. The nice part about working with T was complete creative freedom. They kind of wanted you to do whatever you did well.

Some people at J.Crew found those photos, and they passed it along to Jenna Lyons, (President and Creative Director of J.Crew). She liked it and they brought me in to photograph their presentation and backstage for the presentation at the next fashion week. They wanted it for their Tumblr and for their internal usage, and I think some photos might’ve got thrown up on Instagram, but their Instagram was still very new at the time.

It was the blog director’s first day. Her first day was my first day, and after that it just became this match made in heaven, and we worked on so many things afterwards together. It evolved from being just fashion week to a whole host of things.

So right from the start, it seems that there was a very editorial mindset about creating content?

Yeah, absolutely. I started in photojournalism; all my early clients were newspapers and the occasional magazine. But it was always very reportage style. That’s the kind of work I love most and that’s the kind of work I enjoy doing, and I think it’s really cool that J.Crew has seen that. They identified that in me and allow me to do it in a more commercial and fashion-based setting.

A lot of what we do is studio tours and factory tours. We have columns, like In the Kitchen, where we’ll go to someone interesting and photograph them making a meal. We do a lot of style features. We love to work with real people, not necessarily models, to see what the clothes look like on those people and to get more of their personality and to try to find a place where the clothes, the personality, and the photography all meld together.

That’s something interesting in terms of social media and marketing right now. You’re basically combining two things: the social media world and the advertising world. So a brand has to choose: do you want to take it more from the angle of how people are already creating content on social media with a more loose, editorial approach? Or do you want to think of it more like traditional advertising, which might mean things are conceived ahead of time and you’ve got an art director making up comps and clients signing off on concepts before they’re even shot.

One of the coolest thing about social media and photography, and one of the reasons I’m really interested in doing it right now, is that it hasn’t been totally defined yet. We know what advertising looks like in magazines or on billboards; we have an idea of what we’re going to see when we open the pages of those magazines. It’s often very slick and there’s production value and the clothes look good, people look good. We know what that is.

Likewise, we know what photojournalism looks like. We see the New York Times every day, Time Magazine, we have an idea of what that is.

But social media photography, it’s so new that it’s still being defined, and it takes influences from all these things that are still evolving. Twitter did so well because it gave people direct access to their friends and celebrities. If you want to know what Ashton Kutcher really thinks, or Shakira or whoever these people are that have really popular Twitter feeds, you can get an intimate look into their life and what they’re thinking. Even if it is filtered through a publicist, it doesn’t always seem like it, so you get this more raw and candid look at these things that we’re interested in and fascinated by.

So I think that the photography in social media does that really well – or at least it should be doing that really well. We’re not going to repurpose a photo that was shot for the catalog necessarily; instead, we’re going to get something more intimate, more behind the scenes, closer to the people actually making the clothes.

Or we might make something that has a little bit more personality, just to engage the viewers in a different way, because that’s what they want with social media. They’re looking for some kind of intimacy, and it gives you a feeling – it’s so personal. You’re looking on your phone, you have this little device, and it’s just you and the device. You’re choosing what’s on that screen. Unlike a billboard or a magazine or something that you walk by and it’s just there, you’re very interactively choosing, “This is what I want,” and it seems like that personal experience has shown brands and the folks that follow this kind of stuff that people want intimacy and the rawness and candidness, and just a sense of honesty in a world that is often so bombarded by artifice.

So what I’m really interested in, is taking a documentary approach and applying it to all kinds of different situations. It doesn’t have to be as serious as my photojournalism, and it doesn’t have to be as serious as traditional advertising. It can be more free-flowing and more abstract and strange and interesting.

So in a way, do you feel like you have even more license to be creative with it than you would when you’re shooting for the Wall Street Journal, for example?

Yeah, definitely. The Wall Street Journal, they’re great and do very important work. They have a defined readership and journalistic obligations. The images they choose to run in their paper need to inform and serve the story.

At J. Crew we can also share a photo that gives a feeling in a more abstract way, and it doesn’t require as much of an explanation but can still affect people in a way that goes beyond what we’re traditionally used to.

 It’s exciting to imagine an emerging area in advertising photography where photographers have a bit more creative freedom and the shoots are a little more loose.

