lomography petzval marketing plan_v(latest).compressed
TRANSCRIPT
Marketing Proposal: The New Petzval Lens !Prepared for: Simon Vidal and Camilla Naretto, Lomography Prepared by: Sara Bleger, Ashleigh Steinhobel, Anthony Chu and Angelica de Vincentiis 31 October 2014
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COMPANY CONSULTANCY PROJECT ESCP EUROPE
EXECUTIVE SUMMARY !Objective !The latest addition to Lomography’s product range is the New Petzval lens, a remarkable reinvention of one of the oldest lenses in photographic history. Lomography tasked us with providing insight into the codification of the brand from an external point of view; identifying the target market for the New Petzval lens; developing a strategy to reach and communicate with this target market; and finding a way to unite the New Petzval as a product and Lomography as a brand in such a way that alienates neither the existing customer base nor the company’s core principles, and aligns with Lomography’s intended transition from analog to digital. !Methodology !To achieve these objectives, we began by outlining the codification of the brand from our personal perspectives, later enriched with insights from qualitative research. To understand the lens market more deeply, we conducted desktop (secondary) research into the trends and competitive landscape of the camera peripherals market. To understand the role of the New Petzval in this market, we extended this research with a qualitative analysis of the reception of the New Petzval by the consumers and the online media, and primary research interviews conducted with four consumer profiles we initially identified as potential targets. We then translated the insights we had gained from a qualitative overview of the situation into a quantitative questionnaire which addressed the decision-making criteria, purchase intentions and brand perceptions of lens users from a diversity of demographics. Guided by the information obtained from our research, we then reframed the problems and objectives of the project and developed a strategy to address them. !Solution !The strategy we propose to Lomography is to position the New Petzval as the poster product for experiential luxury under the title of, ‘Make Your Story History.’ Our findings prove that the true value of the lens lies in its emotional, rather than functional, value - it gives a photographer of any age or level of expertise an enriched experience by transporting them back to an older age of photography. We propose to premiumize the product through a strategy of heritage- and personality-driven luxury, split into three value propositions defined by alternative modes of distribution that appeal to three different target groups while maintaining coherence of communication and positioning. !Project Scope !This report will proceed as follows. To begin with, the external codification of Lomography is presented, followed by the situational analysis, secondary research and primary research sections to address the problems at hand. Thereafter, the key findings from the research are summarised and the objectives reframed in light of these findings. The strategy is then presented in three parts: segmentation, concept presentation, and implementation.
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TABLE OF CONTENTS !!
1. Introduction and Problem Definition!2. Situational Analysis!2.1. Secondary Research
2.1.1. Current Brand Codification
2.1.2. Climate Analysis
2.1.2.1. Socio-economic Climate
2.1.2.2. Trends in Photography
2.1.3. Competitor Analysis
2.1.3.1. Perceptual Maps
2.1.4. Product Analysis: The New Petzval Lens
2.1.4.1. Press
2.1.4.2. Social Media !2.2. Primary Research
2.2.1. Qualitative Analysis
2.2.2. Quantitative Analysis!3. Key Findings and Problem Redefinition !4. Objectives!5. Branding Strategy !6. Proposal
6.1. Introduction
6.2. Segmentation
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6.2.1. Super-rich Fettishist
6.2.2. ‘Les Bobos’
6.2.3. Lomo Fan
6.2.4. Discarded Segments
6.3. Concept Presentation
6.3.1. Justification
6.3.2. Product levels
6.3.3. Storytelling
6.4. Reaching the Target
6.4.1. Petzval Club
6.4.2. Distribution Channels
6.4.3. Video Content
6.4.4. Partnerships
6.4.5. Influencers
6.5. Communicating with the Target
6.5.1. Retail Strategy
6.5.2. Packaging!7. Conclusion!8. Reference List!9. Research Appendix
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1. INTRODUCTION !23 years after Wolfgang Stranzinger and Matthias Fiegl first commercialised the LOMO LC-A in 1992, Lomography has established itself as the pioneer and ‘protector’ of analog photography. With a strong brand personality, dedicated community of fans and unique selling proposition, Lomography has been instrumental in mobilising an artistic photography movement and socio-cultural trend. !Today, the ‘plastic camera’ company faces a significant challenge in having to adapt to the onset of digital technology and the changing demands of the photography consumer. Experimental photography is easily and more conveniently replicated by smartphones, but attempts at addressing this by introducing digital camera technologies have been ill-received by the Lomography community. Given this context, we define the first and broadest problem faced by the company as the need to establish a digital presence without alienating its analog roots and the core message of the brand. !The New Lomography Petzval Art Lens is a reinvention of one of the oldest lenses in photographic history, the Petzval lens, developed in 1840 by scientist and mathematician Joseph Petzval. The lens is gloriously old-worldly and creates a swirly ‘bokeh’ effect that no modern lens can rival, but is beyond the price range of the typical Lomography consumer and negates the brand’s key principle of ‘don’t think, just shoot.’ We define the second problem as the need to identify customers to whom the New Petzval lens appeals, and develop a strategy to communicate with them and build credibility in an unfamiliar market space. !!
