Wobbly Wednesday, Frazzled Friday and one Footballer's Twitter Nightmare...

From Moody Monday to Frazzled Friday (via Wobbly Wednesday), this week's Social Media wrap up staggers to the end of a volatile week like a Bankia customer rushing to a hole in the wall in downtown Bilbao, withdrawing their savings and wacking them all into the Facebook IPO faster than you can rearrange the words 'tech', 'another' and 'bubble'. Eurozone crisis? Don't worry, be happy. More to the point, be happy, put your money behind Zuckerburg and co and wait for the good times to roll once more...

Meanwhile, here are the social media stories that caught my attention this week:

This graphic shows how ludicrously complicated social media marketing is now. Make sure you're sitting down when you look at this. 

The rise and rise of infographics? Here are a couple of eye-opening examples from the world of marketing: The 10 Best Marketing Infographics of 2012 (So Far) and 7 Enlightening Infographics About Email Deliverability.

Not quite an infographic, but even closer to home, this puts the current economic crisis into perspective: The Difference Between the U.S. and the Eurozone in one Graph

Plunging markets leads us nicely onto Luis Suarez, whose Twitter experiment failed to stay on its feet this week. File under 'how not to do it'.

And finally, an absolute must read: The State and Future of Social Businesses by Jeremiah Owyang. The sections on personalised web sites and social software are a comprehensive summary of where the web is now, and the direction it's headed.

That's it for today. Have a great weekend and look out for more updates next Friday. #COYI !

The Road from Production to Strategy is Paved with Good Intentions...

What an evening. As well as inspiring presentations from the content team responsible for the great work at www.gov.uk, last night's London Content Strategy Meetup treated us to a Q+A session with Kristina Halvorson, CEO of Brain Traffic and author of Content Strategy for the Web, the book that inspired many of us to get involved in this CS lark in the first place.

One of the conversations focused on the professional journey from content producer to content strategist. That’s a topic very close to my heart and relevant, I’m guessing, to many in last night’s audience who are also moving from one role to the other.

From my own experience, the route from production to strategy is far from simple, but here are five ideas that can help accelerate the transition. Some of these were inspired by folks who presented and took part in the free mike sessions last night and there are hat-tips wherever possible to those who contributed and inspired me at earlier events.

1. Learn how to talk about value: From my own experience clients, as well as agencies and in-house teams, get the value of content. But they struggle with the effort involved producing enough material to satisfy today’s monthly, daily or even hourly publication cycles.

For instance, if a business has to produce five times as many words or video minutes to keep up with today’s unforgiving publishing cycles, does it have to pay five times as much in terms of budgets and resources?

The answer, of course, is no—as long as you can intelligently audit and repurpose existing materials aligned to a editorial calendar that includes key company, personnel and industry milestones.

In short, audit + calendar = is a good step towards articulating value as part of a content strategy.

2. Speak the language of business. As Kristina Halvorson put it yesterday evening, much of business comes down to the bottom line. And yes, you need to contribute.

Taking the example outlined above, compare the cost of independently commissioning, producing and publishing a white paper, blog, news article, press release, Facebook post (you get the drift). Now work out how much you would save by producing and distributing the same items derived from one existing document (any long-form article is a good place to start).

I can’t stress highly enough that it doesn’t matter how obvious this seems. Even if the response is ‘Why the hell aren’t we doing that already’, you’ve successfully justified your first step towards strategy rather than production.

3. Describe your job. Do you know what a content strategist should do in your organisation? Course you do. But can you put it down onto one side of A4, or even a couple of PowerPoint slides?

If you’re searching for ideas, there are plenty of excellent books out there that describe content strategy. But it’s equally useful to trawl the web for job descriptions. Just dip into LinkedIn and do a search for content strategists. Find the bits that you can already do, add in the stuff that really inspires you and make sure you back it up with statements that describe the value of the role (see above).

4. Make some new friends: Nailed the job description and won the buy-in of the boss? It’s time to make some new friends. Go out and talk to the people in your business connected with the wider digital content delivery process.

I spent the equivalent of a few hours speaking with the people who lead our UX, developer and digital design teams. Another good point from Kristina Halvorson: Get inside the heads of these folks, understand what makes them tick, and get a grip of the issues that keep them awake at night.