Yeah, it’s just a whole new way to engage and to push boundaries. And what else is cool about it – and this is from a more general perspective: everyone’s a photographer now. People are constantly going through Instagram and clicking on pictures that they like, and then they’re going out and trying to make photos like that. Often people just shoot the things that are important in their life, but they’re doing it so much more that they’re trying to figure out ways to do it in a new or creative way. They’re trying to see things a little bit differently, and they’re trying new filters and understanding the look of the picture rather than just what the picture is.

So I think that people on a whole are increasing their visual vocabulary. They’re becoming more sophisticated with it. When I first started shooting, for the first few years I was taking pictures that I thought were so smart and so visually sophisticated, but they were lost on people who weren’t photographers. Photographers liked it, but people who weren’t photographers, it didn’t really resonate. It looked weird or it felt uncomfortable or whatever.

But now people are becoming more and more open to that. I have a lot of tricks in my bag, and I like to employ them when making photos. That keeps it interesting for me. I like to use visual techniques to do things with images to make them more engaging. People are becoming more open to that, and I think that is a big benefit of Instagram.

How do things come together for a shoot for J. Crew in terms of production?

The blog director will come to me ahead of time with a few things that we’re going to shoot. We’ll schedule it, we’ll lock down our subjects, and she’ll send out call sheets, and then I’ll show up. Sometimes, but not all the time, there’s a creative director there as well.

What’s been really nice for me with J.Crew is that I get to work with a team. When I was working with newspapers a lot, I would have a lot of contact with my editors, but they were assigning so much and overseeing so much that they never actually came on the shoots. But with J.Crew, I always have my blog director and my art director there. They give me pretty free rein, but they also help to encourage me to try things that I may not see, or to point out details that I may have missed, or to help elicit something from the subjects to make it more comfortable to shoot.

That’s the process of shooting. I’ve pitched a couple things here and there, but in general I leave it up to them. Most of my time spent on coming up with photo ideas are for personal projects. And they have so many things that they need to cover that I could never even know about, because I don’t attend the marketing meetings, that I just leave it up to them.

Do you work with any other brands in the same way you shoot for J. Crew?

 Not really. I've done it once for Nike. But I haven’t really sought out doing it with anyone else. J.Crew keeps me very busy. A lot of people don’t know what this kind of work is worth. But with J.Crew, I don’t feel that way

One of the things that’s interesting is how much they’re really invested in this. How do I put this… we shoot around New York all the time, and our shoots aren’t huge; it’s not like we have production RVs and stuff like that, but we do travel a lot with it. So far I’ve gone to London three or four times with J.Crew, and we’ve been to different parts of Europe. We go to California every year. Went to Hong Kong and to Tanzania.

All of this was to produce content for their Tumblr and their Instagram, and I think that that’s pretty unique. I think that not very many companies would take the risk of sending someone so far at such a high expense to produce content specifically for those things. So I think that’s really cool.

I do think that’s true. One thing that’s interesting, to me, though is that any component of an advertising campaign is the media buy. So if it’s a TV commercial or an ad in a magazine, they’re paying a lot of money just for that space. You can pay money to get people to see things on Facebook and on Tumblr, and on Instagram too now. But it doesn’t seem like that has been the approach by J. Crew.

Obviously the cost of production and your fees adds up but I would imagine that it can be well worth it if the content is great and people want to tune in and subscribe to the feeds and share it.

Yeah, totally. I never thought about it that way but that does make sense.

 Another part of J.Crew’s approach that I think is so smart is having this long-term relationship with you. So it’s not like every time they do a shoot, they’re trying to teach a photographer what the brand is supposed to be, where they’re trying to take it, and the kind of things that they’re really interested in showcasing. 

Have you felt that they’ve taught you about the brand and the direction it’s going, and if so, has it translated into you being able to take pictures that work for them better?

Yeah, absolutely. It’s a two-way street, though. J.Crew has a very strong visual and brand identity. It took me awhile to learn those. I’d seen the brand and I knew a little bit about it beforehand, but now I understand so much more. I understand of course the clothes, and I can spot those from a mile away, but now I understand the style.

