Array ( [F195] => A&Me [F1160] => Agnes Gällhagen [F229] => Alex & Martin Photographers [F133] => Alexander Crispin [F268] => Alicia Swedenborg [F1149] => Amanda Falkman [N10] => Anders Haglund [E14] => Anders Kristensson [N61] => Anders Modig [F198] => Andreas Kindler [F1140] => Anette Bruzan [E231] => Ann Lindberg [F117] => Anna Emilia Lundgren [F190] => Anna Huerta [F1155] => Anna Johnsson [E133 or F277] => Anna Kern [E21] => Anna Larsson [F272] => Anna Roström [F119] => Anna Skoog [E328] => Anne Nyblaeus [F274] => Annika Persson [F191] => Annika Vannerus [E306] => Anthony Hill [N11] => Antti Leinonen [N67] => Åsa Lindholm [F211] => Åsa Siller Kristensson [E149] => Athina Strataki [F1122] => Beatrice Törnros [N50] => Benny Karlsson [N12] => Berit Djuse [F284] => Björn Dahlgren [F1117] => Bodil Bergqvist [F262] => Bruno Ehrs [F288] => Caluvafoto [E132 or F201] => Camilla Sjödin Lindqvist [E1 or F326] => Camilla Wirseen [F115] => Carl Johan Rönn [F1162] => Catarina Kent [E8] => Cecilia Enholm [F289] => Cecilia Möller [F188] => Charlie Drevstam [F243] => Chris Emanuelsson [F1067] => Christina Sundien [F228] => Conny Fridh [N16] => Dag Haugum [E192] => Dan Lepp [E336] => David Hamp [E7] => Dejan Antonijevic [F1003] => Depiction AB [N2] => Dick Clevestam [N58] => Eivor Rasehorn [F233] => Ellinor Hall [F199 or E94] => Elliot Elliot [F1012] => Emil Fagander [E329] => Emma Wallte [E270] => Erik Olsson [E323] => Eva Edsjö [F1001] => Eveline Johnsson [F172 or E321] => Ewa Ahlin [E205] => Florence Montmare [N96] => Fredrik Ludvigsson [F217 or E324] => Fredrik Nyman [F1024] => Fredrik Reuterhäll [N82] => Fredrik Schlyter [E267] => Fredrik Sweger [F135] => Göran Assner [N19] => Göran Nyrén [F143 or N104] => Håkan Hjort [F1178] => Hanna Keiser [F290] => Hannes Söderlund [F247 or N105] => Hans Berggren [F103] => Hans Bjurling [F189] => Hans Carlén [N20] => Hans Geijer [E25] => Hans Granqvist [F252] => Hasse Bengtsson [N22] => Hasse Schröder [N23] => Heikki Willamo [F285] => Helén Karlsson [F1010] => Helena Christerdotter [N168] => Henrik Karlsson [F1021] => Henrik Kindgren [F282] => Henrik Sellin [F207 or N75] => Henrik Trygg [F263] => Huett Lundström [F225] => Ingemar Lindewall [E338] => Ivar Hagren [F203] => Jakob Fridholm [N26] => Jan Pedersen [F235 or N166] => Jan Töve [N78] => Jarl von Scheele [F1174] => Jennifer Nilsson [E316] => Jenny Gaulitz [F1150] => Jenny Hammar [E55] => Jens Andersson [N27] => Jens Rydell [F218] => Jeppe Wikström [F276 or E325] => Johan Alp [N163] => Johan Hammar [F214] => Johan Ödmann [F204] => Johan Tholson [E307] => Johan Töpel [E322 or F279] => Johan Willner [F264] => Johanna Nyholm [E18] => John Eyre [F1130] => John Jacobson [F212] => Johnny Franzén [F1136] => Jonas Gunnarsson [F174] => Jonas Ingerstedt [F250] => Jonas Kullman [F140] => Jonn [N62] => Jörgen Schwartzkopf [N99] => Jörn Böhmer Olsen [F234] => Josefine Bolander [F219] => Juliana Wolf Garcindo [F245 or E326] => Kari Kohvakka [E318] => Karin Alfredsson [N29] => Karin Berglund [N30] => Karin Eriksson [F1016] => Karl Forsberg [F1157] => Karolina Ehrenpil [E32] => Karolina Kristensson [N53] => Kate Kärrberg [N4] => Kenneth Bengtsson [E332] => Kenneth Hellman [N28] => Kent Andersson [N32] => Kent Storm [N51] => Kjell Ljungström [F1005] => Krister Engström [F200] => L Ancheles [N55] => Lars Persson (P:sson) [F166] => Lars Thulin [F194] => Lars Trangius [E128] => Lars Wallin [N95] => Lars-Olof Johansson [N33] => Lena Ehrenström [F206] => Lena Granefelt [N64] => Lena Israelsson [F162] => Lena Koller [E305] => Lena Modigh [F275] => Lena Öritsland [F287] => Lieselotte Van Der Meijs [F1128] => Lina Arvidsson [F196] => Lina Fänge [N171 or F244] => Lina Karna Kippel [F295] => Linda