Media Release

Installation : Final Major Project

MA in Photography, Falmouth University, Module 5

fb_invite_dustFigure 1

Working with a local PR firm, Edwin Ellis, for two months, I covered a shoot to raise the forthcoming exhibition and begin to build the personal story.  We had agreed on the final wording of the subsequent release and a sample of images from my website protfolio to diifer from the exhbition in part.

The release, I felt, read well and was a rounded view of the project and my background, fig 2.

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I was able to retweet the use of the release thus, figs 2, 3;

Figures 3, 4

Brumpic used the released onto Twitter ahead of What’s On and that may explain the greater degree of retweeting and likes on those platforms.

I used the Brumpic coverage as a link alongside the invitation in circa 60 emails sent out on 24th May (the day before the new GDPR rules applied), thus;

Hi

Here is your invitation to my final MA show, plus a web link…

https://www.brumpic.com/homeblog/2018/5/23/birmingham-photographer-captures-changing-city-through-intimate-imagery

then fig 1 was inserted.

I have monitored the Twitter results thus;

Figures 5, 6

LinkedIn, numerically, provided the widest penetration, with 1,150 views of the invitation and 202 of the subsequent media coverage.  A sample of the analytics shows the type of people viewing the post, with 77 in very senior roles, fig 7.

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Figure 7

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Figure 8

Instagram yielded 27 ‘likes’, fig 8.  Perhaps more usefully, the week created 36 profile visit, 1 click to my website from there and 1 email message, fig 9.

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Figure 9

I made a rare return to Facebook and my company page to promote the exhibition and, figs 10, 11 – I obtained a reach of 143 people with the invitation and 48 via the media coverage link.

Figures 10, 11

Finally, I have had 50 digital printed square cards to give out to people I meet face to face preceding the exhibition, fig 12.

IMG_3465Figure 12

 

In Summary

I see the media work as the key to the promotion and communication of the exhibition via all channels I am active upon.  I was compelled by the gallery’s more muted response, so ploughed on solo.  The results are acceptable, but not exceptional and this area remains a focus for future development.

Notes

Al data was reviewed on 27.5.2018

 

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Social Media – Progress Report

MA in Photography, Falmouth University, Module 4, Sustainable Prospects.

During this module I have been developing my activity on social media and I present a number of highlights here;

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figure 1

I have increased my Instagram following to 356 by judicious selection of imagery and hashtags.  This remains, evidentially, my principal point of exposure.

Figure 2, 3

I use two Twitter accounts, one focused on wider professional groups and the other specifically on my photographic practice and interest.  I have increased followers to a combined total of 1,687.  I aim to increase the followers on my photographic account.

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Figure 4

I have a Facebook account for Facilitate Urban Photography as a practice page.  Not only can I track and compare ‘likes’ for each post I am able to note the ‘reach’ i.e. the exposure of each activity.  In the case of figure 4 it is 139.

Figures 5, 6

I have been active also in LinkedIn, not least because this is a different and wider network of people (I have 2,450 plus connections) but also my new agent is active on here as well as all of the above services.  The useful pages on this platform allow you to analyse a breakdown of the exposure of a ‘post’, in this instance, figures 5, 6 there are 76 with a CEO/Executive Director job title that have viewed the entry.  This may prove more fertile as I develop my marketing strategy further in 2018.

ends

Hanging and Responses

MA in Photography, Falmouth University, Module 3, Surfaces and Strategies

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Figure 1

Surface : Exhibition Time

As my part in Landings2017, the peer group international work in progress exhibition first day dawned on 11th August I arrived with my hanging kit (drill, plugs, screws, brass hooks and dust-sheets) at Opus Restaurant in Birmingham.

The planned 4 areas of wall had been cleared in readiness for my 4 framed prints; 2 at A2 and 2 at A3.  Al matching the original measured and photographic survey I had undertaken.

I created a guidance sheet for the restaurant staff to give to interested parties and customers.  This provided a context, title (The Pause Project) and details of the printing and the decision I made following discussions with one of my tutors David Ellison about getting the pitch right.  I also provided a labelling guidance sheet as the restaurant wanted to use their house style to label each (although on a revisit I had to reposition these correctly!).  Each print is limited to 3 with one artist’s proof.  The only other available format would be postcard size published as my self assembly photobook (see separate post).  I took advice on costs and value for sale and pitched sale prices accordingly.

I asked a restaurant team member to use my camera to capture the proprietor and I in front of the two principal prints.

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Figure 2

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Figure 1 shows the simplest print hung on the visually most striking backdrop of Spanish wallpaper.  Figure 2 is against a grey wall above the waiting counter and Figure 3 on a mustard coloured wall which worked well with the two principal prints.

Before leaving I posted on Instagram, Facebook, Twitter and LinkedIn. The responses were positive; I was pleased with the coverage. LinkedIn showed 2,170 views (as of 14th August 2017).  Facebook had a reach of 804 with 23 likes, 2 comments and 4 shares.  Samples are shown, figure 4

The restaurant tweeted the picture from its own account on 14th August.

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Figure 4

Learning: planning, negotiation and communication paid off.  Paying attention to lighting (noting this is not a gallery venue and hence lighting is at times problematic with reflections being evident) and colour were strong defining factors when deciding what work to display and where.

Figure 5 shows the text of the guidance note printed for the front desk of the restaurant.

Screen Shot 2017-08-15 at 19.51.07Figure 5