I can pick out the things that are going to be on brand for them in terms of people and personalities and music and arts and culture and all those things that are going to influence the J.Crew voice. I’ve become pretty well attuned to that, some through working with Jenna Lyons at fashion week, but mostly through my team, the blog director and creative director, and just all the other media that they put out.

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But in the same way, I got to help define what their voice is for social media. I’ve been able to help define a look. I do most of the stuff for the blog and for the Instagram, but I don’t do all of it. Sometimes I’m out of town or sometimes they have multiple shoots going on at the same time, or sometimes they have something come up in a faraway place and they can’t get me there in time.

In those instances, they hire photographers with similar aesthetics, and the photos move pretty seamlessly. Another photographer recently covered the Hong Kong store opening, and those pictures didn’t look too much different than how my pictures look. I think that’s a purposeful thing. I think they know what they’re doing. They want to have a consistent voice and a consistent vision.

I’m lucky that I came in at a time when they were figuring out what that was going to be, and I got to help decide what it was going to be with my own vision.

 

Bryan's work can be seen at bryanderballa.com. Bryan and I will be sitting on a panel, How to Land Assignments for Social Media Advertising during PhotoPlus Expo on October 31st.

On The Road

Today marks day 23 of a project that I'm working on with the fine folks over at mcgarrybowen. Of course the details are a bit under wraps, but what I can say is that we're working on a set of images that will take me and an super talented and dedicated production/creative crew to 17 cities over the course of 6 weeks to make images for a mobile app. I can't wait for the project to launch in the fall so I can share more. This blog will be back to it's regularly scheduled programming after I've wrapped, but in the meantime you can catch up with the latest from the road on Instagram, or Tumblr.

Design Inspiration from Exposure.co

I’m always on the lookout for examples of brands who are doing a great job of publishing images in social media and on digital platforms, and I certainly feel like I’ve found a variety of examples (some of which I’ve already written about in this blog). One item that I’m at usually at a loss for, though, are examples of brands who are setting high standards for great design and presentation of images.

Of course on social media, there are pretty tight boundaries to how images are presented (though JWT Canada did have an interesting approach for this Mazda campaign). But what I’m talking about in this case is great design on a brands own websites.

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Yes, I’m a photographer, so perhaps I’m more of a sucker than most for beautiful, well displayed photography. However, when my friend, Jake Lodwick, launched exposure.co, (created by  Luke Beard and Kyle Bragger) it really made me think that this is a sort of design approach that brands—particularly those in fashion or other style related areas—should really be looking at.

I started thinking about this more when my friend Tanveer Badal sent along the series that he posted from Everest Base Camp. I quickly took a spin through the Staff Picks, and it wasn’t hard to find some other excellent examples of how great, minimalist design can interact with pictures in a way that we seldom see brands take advantage of.

I’m not an expert in the process that most brands follow to build websites, but from my understanding, the typical approach is to start with a wireframe of the site long before any content has been introduced. I suspect that this might be part of the problem. Imagine an art director trying to sell a client on a screen design consisting of a bunch of simple large boxes representing full bleed horizontal images. Part of the solution might be a re-think on the start-to-finish process of making a website.

I think there’s an opportunity here. Pairing great photography with minimal, yet well thought out design shouldn't seem like a novel idea.... Yet it's surprisingly rare (in my opinion) to see a brand doing this. Brands looking to stand out with their work, or agencies looking to offer something unique could definitely take some inspiration from exposure.co

Instagram Playing it Safe with Paid Content

This questionnaire recently popped up in my Instagram feed, and it’s a reminder that the social network is being very careful as it works out a strategy for allowing paid content.

From a personal perspective, I saw a flurry of ads on the platform in November of last year. I didn’t block any of the advertising, but it’s been several months since I’ve seen a sponsored post. An informal survey of friends on Instagram confirms that users haven’t really been seeing sponsored posts lately. A deal was announced between Instagram and Omnicom worth $40 to$100 million at the beginning of March, which has me scratching my head in terms of when the deluge of advertising is going to start.

We can only speculate on when the sponsored post will become a regular occurrence on Instagram, or what doors might open down the line for advertisers. However, the current structure means that success is less about paid placement, and more about great content. The best solutions for getting a brands message out right now is by collaborating with Instagram users who already have a strong following (like Mercedes Benz did in their campaign last year) or to create genuinely compelling work that users will organically want to follow.

