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Luminate’s Imagesphere Summit 2012

On Tuesday we gathered 60 friends from the publishing community — execs from Conde Nast, Viacom, Thompson Reuters, Wenner, NBC, American Media, Time Warner, Getty, Dow Jones, Gannett, the IAB and others — for an afternoon deep-dive into the rising role of image content as publishing moves to digital and mobile platforms. Our first “Imagesphere Summit.” (Official release here.)

Our CFO suspected it was just an excuse to order Luminate-logo’d pillows. But most people, I think, actually came to learn from industry peers how to hone their image strategies. Given that more than a third of the web’s pixels are image content, 70% of social media activity revolves around a photo, and many of these publishers are seeing upwards of 60% of their pageviews coming from photo galleries, there’s an eagerness across the industry to figure out the image opportunity.

Steve Rubel, EVP at Edelman, kicked off the programming. He identified a schism dividing the landscape of digital publishers. On one side the “Continental Content Divide” publishers focus on ‘spreadable media,’ using infographics, lists and slideshows — short, frequent and easy-to-share content nuggets — to fuel success among social-media consumers. On the other side of the divide are practitioners of ‘drillable media,’ where depth, context and rich visual experience are designed to pull readers deeper into the story. At the center of both approaches (represented by the Play Button in his Media Cloverleaf) is content that directly addresses the visual culture. (More at Steve’s site.)

Paul Asel, managing partner at Nokia Growth Partners (and a Luminate board member) shared a global perspective: How mobile and touch screens are accelerating growth of the Imagesphere. Half the photos ever taken by humankind, he told us, were taken in the past 2 years. He also shared a prediction about the future of digital photos: Today if you hand a non-touch screen device to a child, she’ll ask, Is it broken? Soon all of us will ask the same question if we find ourselves starting at a static image.

Bob Lisbonne, Luminate’s CEO, presented a deck entitled “Welcome to the Imagesphere.” He posited a theory of photo evolution, where the Kodak Era has given way to the Imagesphere — a new phase in which technology has streamlined our ability to take, share and interact with photos. Members of Facebook alone upload more than 300 million pictures a day, and our sprawling social graphs mean that we each (on average) have access to nearly 100,000 photos shared by friends. Imagesphere technologies have enabled digital and mobile publishers to use photos in 3 new ways — as repositories of hidden information that can be revealed with the swipe of a mouse; as drivers or richer experiences; and as a new paradigm for navigation. An effective image strategy creates publisher value via more inventory, higher user engagement, and new monetization.

Bob also proposed that we borrow a concept from fighter jets, “heads-up display,” to imagine a richer experience for digital photos. Heads-up displays allow fighter pilots to watch their gauges without looking down at the instrument panel — relevant data appears as an overlay to visual content outside the windscreen. When an image has “stopping power” and sparks reader demand for more information, don’t force them to look down, look elsewhere on the page, or (god forbid) click off your site to get answers elsewhere. Interactive images can mimic the “heads-up display,” providing your readers answers right inside the image experience.

Rafat Ali, founder and former editor-in-chief of PaidContent (now doing the same at Skift), interviewed Steve Carpi, the global director of production Fantasy Interactive. They discussed FI’s partnership with Gannett around the recent re-design of USAToday.com. Touch screens are training media consumers to navigate by way of photos instead of headlines, Steve said, and websites that steal from tablet design will be better positioned for the next wave of mobile and desktop user experience. It’s an approach he called ‘tactile design.’ Rafat provoked an interesting discussion around two questions: One, now that every story is an image, are image galleries dead? Two, with images moving into such a central role in publishing, will important stories will be lost if they don’t have a compelling picture to pull in readers? (An audience member from Getty volunteered to help!)

Advice from Liz Coughlin, former head of the entertainment sites at Yahoo (now at Young Hollywood): You can either attempt to push your readers to content types that you know how to monetize (eg, articles with large IAB units) or you can figure out how to monetize the content they love, which tends to be your photos.

Brandon Whightsel, design director for WSJ Digital, started with a shot of the newspaper in 1889, the year it began publishing. Beyond turning a five-column format into six columns and the introduction of those iconic woodcut images, though, the paper’s look and feel evolved only gradually until 2003 when it introduced color photos. WSJ Digital, however, has evolved at a radically faster pace. A large photo element across the top of the website — the “Assassination Module,” he called it — was once reserved only for very, very big stories. The importance of images on the tablet experience, however, has changed the design rules. Large photos now anchor many digital and tablet stories, assassination no longer required. Whightsel tipped his hat to Rupert Murdoch as an outspoken advocate for the migration to a more visual approach to publishing.