Otterstedt [F292] => Lisa Björner [F1144] => Lisa Öberg [F1026] => Lisa Wikstrand [N34] => Magnus Elander [F160] => Magnus Fond [N36] => Magnus Melin [N76] => Magnus Nyman [F197 or E339] => Magnus Ragnvid [F381 or E115 or N97] => Malcolm Hanes [F1019] => Malin Kihlström [F1018] => Malin Mörner [E118] => Malte Danielsson [F227] => Marcus Carlsson [F1004] => Maria Cruseman [F293] => Maria Rosenlöf [E48] => Mario Clementi [F1169] => Maritha Estvall [F128] => Mårten Adolfson [N94] => Mårten Dalfors [N59] => Martin Almqvist [E5] => Martin Axkull [R182] => Maskot Bildbyrå AB [F239] => Matilda Lindeblad [F1011] => Mats Lind [F118] => Mats Widén [N85] => Mauro Rongione [F180] => Max Brouwers [N63] => Michael Freuding [F1014] => Michael Jönsson [F120] => Mikael Dubois [N164 or F1088] => Mikael Svensson [N77] => Mikael Westh [F265] => Mikkel Örstedholm [F283] => Monika Manowska [E333] => Morgan Karlsson [F179] => Nicho Södling [F1045] => Nicklas Blom [F251] => Nicklas Rudfell [F1025] => Niclas Vestefjell [F176] => Niklas Bernstone [F266] => Nixon Johansen Cáceres [F123] => Olof Hedtjärn [F1129] => Oscar Wettersten [F171] => Pål Rödahl [N60] => Pär Brännström [E147] => Patrik Engquist [E140] => Peder Björkegren [E240] => Pekka Stålnacke [E74] => Pelle Berglund [F125] => Per Dahl [F224] => Per Eriksson [E224] => Per Kristiansen [F105] => Per Magnus Persson [F221] => Per Ranung [E221] => Pernilla Hed [F1146] => Pernilla Jangendahl Lilja [E330] => Pernilla Zetterman [F1161] => Pernille Tofte [F241 or E179] => Peter Carlsson [E3] => Peter Eriksson [F270] => Peter Hoelstad [F1022] => Peter Lydén [F223 or N162] => Peter Rutherhagen [F1127] => Peter Westrup [N35] => Petter Antonisen [F141] => Philip Laurell [F1137] => Philip Liljenberg [E75] => Pia Isaksson [F271] => Pia Ulin [F900] => Plattform [F800] => Plattform Film [E317] => Pontus Johansson [E315] => Ragnar Omarsson [F136] => Ralf Turander [F1020] => Rebecca Wallin [E9] => Rebecka Rasmusson [N79] => Reijo Juurinen [N39 or F240] => Roine Magnusson [E4] => Samir Soudah [F1151] => Sanne Brännström [E36] => Sara Danielsson [F1009] => Sara Winsnes [F1023] => Scandinav [F281] => Simon Bajada [F1013] => Stefan Isaksson [N8] => Stefan Örtenblad [N7] => Stefan Rosengren [F209] => Stefan Wettainen [F1166] => Stina Gränfors [F124] => Susanna Blåvarg [F167 or E320] => Susanne Kronholm [F208] => Susanne Walström [N40] => Sven Frändås [N41] => Sven Halling [N46] => Tero Niemi [E335] => Tine Poppe [E266] => Tobias Arnerlöv [F205] => Ulf Huett Nilsson [E145] => Urban Hedlund [F1118] => Viktor Holm [F192 or E319] => Vince Reichardt [F1165] => Wag The Dog [F273] => Wenblad-Nuhma )
The right image is essential for achieving your goals on Facebook
Pictures drive engagement, recognition and revenue in social media. Statistics show that posts with pictures receive 40% more attention than posts without images. So how do you know if you are using the right picture? Charlotte Da Silva of the Swedish communication agency, Salgado, gives her best advice and presents a customer case.
Charlotte Da Silva, CEO of Salgado
Hello, Charlotte! We heard about a customer case in which Salgado helped Riksbyggen (one of Sweden's largest housing companies) with their communication efforts on Facebook. Can you tell us about it?
"We have a long-term assignment for Riksbyggen where we work on their approach to social media, mainly Facebook. This first project was to solicit clients to a new area featuring newly built condominiums. In order to even get started, the customer needed to conduct a number of interest surveys. We had seven months, but it took only half the time to sell out, thanks to our campaign on Facebook."
Success! So how did you go about it?