Either way, the current winners on Instagram aren’t necessarily the ones with the money, they’re the ones with the vision. That’s an opportunity for smart marketers, ad agencies, and image makers.

 

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Herman Miller creates an editorial platform with Dwell alumni

Herman Miller’s Why is a fantastic example of a brand bypassing magazines and creating great editorial content on their own. The project launched in July of last year, stating that their aim was to answer the question "Why has Herman Miller thrived for 108 years?" They are creating content and hosting it on their site, very much up the alley of what I described last year when I wrote about what Mr. Porter is doing. The formula is pretty simple: Make content that the people you want to engage with will want to consume.

The project is overseen by Sam Grawe, who is the former editor in chief of Dwell Magazine, and edited by Amber Bravo, a former editor at the magazine. For some recent shots, they hired Dwell freelancer Jake Stangel. In other words, the people making content for Herman Miller were all doing the same thing for Dwell magazine just a few years ago.

A couple of recent articles about Mexico city are great indicators of how the Dwell team approaches content marketing. One reads as a travel piece, with just a few references to Herman Miller’s new Latin America headquarters. The other talks more explicitly about a Mexico city based organization that was the recipient of an award from Herman Miller. The stories were written by Bravo and photographed by Stangel.

I suspect that smart brands will continue to borrow from the editorial world, both in terms of their approach to making work, and talent itself. Brands who do this right will be able to grow a loyal, engaged audience that they can speak with on their own terms.

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Why-screenshot-2

Everlane's Stand Out use of Photography in Social Media

I've been keeping an eye on the online fashion retailer Everlane for some time. This company is doing it right in a lot of ways, particularly in terms of still photography and social media. Their campaign can be an inspiration for any brand looking to develop a more refined voice in their imagery. Here's what I like about what they're doing:

Optimizing their shoots and knowing their platforms:

Everlane has done a great job of getting the most out of their photoshoots. As an online fashion retailer, their bread and butter is in catalogue style photography. These pictures have to be clean and straightforward to show a potential buyer what the product looks like. Everlane makes the most of these shoots by creating additional content that can be used elsewhere. The way they edit and use the pictures reflects a deep understanding of these platforms. A clean lookbook shoot turns into a Facebook cover page when the photographer captures an image with more personality and more of an editorial approach. That same shoot turns into Instagram material when the model is shot away from the seamless backdrop with less refined light and more of a snapshot feel.

Campaigns Encouraging User Generated Content:

On Instagram, Everlane ran a campaign based on the #WhereITravel hashtag last year that was remarkably successful and culminated in a gallery show at Milk Studios here in NYC. More recently, they started a campaign based on the #myeverlane hashtag. They kicked that it off by asking contributors to take pictures of their travel gear including Everlane product. Both of these campaigns were successful because they played off ways that users are already using Instagram.

Everlane-customer-engagement
Everlane-customer-engagement

Balancing User Generated Content with Original Content:

Everlane has lots of great user generated content to choose from. This stems in part from campaigns like those described above, and also because of the elegant design of their packaging which is effective in getting customers to post their own unboxing photos. They understand the value of this sort of content, and curate user generated pictures on both Facebook (in this album) and Instagram accounts.

Everlane-From-The-People
Everlane-From-The-People

However, they're smart to not depend too heavily on user generated content for their owned platforms. They still lead with well produced original photography.

Where Everlane could improve:

A large part of Everlane's marketing message is about working with factories operating at the highest standards across the world. They've commissioned documentary style photography of these factories, but unfortunately, these images fall short compared to the rest of their media. For example, take a look at images from their China factory in this Facebook gallery. While I can imagine that Everlane was weary of not wanting to sugarcoat the factory conditions, they ended up too far in the opposite direction. The bleak color treatment and lack of engagement with the workers works against Everlane's message in this case.

Despite a few quibbles with specific elements of their media, for me Everlane still represents a company that is breaking ground with well executed photography that is  true to the various digital platforms it lives on. Companies and agencies looking to refine what they do in this area should take note.