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2.SITUATIONAL ANALYSIS !2.1 SECONDARY RESEARCH!2.1.1 CURRENT LOMOGRAPHY BRAND CODIFICATION!In this section, the interpretation of Lomography’s identity, value proposition and message will be analysed through the eyes of by external observers. The intention of this codification is to provide an insight into consumer perceptions of Lomography as the brand stands now, and is compiled on the back of qualitative focus groups and from the personal perspectives of the researchers. !• Codes !The identification system of a brand refers to the external codification of the intrinsic identity, communicated through a visual identity that anyone who knows the brand will recognise. Lomography is identifiable by the colourful appearance and plastic quality of its cameras, the combination of which give the devices distinctly ‘toy-like’ personalities. Lomography is also recognisable by the aesthetic style of the images that these cameras produce: heavy colour saturation, unusual colour hues, vignetting, soft focusing and light leaks. !Brand ownables refer to the elements that a brand has ‘claimed’ as its own, and have as a result become inherently synonymous with the brand. Plastic as a material emerges as the strongest of Lomography’s brand ownables, followed by colour distortion as found in the Colosplash camera and camera dripping Diana F+, and special photographic effects as achieved by the Spinner 360. The logo itself is a brand ownable as it represents the modernism and playfulness of the brand. !The third element of a brand’s ‘codes’ is its relation to trends. Lomography took a strongly ‘anti-trend’ stance when it decided to remain analog at the introduction of digital camera technology, which has since evolved into a foundational pillar of the company’s identity. By expanding on the idea of what analog technology suggests about the person using it, Lomography has been able to create a unique point of difference by mobilising a movement of alternative artistic expression (the rise of the ‘hipster’). Thus, in its defiance of one trend, Lomography ironically had a hand in the creation of another. Lomography has however in the last few years been forced to reevaluate this stance as question marks have arisen about whether the attachment to analog will do more harm to sales than good for marketing in the long run. The company is, therefore, navigating the tricky transition from analog to digital, taking care to retain the brand’s identity while simultaneously opening up new value trajectories. !!!!!
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!Story!
The first aspect of a brand’s story is its contract, defined as the collection of promises that a brand makes to its customers. The contract is executed internally but defined and validated externally by the marketplace or, in this case, Lomography’s consumer. We believe that Lomography makes the promises that customers can expect the following:
• Plastic analogue cameras that are playful, portable, resilient, appealingly packaged and neither too expensive nor of high quality.
• Photographs that are characterised by a range of visual effects. • Photographs that are the result of the users unique experience and that therefore cannot be replicated:
they are the unique representation of a memory lived only once. • The delight of experimentation: customers cannot know what the photographs will look at the point of
capture. • The authenticity of ‘vintage’ through the reinvention of iconic camera models, such as the Zenit MF1,
or the Lomo Lubitel 166+. • An experience: it’s about more than just capturing an image, it’s about creating it (by adjusting the
camera functions or even by constructing the camera yourself, as with the Konstruktor model). • A Lomography camera occupies a more significant place in a users life than a conventional camera: it
is a companion, a signal of identity and image, rather than just a device. • Access to a community of like-minded creative people and the photographs they capture. !
The collection of promises that make up the brand contract have, at their heart, a ‘reason why,’ which captures the brands core motivations for being what it is. The logical ‘reason why’ for Lomography’s brand contract can be found in the company’s history. The brand was born organically from a discovery: Stranzinger and Fie did not set out to create an art movement; rather, it evolved from the genuine interest of their friends and wider communities in the authentic appeal of the images. Thus, the evolution of the Lomography offering essentially followed the number of one rule upheld by the brand today: “don’t think,” just do and see what happens later. !However, we believe and research shows that a discrepancy exists between the logical ‘reason why’ and that which is interpreted by consumers. Only strong Lomography enthusiasts will know the story behind the brand - to everyone else, Lomography looks like a the perfectly packaged commercial success story. The company has identified a niche market and succeeds in dominating that niche by creating a need where it didn’t exist before. Additionally, we see that social status and image play a larger role in the ‘reason why’ than the brands roots suggest: people with no link to or passion for photography are drawn to the brand purely for how it allows them to appear on social media. This extends further than the community aspect prioritised by the company, as the full effect of such social projection is best achieved when communicated to someone unfamiliar with Lomography products. !The consumer benefits that Lomography’s contract and ‘reasons why’ bring to the people who buy their product represent the external validation of the brand promise. Over the years, Lomography has created a community of people within which the benefits - the joy of photography, the participative power of analog, the
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creative value of the result - are amplified and shared. To return to the social aspect, an important benefit manifests in the translation of these images into projected identity: the ability to showcase an aspirational desire as a reality to others. !