Offir Gutelzon, business development VP at Getty, talked about the potential unleashed by image metadata. Once a publisher knows what’s inside each image, it can automatically deliver photos relevant to every story and can attach ads targeted by image context.

Luminate CTO James Everingham wrapped up the afternoon with a sneak peek at some products Luminate will launch later this fall — support for new content types, upgraded social features, new controls for publishers and users, and some snazzy functionality for tablet users.

Throughout the day there were more questions than the speakers had time to answer. I guess we’ll just have to do another one of these soon.

Charging for News: Likely to Fail

Chart: Charging for News will Fail

Silicon Alley Insider’s Chart of the Day, based on recent Harris Interactive data.

Digg Dialogg with Timothy Geithner

“Treasury Secretary Timothy Geithner explains to Deputy Managing Editor Alan Murray the need to keep the Federal Reserve free from political influence, plus answers other questions submitted and voted on by Digg users in partnership with The Wall Street Journal.”

At WSJ.

Tim Geithner Takes Questions from Digg Audience and WSJ's Alan Murray

Tim Geithner

From WSJ’s Real Time Economics blog:

“Geithner has been at the center of the government’s response to the crisis since it first erupted. First, as president of the Federal Reserve Bank of New York, he acted as Fed Chairman Ben Bernanke’s right-hand man and representative to Wall Street during an unprecedented intervention by the central bank. Last year, President Barack Obama appointed him to lead the Treasury Department, and he has been the administration’s point man on the economy.

“The Journal is partnering with Digg as part of the Web site’s Digg Dialogg series. Members of the Digg community will be able to submit and vote up questions that will be presented to the Treasury secretary.”

Ask a question here.

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WSJ Profile of Dooce's Heather Armstrong

From Thursday’s Personal Journal.

Heather Armstrong Judge Dredd divx

“The 32-year-old at-home mother’s irreverent, occasionally profane and often hilarious musings on prosaic topics from potty-training to postpartum depression have propelled her blog, Dooce.com, to No. 59 among the Web’s top 100 blogs, according to Technorati, a blog search engine. The Salt Lake City resident enjoys enviable influence and enough ad revenue that her husband Jon quit his job in 2005 to manage advertising for Dooce (rhymes with moose).”

Why Information Works Better Than Simple Promotions

From a Lee Gomes piece in the Wall Street Journal (I saw it at Boing Boing):

“What is it about a Web site that might make it literally irresistible? Clues are offered by research conducted by Irving Biederman, a neuroscientist at the University of Southern California, who is interested in the evolutionary and biological basis of the human need for information…..

“When he hooked up volunteers to a brain-scanning machine, the preferred pictures [ones that "presented new information that somehow needed to be interpreted"] were shown to generate much more brain activity than the unpreferred shots. While researchers don’t yet know what exactly these brain scans signify, a likely possibility involves increased production of the brain’s pleasure-enhancing neurotransmitters called opioids.”

I’m no scientist, but this suggests to me that ads built around content (like JCPenney’s or Symantec’s) will do a better job engaging consumers than ads that simply offer up a discounted rate.

Playboy's Digital Ad Sales Up 50%

Adult content and the Wall Street Journal have been the two of the few places in online publishing that turn a profit from subscription sales. To see WSJ talk about going free and Playboy investing in content outside the paid garden suggests significant optimism about the growth of online display advertising. While paid subscriptions and ecommerce are still the #1 and #2 online revenue streams for Playboy, PaidContent reports digital ad sales are up 50% this year.

Playboy Logo

Size Still Matters: WSJ and Starcom Provide New Evidence

Waiting for the crew at Farley’s to brew up a cup of tea this afternoon, I flipped through the print edition of AdWeek for the first time in about a decade, and two stories caught my attention, both reminders that size still matters in publishing.

AdWeek Logo

First, Starcom USA Unveils New Print Accountability Tool: The agency “has been doing bigger deal in print but with fewer magazines” in order to get a better read on the performance of campaigns, creative messages and publications. If other agencies are doing the same, it means the financial pain across the print-publishing landscape will be felt more acutely at niche magazines.

Second, Will a Free WSJ.com Pay Off for Murdoch?:

“‘Because of the their model,’ said Jeff Lanctot, svp, global media at Avenue A/Razorfish, ‘they are a smaller property.’ That by nature, can sell only so many ads. Consider that Yahoo Finance generated 470 million page views in October, versus 11 million for WSJ.com, per comScore. ‘They could instantly become a more attractive property’ if the site goes free, Lanctot added.”

Niche publications are great for advertisers in terms of targeting and audience composition, but without scale to go along with quality small publishers may not get a seat at the table.