Tinker Street Mobile

NYC based agent Jesse Miller has been representing Instagram photographers for some time, with Tinker Street Mobile. Collaborating with Instagramers with a large fan base has been one of the most effective ways for a brand to work on the platform, and Miller was quick to recognize the opportunity here. I'll be interested to see how things change now that there are more ways for brands to work with Instagram.

Either way, for agencies looking to engage some great Instagram photographers, their roster is a great place to start. And for creatives looking for inspiration, their commissions page shows off some beautifully executed work that really rings true for the platform.

tinkerstreet
tinkerstreet

An ACDs Thoughts on Photography for Social

“The thing that I’m finding is that it’s always better to engage any sort of visual thinker very early on in the creative process, when all the strategists are sitting around and you’re figuring out what the brand needs to exist like in the physical realm.”

There's a really fantastic interview on Photo District News with Maury Postal, ACD at Social@Ogilvy. Postal has some great insight into what's happening right now in terms of content for social media. Check it out here.

Red Bull's Content Marketing Strategy

Digital has been a game changer in terms of media production for most big brands. As the number of platforms and opportunities to publish increase online, I see a lot of scrambling to keep up. While some brands are still struggling to find a cohesive strategy for publishing on their own websites and in the major social media channels, Red Bull has taken it to another level, with Red Bull Content Pool.

The site essentially serves as a free stock agency. There are more than 50,000 photos on the site, all of which can be downloaded and re-purposed for uses ranging from a blog post to print publications. Not surprisingly, the vast majority of the images have a well placed Red Bull logo somewhere within the frame.

The Red Bull Content pool is a compelling and unique marketing strategy. A brand looking to make a serious investment in brand awareness could consider doing something similar. While the Content Pool also provides videos, the still images seem more compelling to me as a type of media that can easily be leveraged by third party publishers

There certainly is no lack of media outlets--from hobbyist bloggers to large media companies--that would jump at the chance to have access to high quality images that relate to their subject area and can illustrate their stories. I'll be interested to see if any other brands follow suit with their own branded stock sites in the coming few years.

The Value of Original Content

I recently had a great chat with the folks at Percolate. They offer a unique product. In a nutshell, it's an all-in-one platform that streamlines content production for social media. We both work with clients with similar goals, so I was genuinely interested to learn more about what they do and how their system might be used to improve what we're currently doing. I got the full rundown on how their system works, but naturally what interested me most is how their platform works with still photography. I discovered that customers with Percolate have streamlined access to a broad library of images via 1) Getty and other extensive royalty free libraries, 2) an iPhone app that allows anyone in the organization to take photos on their phone and acquire a signed model release and 3) a pretty slick system to request and acquire releases for found amateur images on social media platforms.

From there, the platform has a built in system to retouch, crop, add Instagram style filters, logos and copy.

Percolate

While my initial interest in Percolate was trying to see how we might integrate their system into an ad agency, I walked away from the conversation realizing that Percolate is a platform that is really well poised to replace ad agencies.

A forward looking agency looking to win more social business is well served to keep a close eye out on solutions like this. Agencies have to ask themselves: what is our unique selling proposition? From a photography perspective, if you're relying on using stock or found imagery, can you really demonstrate the value you're bringing to the table? For agencies who aren't focusing on creating original content, a solution like Percolate could start to look like a very viable alternative.

Shooting Live Events

I recently shot CMJ for Verizon social. In addition to allowing me to relive my college days shooting shows for the school newspaper, it was an opportunity to let our photographic style breathe a bit. After a couple days shooting at CMJ I've been thinking more about how this sort of photography can fit into the bigger picture of a social media strategy. Here are some things to consider if you're thinking of integrating live event coverage into your social content.

Give insider access.

One way a brand can set itself apart from fan generated content is by sharing images shot from a unique vantage point. In this case, having backstage access allowed us to offer something original and worthy of a comment, like or share.

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Streamline your approvals process.

We're accustomed to seeing fan images post live on social media. For a brand, the structure for getting images up might require a number of agency or client approvals. Make a game plan before the event on how images will be delivered and approved by stakeholders. This will go a long way toward getting the content posted while it's still fresh, and the engagement with the fanbase feels more authentic.

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Arrange for model releases ahead of time.

