lunes, 4 de julio de 2016

6 datos de cómo las grandes marcas aprovechan Instagram

Instagram es -junto con Snapchat- una de las redes que mayor crecimiento ha reportado en el último año, esto ha motivado que un gran número de marcas vean en esta plataforma un escenario ideal para implementar estrategias de marketing y establecer contacto con sus audiencias con el objetivo de reforzar su engagement.

No es para menos, la red social propiedad de Facebook alcanzó recientemente los 500 millones de usuarios activos, de acuerdo con datos de Statista, un crecimiento de más del 500 por ciento respecto a lo que tenía en 2013, cuando apenas contaba con 90 millones de usuarios.

Instagram ha lanzado diversas funciones para hacer más atractiva su red social para las marcas, para competir con Facebook, Snapchat, y Twitter que también han presentado cambios para atraer más anunciantes.

Esto la ha vuelto muy atractiva para las grandes marcas, pero ¿cómo la aprovechan? Eso es lo que investigó el estudio TrackMaven’s Fortune 500 Instagram Report 2016. A continuación te compartimos 6 datos de cómo lo hacen:

1. Engagement. El 98.9 por ciento de las interacciones en Instagram proviene de los “Likes” , lo significa, de acuerdo con el reporte, es que la red social genera un gran engagement, aunque no es un buen escenario para motivar la conversación son los usuarios, pues sólo el 1.1 por ciento de las interacciones se da a través de mensajes.

2. Día para publicar. Generalmente pensamos que en redes sociales lo importante es publicar todos los días, pero de acuerdo con el TrackMaven esto no necesariamente puede funcionar como uno quisiera. Se observa que la tendencia es publicar los jueves y viernes, pero estos son los días más cometidos. Sin embargo, se da un menor número de publicaciones en domingo pero con un mayor alcance y engagement, situando el mejor momento de publicación entre las 10 pm y las 3 am.

3. Hashtags. El uso de hashtags y otros signos como los de interrogación tienen un efecto positivo en el egagement, aunque es muy marginal, apenas el 0.45 por ciento. Sin embargo, el sino de exclamación lo reduce mínimamente un -0.22 por ciento.

4. Filtros. El uso de filtros no es muy común entre las grandes marcas, según el estudio, 89 por ciento de las imágenes analizadas no lo tenía. Su conclusión es que son rediseñadas o trabajadas previamente a subirlas a Instagram.

5. Entre las marcas que tienen gran presencia en Instagram se destacan Nike, Starbucks, Disney, Public, Old Spice, Taco Bell, y The North Face.

6. Instagram supera a Google + y Pinterest en cuentas de marcas, de acuerdo con los puntos de referencia 2015, según información de la Universidad de Dartmouth. Pasó de tener una presencia del 24.6 por ciento de las empresas con presencia en Internet en 2013, al 50 por ciento para este año.

El estudio se basó en el análisis de 41 mil 071 publicaciones de Instagram realizadas ente el 1 mayo 2015 y el 1 mayo 2016 por marcas que tiene presencia en Estados Unidos. Hasta quí te hemos compartido algunos tips de cómo las grandes marcas hacen publicaciones en Instagram con el objetivo de reforzar su engagement con sus audiencias, pero también existen otras redes que ofrecen servicios similares como Pinterest, Facebook y Snapchat.

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Cómo generar 3,5 millones de engagements en un día. Esta conocida marca lo ha logrado

La marca de calzado ha desarrollado una exitosa formula para lograr reconocimiento y engagement entre los consumidores y usuarios, mientras cumple también con un propósito social, gracias sus fieles seguidores. Se trata de la marca de alpargatas Toms y su día anual #WithoutShoes.

Esta marca cuya premisa base, desde que se fundara en 2006, es la de donar un par de zapatos por cada par que se venda, después de que su creador Blake Mycoskie decidiera que debía hacer algo tras visitar Argentina y observar que muchos niños vivían en tal pobreza que no tenían ni para calzado básico, continua con su misión, pero además con ingenio a la hora de hacer marketing.

De hecho, la misma idea en la que se basa, le valió a la marca gran reconocimiento a través del boca-oreja que luego terminó originando la iniciativa One Day Without Shoes (ODWS) que es la responsable del logro de este año a nivel de marketing, de conseguir 3,5 millones de interacciones.

Este evento anual, en el que la comunidad digital muestra durante ese día, sus pies descalzos en Instagram junto al hashtag #WithoutShoes, logra que por cada foto, se done un par de zapatos a un niño que los necesite.