"We set clear objectives, targets and measurement points to convert engagement into business. We segmented our target group based on gender and age into eight subcategories. It is very important to divide the audience into segments, because Facebook provides good opportunities for micro-targeting, which allows you to tailor your messages to the right segment. We had six different images with different motifs and feelings and various text that we put together in countless combinations to appeal to the different segments. Another important part was that we custom tailored messages and images originally developed for print media for use in social media."
What should we consider when customizing messages and images for social media?
"Social media is all about two-way communication, not one-way, it's good to always remember that fact. In printed media, Riksbyggen's advertising agency developed the text 'New apartment? Get yourself 41 adult points', which we converted to 'Do you have a friend that needs adult points?' and so had them tag friends in the comment field. It became a fun thing that was widely shared."

"As for images, they must be adapted so that they are strong enough to catch the attention when someone quickly scrolls through a feed."
What happened when you put out the campaign on Facebook?

"We noticed early on that one of the images generated many more conversions than the other five pictures. It is extremely important to make ongoing optimizations so as not to waste money on ads that do not provide satisfactory results. In this case, the terrace picture clearly was the most successful. Then we could shut down the other ads with the "wrong" images, and focus even more on the one that hit just right."
Why do you think the picture on the terrace (above) was so successful?

"I think it's because the image conveys much more than what it actually is. The image evokes positive emotions and makes you dream of how it would be to live in one of the apartments."
Charlotte Da Silva's best advice for a successful image mindset on Facebook
• Test different images
It is not always the images you think will work best, but a subject that tends to be successful are images with people. Try different images so that you find what works for your target market and the goal you have set. The right image can increase conversion rates enormously.

In an assignment that Salgado did for Läkarmissionen (hospital aid agency), the worst picture got 641 actions (i.e. shares, comments or clicks showing that users enlarged the image for viewing) while the best picture enjoyed three times better results with 2,036 actions.

Use mobile friendly images
Keep in mind that 70% of users visit Facebook from a mobile device so clear, colorful images work best. At the same time, the image must be striking enough to catch the user's eye as they scroll through their feed.
• Package the images correctly
In social media images often work best if they feel authentic and not so commercial. Package the product in an unexpected way for best success. Consider, for example, designer furniture set in a forest instead of in a luxurious indoor environment. Contrasts and the unexpected works well.

Do not automatically use images that are designed for printed media
Consider whether the picture is a good fit for Facebook based on your goals and if the image can attract the attention on a Facebook feed.
Avoid the most common mistakes on Facebook according to Charlotte Da Silva
• Don't start out trying to sell, first you need to build trust, i.e. through storytelling.

• Not setting clear goals, targets and analyzing continuously so that you can optimize. Google Analytics and Facebook Insights helps you analyze the impact and objectives.

• "Publish it out on Facebook too" is not smart thinking. Do not forget what's unique about Facebook! Customize your message so that it is not a one-way communication, but two-way communication.

• Do not forget to give the audience a clear "Call to Action" if you want a viral spread. What should the receivers do when they have finished reading? Create incentives to share using questions, prompts and thoughts.

INSPIRATION Get to know our photographers
Have you seen our newsletters in which we present the photographers we work with? We now gather our newsletters and the image selections on the web so that you can easily browse through them when you are in need of inspiration! Welcome!
SEMIOTICS SCHOOL Two images signaled completely different values
Do you remember? In the April newsletter, we finished our feature on semiotics with a diagnostic test. The challenge was to find two or more "wrongs". In other words, images that signaled values that went counter to the other.
And the correct answer is:
The two images that are contrary to the other are the two images at the bottom right: the child and the hands with flowers.

The child and flowers convey both a natural and organic disorder. The vibrant, optimistic nature is present through sprawling trees, authentic natural light (reinforced by lens flare), bushy flower petals and a variety of natural colors. The skin tone is warm, the images are open and accessible to the viewer.

The other images convey controlled coolness and distancing in terms of few and soft colors, well-structured and arranged compositions, introversion and clinical purity - a form of perfection.