Be a good listener first of all. Then go away and think of practical ways that can help solve their issues. Next set up a time to present back your advice. Remember, you’re not just trying to make their lives easier; you’re there to make them look good to the business – an important part of content strategy that is often overlooked.

5. Be a better sales person. For creatives and even consultants, the notion of selling sometimes sticks in the throat. But if you can lean down a moment from your tall mount let me pass you up an aromatic espresso. You are going to have to sell this stuff. To your boss, to your clients, and—most of all—to yourself.

On a serious note, I know that many content creative-production types aren’t natural presenters. So get practising and remember there is absolutely nothing wrong with ‘fake it to make it’. Start off by presenting to friends, move on to close colleagues at work and, when you’re ready, get in front of your boss. (Thanks to Barry Furby for this one).  

Better still, sign up for one of the Lightning Talks at the next London Content Strategy Meetup on May 29. Speaking from experience it’s a great way to earn your spurs in front of a friendly audience – and get plenty of feedback for when you next present to colleagues and clients. Deadline for submissions is Friday 27 April. See you there.

Hipstamatic 2011, Part Three: Streets and skies

Here's the final set from last year. Mixing up  oranges and lemons with stony horizons, beaches, streetart and abandoned kitchen hardware. Any favourites? Let me know.

 

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Hipstamatic 2011, Part Two: Abstract and Amsterdam

More Hipstamania from the past year. Final part tomorrow.

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A Hipstamatic 2011 Part One: Faces and Stones

2011 was a great year for mobile phone photographers. Instagram's shoot, filter, share application made it easy to create eye-catching images, exchange them with followers and gather feedback from a fast-growing community. Camera+ turned iphones into photoshop studios and brought dozens of creative tools to millions of end-users.

But Hipstamatic was my favourite. To me it gets the right balance between being a slick application while retaining the look and feel of a 'lomo' camera. The retro-feel of the images isn't too contrived and once you learn to combine different lenses and film stocks, the results can be pretty striking.

Here's the first part of my 2011 review. More on New Year's Eve and New Year's Day.

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Take better Instagrams for printing in your Blurb album

Picture this
About a week ago, I was invited by the good people at Blurb to take part in in the beta of their Instagram photobook tool. Put simply, it's a publishing client that imports your photos via the Instagram API. You can let the software organise the most recent and popular images from front to back cover. Or, if you're in a story-telling mood, you can order them yourselves, add captions and generally add a bit of personal flair to the album.

The book itself, in a neat 7" x 7", format took about four days to arrive once I'd placed the order, and a very nice piece of hardware it is too. You can't fault it for value either: about $35 for a 48 page, hard back edition. Here's a preview, followed by some useful tips about how to take better Instagram pictures for print.

Get sharp
Now, given that there are some seven million Instagram users out there, this is a pretty smart piece of marketing. And it it also helps that Blurb does some clever work with the original images to enhance them bearing in mind that most of us are used looking at Instagram on a the iphone's compact screen.

Most of my pictures made a successful transition and considering that the print format is a lot less forgiving, I was impressed even thought the iPhone will never match the detail and clarity of my gorgeous Nikon D90.

That said, there are certainly a few tips you can follow when taking Instagram pictures for print, and here are a few of my favourites that will help you improve your results if your planning on using Blurb in the future.

Be a square: Instagram imitates the retro feel of ‘toy’ cameras from the 60s and 70s. The square format lends itself to portraits and single subjects (see below). But most landscapes are out. None of the Instagram filters are called 'panorama' or 'bucolic' for a very good reason.

The world is flat: For the same reason, it’s hard to show a contrast between foreground and background. For the best results, think of your photograph in two dimensions and forget depth of field. Subjects should be evenly lit from the front for clarity.

Keep subjects simple: Don’t clutter the viewfinder with too many objects, and try to find shapes that sit comfortably inside the square frame. Close up portraits, a flower, and a plate of food work well; full length photographs, bouquets and banquets are less suitable.

Look for patterns: Instagramworks well with abstract subjects. So look out for textures in walls and doorways in the city. Cloud layers at sunset and sunrise also work well. Try to include symmetries that balance the composition, or draw the eye to the centre of the image.