Y es así como la empresa, este año gracias a su llamativa y social campaña de social media, en la que también implicó a sus tiendas físicas y a numerosos bloggers e influencers, logró que la donación de 27.435 zapatos a niños que los necesitan, al lograr en engagement de más de 3,5 millones de personas en todos los canales de redes sociales, con 17 millones de impresiones de #WithoutShoes en los canales de plataformas sociales de la marca y 62 millones de impresiones en total. A lo que se sumó la aparición de esta acción en más de 250 medios de comunicación. Redes sociales y objetivo social, en perfecta conjunción de marketing.

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La aplicación de Google para aprender marketing ya está en español

Buenos Aires, Argentina.- La aplicación de Google que ayuda a las Pymes a sacarle provecho a Internet incluye lecciones que duran cinco minutos y abordan temas estratégicos para el crecimiento de empresas y emprendimientos.

Se trata de Primer, que había sido presentada oficialmente en 2015 en los Estados Unidos, con la promesa de luego desembarcar en los países de habla hispana. Ese momento llegó a fines de la semana pasada, cuando fue oficializada la versión en Santiago de Chile.

La app, que ya se puede descargar en los sistemas operativos Android e iOS, tiene como objetivo, según explicaron desde Google, dar a conocer contenidos de marketing digital a estudiantes, pequeñas y medianas empresas y para todas las personas interesadas en aprender sobre mercadotecnia. “Con conceptos y conocimientos de calidad relacionados con esta área, de manera práctica y rápida”, aseguran desde la gigante de Mountain View.

“Constantemente estamos buscando y desarrollando iniciativas para acercar a las empresas a las tecnologías digitales y sentimos que sin duda Primer aportará a este objetivo. La aplicación, creada por expertos en marketing de Google junto con especialistas de la industria, entrega lecciones y capacita a los usuarios para crecer, potenciar sus negocios y llegar a nuevas audiencias” dijo Ana Gómez, gerente de marketing de Google Chile, durante la presentación de la app en español.

Cada lección de Primer no dura más de 5 minutos, con la idea de que los potenciales usuarios son personas ocupadas. ¿Qué temas abordan? Todos estratégicos: como storytelling, segmentación de mercado y comercialización en buscadores de Internet.

La aplicación ofrece 50 clases de cinco minutos cada uno, y se pueden hacer con o sin conexión a Internet

¿Cómo es la metodología? La aplicación incluye un total 50 clases (de 5 minutos). Al final de cada una hay una evaluación: son preguntas para saber si el “estudiante” entendió el contenido. Si la respuesta es incorrecta, la app explica las razones de la equivocaicón.

Se puede aprender desde cómo posicionar la empresa en buscadores, el uso de las palabras claves para publicidad y cómo se deben ver los sitios web adaptados para móviles. Aseguran desde Google que el contenido no tiene relación con su buscador exclusivamente.

Países: Chile, Argentina, México, Colombia, Costa Rica y Perú

Si bien Primer recién se lanza ahora en los países de Latinoamérica, ya tiene 1 millón de descargas y 125 mil horas de uso por sus versiones en inglés y portugués.

 

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What can Medium’s Creative Exchange bring to native advertising?

Last week, social publishing company Medium announced the launch of a programme that will allow its writers to partner with brands to create dedicated sponsored content: the Creative Exchange.

The Creative Exchange is by no means Medium’s first foray into native advertising: in the past, it has produced a number of verticals in partnership with different brands, including BMW, Marriott and Samsung. But this is the first time that Medium has opened up native advertising for the wider community to take part in.

In its blog post announcing the new programme, Medium acknowledged that, “One of the things we’ve heard consistently is that our community wants a way to make money from their work on the platform. It takes effort to produce a piece of high-quality content and that effort should be rewarded.”

While this is undoubtedly true, the writers who called for Medium content to be monetised probably wanted the ability to earn money from the independent content they write, rather than to be paid to write sponsored content for a brand.

Still, there are no doubt plenty of others who will welcome the venture. But what can Medium contribute to the field of sponsored content, already crowded with publishers and platforms, that’s particularly new? And what do brands stand to gain?

What can Medium bring to native advertising?

Medium has always been a slightly strange entity, whose exact nature is hard to pin down: it straddles the divide between publisher and network, between social and blogging; giving writers a space for their voice to be heard, but very much on Medium’s terms.