Values!The vision of Lomography is to empower people to be creative photographers without having to do more than press a button; to create a community of passionate people and, up until very recently, to ‘safeguard’ analog photography by being the last-standing commercial example of it. !We perceive that the brand’s ambition, at this point in time, is to successfully make the transition from analog to digital in a way that neither alienates its core customer nor disregards its brand principles. Lomography is looking to increase its credibility in the digital sector by angling the brand more toward artistic and creative photography and away from analogue photography exclusively. !The resources that Lomography can use to achieve this ambition without neglecting its vision are extensive. It can conduct secondary research to identify trends and best practices in the sphere of brand transformation. It can tap into the participative nature of the Lomo community to solicit valuable insights about what the customer wants, and how the customer believes the brand should navigate the shift. It can use external or in-house creative human capital to find an innovative solution, and use its existing infrastructure, corporate partnerships and supplier/distributor network to bring that solution to market. It can use its existing promotional tactics or create new communication channels to STP the strategy. !!2.1.2 CLIMATE ANALYSIS!Because the problems identified relate most significantly to the photography industry and the behaviours of consumers within the industry, the climate analysis will deal with broad socio-economic trends and narrower trends in photography. The intention of the climate analysis is to identify the context within which these problems should be considered. !2.1.2.1 SOCIO-ECONOMIC TRENDS!• Post-recession polarisation of markets !The polarisation of markets towards the top and bottom segments caused by globalisation, economic restructuring in the face of the recession, the declining price of technology and the increasing wealth of developing economies, is manifesting itself more than ever in evolving product offerings and consumer behaviour. As a Euromonitor report on global trends puts it, “everyone is either flying with a low-cost airline or upgrading to business class” as the middle of the market falls away. This is favourable for a product like the New Petzval, which is undoubtedly a luxury product for a niched market. !• Collaborative economy
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!The habits that people formed to cope with the recession are now becoming the norm, which has contributed to the rise of the ‘sharing economy’ in the last few years. Companies like AirBnB, eBay, RelayRides and TaskRabbit facilitate the peer-to-peer sharing of resources. In our world of social networking, trusted payment platforms, advancing smartphone and GPS technologies and the ever-increasing availability of data, consumer don’t see the need to own things when they can just access them at their own convenience, avoiding unnecessary costs. This shift is, according to Kastakis and Bouwens, the beginning of the post-capitalist era, in which “peer-to-peer infrastructures become the general conditions of work, economy and society,” and the “crowd becomes the company.” Businesses that fail to adapt to this megatrend will undoubtedly be overcome by competitors or newcomers that do. !• Home base !As a potential reaction to an increasingly digitised society, consumers are in search of a stronger connections with family and neighbours to feel anchored in a secure sense of community. Crowdsourcing, crowdfunding, ‘neo-tribalism’ and the increased importance of ‘local’ and ‘authentic’ are evidence of the trend towards “community-minded consumption,” as coined by the aforementioned Euromonitor report. Brands are looking for ways to encourage increased time spent with loved ones with their products and services, and are adopting ‘hyper-glocal’ strategies to make themselves seem authentic to localised consumers. !!2.1.2.2 TRENDS IN PHOTOGRAPHY!• Smartphones increasing interest in photography !In recent years, the camera market has changed dramatically in the face of the smartphone revolution, but so has consumer interest in photography. The ease with which smartphones have incorporated photo-taking into everyday life, and the way in which apps like Instagram have attached social value to this activity, is generating increased curiosity about what more expensive devices can provide. This trend is particularly strong in less developed countries where sales of DSLRs are experiencing the fastest growth. !• Concentration at the high end of the photography market !Unable to add more value than the increasing quality and portability of smartphone cameras, the point-and-shoot compact camera category has consistent declined. In the US alone, the compact camera category plunged by 26% between 2012 and 2013. As the middle of the market falls away, camera makers are focusing their resources on advanced amateurs and professionals who will pay for image quality and lens flexibility that a smartphone camera won’t provide. The interchangeable lens camera segment is therefore booming - in 2013, the segment grew by 13% with one in every four cameras sold being an interchangeable lens camera, up from one in every five in 2012. For the first time the segment accounted for more than half of the total digital camera trade value. !• Divided cultural response to mirrorless cameras