Know your filters: It’s good to know the difference between vibrant filters (Hefe), black and white (Inkwell) and desaturated (Brannon). N.B. Poprocket is the comic sans of smartphone filters. To be fair to Instagram, they quietly tried to ditch Poprocket in a recent update, but the outcry from people who should know better, or possess a sharper sense of irony than me, forced them to bring it back.

In the frame: Choose the frame or outline that matches the subject. Generally speaking rough edges work well with urban, textured and high contrast images. Use a clean outline for clear, sharp, vibrant pictures or to give a clear shape to busier compositions.

In the city: Instagram works particularly well in urban settings. Street art is a good subject as are cars, architecture and public spaces. As above, this format doesn't generally lend itself to less forgiving natural environments. Instagram and wildlife definitely aren't snap.

Freeze frame: If you're really confident then go for action shots, but speaking from experience you need a bit of time to compose your shot, taking into account the slow shutter response on most of these apps. Motion blur will win you the odd abstract success, but Instagram is all about painting with light, not reportage.

Be here, now: Some purists will tell you that it doesn't count unless you geo-tag and share your photo the instant that you take it. I, on the other hand, will tell you some purists are talking bobbins. Most of my best Instagrams are uploaded from my iphone album, camera+ or Hipstamatic. They can be days, weeks or months old. Just saying.

Share and listen: Instagram is used by lots of professional photographers. It's easy to track them down via the most popular image page. Follow them and invite feedback on your own stream. You'll be surprised how many are happy to offer advice.

Enjoy: The most important rule of all? Take lots of photos and practice, practice, practice. The 40 images in my Blurb album are culled from abot 150 Instagram photographs. And I reckon I delete at least five for every one that I keep.

So far, this list of tips has helped me get much better quality Instagram pictures for print. But it’s far from comprehensive. If you’ve got any other suggestions, drop a note in the comments below.

Soothing balm for the masses? Tree of Life gets the Nivea treatment

Soft sell? Terence Malick's The Tree of Life has won the Palme D'Or and the adulation of most critics. But now the hard work begins selling the movie to the multiplex audience.

Which makes it hard to understand why, at least in the Netherlands, the studio has gone down the art-house route for its poster. Worse still, it's popping up next to images from Nivea's current 100th anniversary campaign.

Treeoflife

My guess here is that the marketing visuals were prepared well in advance of the Cannes triumph. Even so, why would you miss the opportunity to stick Brad Pitt on your promotional material? Pitt's got form in high-brow cinema (Seven, The Assasination of Jesse James, Inglourious Basterds) so it's not like your misleading the audience.

A quick look around the web reveals some more attractive artwork and quite a neat web site so maybe we'll see some more appealing marketing material in the future.

Until then (all together now): "One's a soothing balm for the immature incapable of taking care for themselves. And the other's a moisturiser."

By the way, the Nivea poster reads 'Trusted for 100 years'.

 

Love in the field

Poet Laureate, Andrew Motion, was commissioned to write the poem that circles the new lightwell balustrade outside the church of St Martin in the Field in central London.

The full poem reads:

Your stepping inwards from the air to earth
Winds round itself to meet the open sky
So vanishing becomes a second birth.
 
Fare well. Return. Fare well. Return again.
Here home and elsewhere share one mystery.
Here love and conscience sing the same refrain.
Here time leaps up. And strikes eternity.

St_martins_love
iPhone 4, Camera+. I tweaked the depth of field slightly and added a thin white frame. The foreground flash is far from perfect, and I would have preferred a less obvious word from the balustrade. But for the sake of composition this worked well.

Banksy meets Twitter? Laser 3.14 spells it out

Laser 3.14 is the moniker of elusive street artist Calisto Green. Based in Amsterdam his MO is pretty simple: enigmatic statements sprayed freehand onto wooden facades used on construction sites or to board up empty property. Laser, as the name suggests, is pretty focussed. From the moment a new surface appears, you can expect a statement to appear in the next day or so.

There's a commercial mind at work here as well. Check out the blog for news about exhibitions, books and limited edition copies of some his most popular epigrams. In the meantime, here's a selection of statements captured during the past six months. Some of them are genuinely challenging, some are just a bit pretentious. But none of them are longer than 140 characters. Tweet on Laser, tweet on.

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