“Medium’s greatest asset is our community of writers and publishers,” the blog post which announced the Creative Exchange began. Clearly this is what Medium intends to be its main selling point as it expands its venture into native advertising: an established network of writers, many with huge followings, and readers who will eagerly consume writing published to the platform regardless of whether it is sponsored or not, as long as it is of the quality and type they have come to expect.

A screenshot of the top of a Medium sponsored piece entitled 'How to Rewrite Your Past, Present and Future'. At the very top of the page are the words 'life well lived' in gold and blue, while underneath the heading the text reads 'Presented by GUARDIAN' with the logo for Guardian life insurance.A piece of sponsored content on Medium, with branding clearly marked

Medium’s blog post cites two past pieces of sponsored content as examples of what writing produced by the Creative Exchange is likely to look like. One is sponsored by Guardian, a life insurance company, the other by Upwork, a freelance marketplace.

Both are well-written and valuable pieces of content which don’t read like advertising or even mention the sponsored brand by name (although they are both clearly marked as sponsored with logos above and below the piece).

Neither of them made me want to buy anything either, but then, the aims of native advertising are usually more subtle than that.

In many ways, Medium is exceedingly well-suited to native advertising, much more than other publishing platforms. For one thing, it’s already heavily branded. Criticisms have been levelled against Medium for taking away creative control from writers who publish to its platform, denying them the ability to choose how their content looks and is offered to readers.

A screenshot of a Medium post by Rebecca Sentance, entitled 'Reflections on Liberating Corporate Data'. The post is laid out in simple, no-frills style, in black serif font with a wide margin either side. The Medium logo in grayscale is present in the top left corner.Publishing to Medium offers writers very little leeway, if any, to impose their own style on the content

The design, the layout, the branding is all very much Medium’s; and so users who are happy with this arrangement are unlikely to object to a further level of branding being applied to their content. It seems unlikely that any devoted writers or readers, if they’re content to use Medium as it is, will abruptly draw a line and say no, this amount of branding is a step too far.

So Medium can offer an engaged community of writers and readers among whom there is already a demand for some kind of monetisation, and an openness to sponsored branding. All points in its favour – but what else is Medium offering to brands in the deal?

How will brands benefit?

At the moment, Medium isn’t opening up the Creative Exchange programme too widely to interested writers and publishers; the programme is currently in “closed beta”, and aspiring participants will need to add their details to a waiting list. But Medium is placing no such restriction on brands who want to take part. This makes sense, since Medium has writers in abundance, but the brands are where the real money lies.

Medium’s approach to content publishing, that it simplifies the process by taking care of the unimportant details that no-one wants to concern themselves with (like design) is also the main thrust of its appeal to brands: it offers an all-in-one deal, “including writing, editing, project management, editorial strategy, publication creation, and publication branding.” In its bid, Medium plays up the fact that it can “manage the entire process for you, including publishing approved content from your brand account.”

A graphic of a brown box with parcel tape across the top, with "this side up" icons on one side in blue, and on the front-facing side, a blue stick figure carrying a house.
Medium’s native advertising aims to offer brands the whole package
Image by OpenclipartVectors on Pixabay, available via CC0

This is likely to be an appealing prospect for brands who are new to native advertising or don’t have the time or the resources to micro-manage every aspect of the project. However, as with writers who publish to the Medium platform, there are drawbacks in the form of ownership and control. Medium is coy about the subject of brands owning the content produced via Creative Exchange, saying only that, “We have several different licenses available. We’ll work with you to meet your needs. Contact us for more information.”

There is a lot to be said for publishing to a platform which, as I covered above, comes with an in-built community of readers eager to consume that content. In many respects it puts Medium ahead of native ad providers like Outbrain and Taboola which have to depend on luring readers away from platforms where they are already reading content, with gimmicky headlines and psychological tricks.

A screenshot from the platform game Fez, featuring floating platforms against a bright blue backdrop, with square green trees on top of them.Brands are already faced with an overabundance of platforms demanding their content
Image via Wikimedia Commons, available via CC BY-SA 3.0

But there’s a drawback to it, too: brands are already faced with an overabundance of platforms to which they could publish content, each with their own appeal. Medium boasts one engaged community of users, but Facebook has another, as does Twitter, and Google, and Snapchat, and every other contender which is throwing its hat into this expanding ring.

No matter how good the offer is, ultimately brands have to make a choice as to how many channels are worth spreading their presence across. And if they are a brand which already has an established presence on Medium, why pay for what they are already getting for free?