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!Sales of mirrorless cameras - “point-and-shoot DSLRs” which are lighter and smaller than DSLRs, making them easier to transport and attractive for their interchangeable lens functionality - are being received with varying levels of interest in different parts of the globe. Worldwide sales increased over the last year most notably in Europe and Japan, where shipments increased by 26% and 24.4% respectively. In North America, however, mirrorless sales decreased by 34.2%. The leader in the category is Olympus with 28.9% market share, followed by Sony and Panasonic. Interestingly, Nikon and Canon were the last camera makers to introduce mirrorless models, causing some analysts to wonder how much longer their reign over the camera market will last if the mirrorless camera continues to rise. If the downturn in mirrorless sales persists, however, analysts believe that only Canon, Nikon and Sony will survive though sales of advanced camera equipment. !2.1.2 COMPETITOR ANALYSIS!To gain a deeper understanding of the lens market, an analysis of the competitive landscape is presented. Secondary research has shown that the competition faced by the New Petzval is two-tiered. The first tier consists of the two most highly established and well renowned lens makers, Canon and Nikon, who hold the most credibility and highest market share and are, as a result, the first port of call for both loyal lens users and newcomers to the market. The second tier consists of lesser-known brands that position themselves in the art lens category, and would appeal to the kind of customer that Lomography attracts. These brands are Leica, Lensbaby, Sigma and peer-to-peer marketplace platforms like Amazon or eBay, where the Russian Helios, Jupiter 9 and Rodenstock Imagon lenses can be bought. In this section, a brief overview of each brand and their communication strategies is presented. !
Canon !Canon is the market leader in interchangeable lenses, and has been since 2003. It offers seven lens lines - the EF and EF-S, FD, FL, Rangefinder, TV, tilt-shift and dedicated macro lines - and was the only digital imaging company to show a growth in sales in 2013 (total sales of $14.06 billion, up from $13.12 billion in 2012). !Canon puts a high level of customer satisfaction and loyalty, social and environmental responsibility and a spirit for enterprise and innovation at the centre of its corporate identity. It takes a decentralised approach to marketing and communication with country-specific websites, social media pages, forums and marketing strategies. The company utilises three key marketing techniques, the first of which is participation in trade shows such as the Consumer Electronics Show 2013 held annually in the US, and the Canon Grand Fair 2012 in Beijing, held by Canon China, a four day event with 32,000 visitors. The second is the sponsorship of sporting events - such as the English Football League and Williams Formula One - and partnerships with cultural events, such as London, Paris and Milan fashion weeks. For 2014 London Fashion Week, Canon built an extensive photographers’ centre with on-site camera repairs, camera and lens loan facilities, internet-enabled work areas and transportation. The third is high budget promotional campaigns, such as The World of EOS Product Campaign run in 2012 by Canon Australia, a highly interactive campaign that led to the creation a unique platform for aspiring and experienced photographers, and an EOS Photo5 creative photography competition for amateur photographers. A more ‘ground level’ example is the ‘Image Square’ retail experience
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campaign run in 97 locations in India, where customers can touch and try the products aided by a dedicated team of staff. !In terms of advertising, Canon has launched multinational campaigns such as “You Can” and “Bring It” which have emphasised their dominance in digital imaging technology and the impact their products have had in Hollywood and on the general public. The campaigns have been consumer centric, encouraging participation, community interaction and peer-to-peer education. The lens-specific advertising campaigns that Canon has run have mainly targeted professionals and emphasised image quality, as seen below, while an ongoing partnership with National Geographic demonstrates the lenses’ versatility.
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In China, Canon ran the campaign alongside entitled ‘For Every Point of View.’ !Qualitative research into customer perceptions of Canon revealed a high level of trustworthiness and quality. Adjectives offered in description of the brand included “robust,” “solid,” “reliable,” “easy to use,” “popular,” “classic,” and “fast autofocus.” !!!