Having model releases buttoned up is something that can make or break a shoot like this. In this scenario, the musicians had made model release arrangements in advance as part of Verizon's sponsorship of the event.

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See it through the lens of the brand.

Shooting in a documentary style means that there's less opportunity to explicitly insert a brand message into the work. However, the DNA of the brand can still inform the approach. While there were plenty of opportunities for gratuitous shots of the collateral advertising materials around the venue, we settled on a more nuanced approach.

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Tell a story.

 Event and documentary coverage is a great opportunity to engage your fanbase with more than just a single image. If a gallery or series of images is your goal, think how the images will work in terms of pacing and as a narrative. In this scenario, we wanted to be able to add some visual diversity and shoot more than just bands on stage, so we enlisted a couple people from the creative team to make some images with a lifestyle perspective.

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Creating Content for Promoted Pins

Pinterest just announced that they will be bringing paid content into the fold with "promoted pins". This shouldn't come as much of a surprise to anyone. Generating revenue of some sort has to be in the books for any social media service to stick around for a long time. And ever since dropping their skimlinks partnership in 2012, Pinterest has not been generating revenue. From my perspective, what's interesting about his is how the production of pictures for social media will evolve for Pinterest. I've worked with clients to produce content for Tumblr, Facebook and Instagram. One of the biggest conversations has been about how we can create content that feels right for the platform. What's different about Pinterest is that much of the content is NOT user generated. Rather, it's pinned from other websites, which means it's common to see content that was professionally produced. To put this another way: your average Tumblr, Facebook or Instagram user isn't going to post 20 professionally produced studio shots in a row. But it's not uncommon at all for a Pinterest board to look like this:

 Producing good commercial content that works on Pinterest is going to be less of a paradigm shift for most advertisers. Having said that, every social media platform comes with it's built in personality and quirks, and I'll definitely be keeping my eye out for the agencies and brands who can create images that really takes advantage of the platform.

Instagram for Business

Instagram is curating an excellent Tumblr (the irony I know!) highlighting businesses who are doing a standout job using the platform. While there is currently no paid advertising on Instagram, brands are already on it creating their own content. The future of paid advertising on Instagram is unclear. Founder Kevin Systrom just spoke at London Fashion week, and when asked about advertising plans he had very little to reveal.

It's smart for social media platforms to be concerned not only in having paying advertisers, but also for those advertisers to be creating great content. It's a way to ensure that brands will see a good return on investment, and that the audience will continue to be engaged with the platform. Whatever may lie ahead, Instagram has created a sort of primer for businesses on how to do the platform properly.

As it is, the site is a great resource for agencies and brands looking for inspiration, examples of great content, and unique ways that brands are using the platform. This is definitely a feed that anyone interested in the future of social media and pictures should keep an eye on.

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G-Star Raw Tumblr

The G-STar Raw Tumblr is a great example of a brand using the platform well. Here are a few reasons why:

  • Current and topical posts: Right now they're posting streetstyle images from New York Fashion Week on the same day they're shot.
  • True to the platform: In particular I think their occasional use of an animated GIF works well for them without being overwhelming or gimmicky. Most of the images have more of the documentary vibe that fits in well on Tumblr and less of a glossed over perfect vibe that most people write off as advertising. They are dropping in the occasional image from a print campaign, but in this case it blends in well and doesn't feel out of place.
  • Invitation to collaborate: The tumblr page suggests that others tag their looks with the #GStarRAW hashtag, and they'll re-blog their faves. That's a great way to organically drive attention towards the brand, and I can imagine that a true fan of the brand would be thrilled to have their look featured among the well curated page.

G-Star Raw produces their content internally. They're definitely going to be one to watch for inspiration in terms of fashion brands doing a great job on social media.

G-star-raw-great-tumblr

Sentiment Towards Tumblr's Sponsored Posts

Interested in what actual user sentiment is towards sponsored posts on Tumblr? Take a look at posts tagged with "sponsored posts" on Tumblr.

While there are a lot of negative comments out there, you do have to take it with a grain of salt. Any platform that's being adjusted to let advertising in on the conversation is bound to feel some growing pains.

I believe that Tumblr is in a critical place right now where they're really going to have to cultivate and work with the brands sponsoring posts so that the posts stay true to the platform and relevant to the audience.