To an extent, Medium’s all-in-one approach does solve that problem, by allowing brands to reach an extra audience without having to expend the time and effort that they would normally need to invest in publishing to a new platform: Medium will take care of all of that. But brands will still have to decide whether the exact audience they want to reach is present within Medium’s walled garden, and if it isn’t, they are likely to take their business elsewhere.



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Five stats that sum up the rise of ad blocking

Love them or loathe them, ad blockers aren’t going anywhere soon, forcing digital publishers to sit down and have a serious rethink about their marketing strategies.

According to PageFair, which works with publishers to minimise the impact of ad blocking, web users are taking to blocking ads in their hundreds of millions.

To mark the publication of our first Zoom In report, Ad blockers: The lay of the land, we present five stats that we think best tell the story of ad blocking, but first, here’s one for free: according to the UK Association of Online Publishers, 65% of publishers see ad blocking as a threat to the publishing business model.

But is it all doom and gloom? Let’s see what else the stats have to say.

$41.4bn: the estimated global cost of ad blocking this year (PageFair, 2015)

Let’s get the bad news out the way first. Ad blocking is expensive for publishers, who need the ads to pay for the content they’re serving us, (often) absolutely free of charge.

According to PageFair, blocking those revenue-bringing ads will deprive the industry of $41.4bn by the end of this year. Ouch.

adblock plus video illustration

100m: number of Adblock Plus active users (Adblock Plus, 2016)

Perhaps the best known of the ad blocking brigade (and the biggest stone in the shoe of German publishing group Axel Springer, which has taken them to court), Cologne-based Adblock Plus was pleased to announce in May that it had more than 100 million active users, which it counts as active installations of its ad blocking platform.

That’s 100 million fewer devices publishers can serve their ads to. Food for thought.

22% of the world’s smartphone users are now using ad blockers (PageFair, 2016)

If the ad blocking battle began on desktop, the war will be in the realm of mobile.

A combination of easier access to ad blocking software on smartphones, and the greater availability of smartphones in emerging markets is driving this – 36% of smartphone users in Asia Pacific are blocking ads.

And apps aren’t beyond the reach of ad blockers anymore, as it’s now also possible to block in-app ads.

ad blocking on mobile detail

$9.50: cost of loading the ads on Boston.com every day for a month (New York Times, 2015)

Many people block ads because they can be annoying. Others may be concerned about the malware they can carry. But another big reason is their loading times, and drain on mobile data – data that we’re paying for.

Last autumn the New York Times set out to discover just how much loading the ads on a range of news websites would cost on the average American mobile data plan over the course of a month.

It found that Boston.com was the most data-hungry, costing just shy of $10 over the 30 days.

20% of people in the UK who have downloaded an ad blocker no longer use it (IAB, 2016)

Let’s end on a sweeter note for publishers. While ad blocker use is increasing rapidly in emerging markets, this stat suggests that the upward trend may start to slow in the UK.

IAB says the primary reason for users abandoning their ad blockers is switching to a new device, but the second most cited reason was a lack of access to content the users wanted – so perhaps the publishers’ strategy of walling off content until the user turns off their ad blocker is working.

Download your free copy of the Zoom In report Ad blocking: The lay of the land, which features exclusive insights from experts in digital media, publishing and technology, as well as the latest stats to bring you a well-rounded, easily digestible analysis of the ad blocking situation as it stands.



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viernes, 1 de julio de 2016

¿Sabes qué es la publicidad comportamental?

Internacional.- Internet, ha cambiado nuestra forma de buscar productos y/o servicios y es por eso por lo que las firmas deberían tener en cuenta los comportamientos de los consumidores a la hora de hacer sus búsquedas en Internet, ya que así pueden aprender sobre qué es lo que quieren los consumidores para que así las firmas se lo puedan ofrecer. Esto, es lo que se conocería como publicidad comportamental. A lo largo de esta nota, vamos a ofrecerte una aproximación a este tipo de publicidad por si quieres usarla para captar la atención de los consumidores.

Para empezar, tendríamos que partir de un estudio de Burst Media, realizado a 4 mil adultos y cuya principal observación es que los consumidores no quieren ser monitoreados, y es que el 60% de los encuestados saben que son monitoreados y que los datos de su actividad online se recogen y comparten y esto es algo que los encuestados no valoran de forma positiva, ya que creen que sacrifican su navegación a costa del registro de actividades.

Pues básicamente, se podría definir la publicidad comportamental como el modelo publicitario basado en el comportamiento del consumidor para el cual una cookie recaba información anónima sobre hábitos de navegación con el fin de ofrecerle publicidad acorde a sus intereses.

Es decir, lo que vendría a decir es que según las cookies de tu navegador, las marcas aprovechan para ofrecerte los productos y servicios que se pueden acercar a lo que anteriormente has buscado.

Por ejemplo, si has navegado buscando gafas de sol para un regalo, lo normal es que, cuando vayas a entrar de nuevo en Internet, puedas ver como te aparecen multitud de anuncios de este producto en tus búsquedas.

Con ello, lo que está claro es que este tipo de publicidad se ha convertido en una genial estrategia de marketing online para las firmas, ya que así llegan a los consumidores que verdaderamente están interesados en sus productos.

Y tú, ¿sabías en qué consistía este tipo de publicidad? ¿Alguna vez te has percatado cuando ha aparecido en tu navegador?.

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How to use images to bring real world credibility to your digital presence

We all know the importance of imagery, especially on mobile. However, the focus on icons and the fear of oversized pages has caused many designers to forget the power of pictures.

The right emotive photograph of the right proportions that loads rapidly is a fantastic way to bring your offline identity in a homogenous digital world.

In the physical world, many people love (or love the idea of) shopping in independent shops – music shops, fashion, books, surf shops, bicycles, delicatessens etc. – eating in independent restaurants and/or staying in independent hotels. There’s some joy in their individuality, expertise, quirkiness, familiarity. However, this differentiation often fails to translate into the digital world.

This is particularly the case in retail. Too often websites are simply a list of products, often the same or similar products as can be found on plenty of other retailers… sometimes at a better price, with little (bar a logo) to express the retailer’s unique selling proposition (USP) that is so evident offline.

A perfect picture is worth a thousand words

On the high street consumers are attracted into stores, restaurants, bars by what they see. The façade, name, logo, and any call-to-action, e.g. 50% off all helps gain attention, but mostly it is what we see inside.

This is why all shops and many other establishments have big windows. Sometimes it’s just a showcase window display, but often the window provides the opportunity to gaze into the soul and grasp the identity of the place.

It is this unique identity that most websites lack online and really lack on mobile.

Take a look at the mobile site of Daunt Books below. That photograph of the flagship London store tells you more about this retailer than any “about” section, review or product catalogue.

It’s there: front and center, whatever the device. You don’t need to ever have visited the real store to know this isn’t Amazon, Walmart, Tesco or Barnes & Noble.

Daunt Books is not a perfect mobile experience, but it is considerably better than many independent retailers (plenty of chains also) and, with those images, it is certainly one of the most elegant.

daunt_books_cz24

If you’ve got it, should you flaunt it?

So while we’re shopping in London, let’s visit the iconic department store Liberty. The image below shows the different experiences that greet the visitor to the physical store and to the mobile site. To find a picture of the store on the mobile site you need to look in the location tab.

liberty_store_mobile_cz24

Then let’s skip across the channel to Paris, to compare the gorgeous interior of Galeries Lafayette, pictured below, with its digital presence.

As you visit more sites of the world’s iconic department stores, it quickly becomes clear that they have all taken the decision to focus solely on product, with a utilitarian (though ironically not always user friendly) mobile web presence.

Try this: put your finger over the logo on any site (web or mobile), would you recognize the site? Is there anything that gives a hint of retailer’s real world physical presence, heritage or brand? Is there anything that demands: when I’m in New York, I’m going straight to this store?

Try Bergdorf GoodmanBloomingdale’s, or any other of New York’s temples to shopping.

galeries_lafayette_store_mob_cz24

Does this matter?

It seems surprising, when you have an iconic physical presence not to capitalize on it online, just to remind the customer of the heritage. But these department stores have strong brands, perhaps they feel the logo (with the look and feel of the site) is all that is required to give customers a sense of place, belonging and loyalty.

And of course, you can be sure that every retailer has conducted methodical tests to see what works best with mobile customers. Right?

But what about smaller stores, that aren’t such well-known brands?

Pick a list, any list.

Here’s the test.

Everybody loves a best of list. Best hotels in Singapore. Best restaurants in Berlin. The best surf shops in the world. Best coffee, boutique, pubs… whatever your poison.

All best of lists have a tried and tested format.

  • Name of store/outlet/place
  • Photo of store
  • Description of store
  • Name of store
  • Photo of store
  • Etc…

For example, take a look at: America’s 15 Greatest Independent Record Stores  according to Gear Patrol. This was chosen purely at random for this test.

Record stores are great example because they look fantastic in photos, even if you are not a big fan. If you are a fan… you can almost smell the vinyl. But all sorts of outlets look great in a good photograph, inside or storefront: skateboards mountain bikes, shoes, garden nurseries, bars, restaurant, hotels… That’s why we love the tried-and-tested list format.

The question is: when you tap through to this outlet that looked so great in the physical world, do you get a mobile (or PC) experience as compelling that image? Because, let’s face it, no normal person is going to physically visit 15 record stores from San Francisco to Brooklyn; but plenty of people might indulge in a little m-commerce.

The image below shows a screenshot of our record store list on the left (a tablet view, much reduced), with screenshots from various examples, good and bad, mobile friendly and not, from the sites to which the list linked (the screenshots are taken on a Samsung S6, but iPhone 6 looks similar using Mobilizer, which is a freemium tool).

record_store_mobile_cz24

How to research

Conduct tests repeatedly on all best of lists you can find. You can use directory services such as Yelp or TripAdvisor, but these are less fun or interesting than random curated lists.

The test:

  • Pick lists related to, and unrelated to, your business.
  • Try best in the world and by country, city – not just your own.
  • Conduct it on a mobile devices – ideally more than one type of device.
  • Don’t just do it on WIFI, do it at the bus stop, on the train, in the pub.
  • Rate each sites on immediate impact. Does it grab your attention and draw you in? Why?
  • Did the images make the site slow to load? Enough time to make you bored?
  • Do images justify the real estate they take up on the screen?
  • Then conduct a more thorough investigation.
  • Then back up your findings with user testing.

Mobile as a brochure for your real world experience

Arguably it is even more important to capture the essence of your physical presence, if mobile (and digital) is a vehicle to drive and/or pay for visits to your business in the real world.

If you are in the any of the following kinds of businesses, it’s not just a very good idea, it is, arguably, an imperative to use powerful, compelling imagery:

  • Hotels, restaurants, bars and clubs.
  • Museums and galleries.
  • Entertainment e.g. sports centers, bowling, ice skating.
  • Shopping centers.
  • Locations – countries, cities, neighborhoods, parks, beaches.

Not only do customers need to know what they are committing to/purchasing, i.e. is it their sort of place, people, good time; but also what the place actually looks like, so they can find it.

The following image shows four mobile experiences for the first five featured on Top 10 Museums and Galleries according to National Geographic. Two of the five, Le Louvre, Paris, France; and The Acropolis Museum, Athens, Greece (not pictured) lacked a mobile-friendly presence.

The homepages of The Smithsonian Institution, Washington, D.C. USA; State Hermitage, St. Petersburg, Russia; and The British Museum, London, England all suggest quite different approaches to mobile – including use of imagery.

museums_galleries_cz24

Now let’s look at hotels:

The following image shows the four results randomly chosen from Top 10 good-value hotels in Singapore according to The Guardian.

The images are iPhone 6 screenshots using Mobilizer. While all sites appeared to be mobile-friendly, Mobilizer found some of the sites slow to load and other sites on the Guardian list impossible to load. This may indicate some usability issues, which may or may not be caused by the images used.

singapore_hotels_cz24

Is your picture worth its weight/wait in gold?

A quick test of the four museum sites highlighted above using the excellent WebPagetest revealed that the best performer over a mobile network (at the time of the test) was the homepage of The Smithsonian. Looking at the images you might guess that, but the other results were less predictable.

  • The Smithsonian had a mobile load time of 2.3 seconds.
  • British Museum: 4.1 seconds.
  • The Louvre: 5.8 seconds.
  • State Hermitage: 13.3 seconds.

With the exception of Smithsonian, the WebPagetest results suggested that one of the issues was images and suggested compressing the images should improve performance for all three.

Images will always come at a small cost when it comes to performance on a mobile network. It is essential to test your site to check that images are not causing unnecessary delay to page load. Consumers are becoming increasingly intolerant of slow mobile sites, so you must take measures to identify and reduce performance lag.

It is absolutely imperative that you test. Read this guide to testing the mobile-friendliness and performance of your site.

The following tools will help expose any issues, including image problems:

It is absolutely imperative that you also user test to establish if your imagery works with the users and if it justifies any latency in page performance. Read this guide to how to user test.

Among other measures, you should:

  • Use onsite and remote user testing.
  • A/B testing.
  • Heatmaps, such as Clicktale.

Read the full report: DNA of a Great M-Commerce Site Part 1: Planning 



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