Nikon!Nikon is second to Canon in the digital imaging industry. It’s 2013 sales were $5.8 billion (just over a third of Canon’s), and decreased from $5.9 billion in 2012. Nikon’s lens ranges (Nikkor lenses) are categorised by usage: travel and landscape (39 lenses), people and portraiture (36 lenses), sports and action (38 lenses) and close-up (10 lenses). !Nikon puts “trustworthiness and creativity” at the centre of its corporate identity. It’s marketing strategy comes to life through competitions. The Nikon Photo Contest, which has been running since 1969, offers a 10,000 euro prize and accepts images taken from any digital device, recently including iPhones. The company runs smaller country-specific contests such as the Ina Nobuo Award, the Miki Jun Award and Miki Jun Inspiration Awards, as well as The Nikon Short Film Festival which takes place in France each year. Nikon is less focused on sponsorships than Canon but launched a multiyear strategic alliance as the “official camera” of Walt Disney in 2013, with branded picture spots throughout Walt Disney theme parks and resorts and a Disney PhotoPass service, among other features. Contrary to Canon, Nikon’s online presence (website and social media) is much more globalised rather than fragmented by country/consumer. !The main marketing message of Nikon is “At the heart of the image,” which has given rise to consumer-centric advertising campaigns such as the pan-European “I Am Nikon” campaign, launched in 2010. The campaign used real-life scenarios in which people show who they are through a Nikon lens (with images of the first steps of a baby, a bride’s pre-wedding preparations, etc.). Brigitta Olsen, GM of marketing and communications at Nikon Europe, said, “We feel that this campaign really gets to the core of how photography is used today: in a playful, social and self-expressing way. By using real people in real situations we hope our audience will recognise itself and will feel inspired by Nikon.” By using celebrities such as Ashton Kutcher to endorse the brand, as opposed to National Geographic, Nikon emphasises the personal touch of their products over their professionalism. Examples of print advertisements that communicate this message appear below. !
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!Interestingly, qualitative research showed a customer perception of the Nikon imaging brand that differs from its intended messages. Adjectives such as “professional,” “good,” “quality,” and “expensive” indicate that the brand is better known for its product quality than for being at the ‘heart’ of the image capture process. !
Leica!Leica is a German company founded in 1849. The company narrowly escaped bankruptcy in 2004 but has since recovered sales by merging engineering prowess with new digital technology. Leica’s lenses are grouped into three categories: high speed prime lenses, fast and compact lenses and zoom lenses. !
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The core qualities of the Leica brand are quality and perfection. The brand leverages its history to create an almost mythical, revered presence in the mind of photography professionals. With legends like Henri Cartier-Bresson and Robert Capa as ownables (who used Leica exclusively), Leica is considered synonymous with the history of photography more than any other brand. !Leica’s marketing strategy is multidimensional. Leica galleries, situated all around the world, offer the ideal forum for both prominent Leica photographers and emerging new talents to present their work to a wider audience. In the same vein of nurturing emerging talents, the Leica Akademie offers a range of programs and workshops during the year to entry level photographers. The company runs the annual Oscar Barnack Award, created in 1979, which offers high-value prizes to winners in three categories: the professional award, the newcomer award and the public award. Leica publishes a magazine, LFI, 8 times a year which features professional photos, studies about Leica products, users tips, reports on digital and analogue photography, and is also available in app form. Leica uses its stores, which are minimalist and stylish, as primary marketing spaces where members of the Leica community are encouraged to interact. Exhibitions and workshops take place in the stores, and all employees are Leica experts. Lastly, Leica has made significant use over the years of celebrity endorsements, attaching names like Brad Pitt, Kate Moss and Scarlett Johansson to the brand. Leica adopts a prestige pricing policy with some of the most expensive cameras and lenses on the market. !In terms of lenses, Leica is considered the producer of the highest quality lenses on the market. Christian Erhardt, Vice President of Marketing Photographic Division says, "People have a tendency to focus on megapixels, but what you need is the best lens. Without a great lens, you can only do so much.” This positioning is captured in the advertising campaign depicted below, which shows the zoomed-in images of existing backdrops, shot with a Leica lens. This positioning was also reflected in our qualitative research - respondents provided descriptors such as “precision,” “excellent,” “craftsmanship,” “elegant,” “the best” and “fine optics.” The positioning of the brand as historical also came through with responses such as “old school,” “retro” and even “tool of the masters.”
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Lensbaby !Lensbaby is an American manufacturer of independent lenses, founded in 2004 by Craig Strong. The lenses produced by the company combine with a bellows or ball-and-socket mechanism to create Optic Swap System effects, for use in special-effect photography. The Optic Swap System is the core of the Lensbaby value proposition and approach to photography - by manually flexing the bellows of the lens, or tilting the lens on the ball and socket, the sweet spot of sharp focus moves around the image, leaving all areas outside of the sweet spot affected by a gradual outward blur. There are 8 lenses that create this effect that can be swapped between any of the lens bodies at will. Lensbaby lenses are very affordable (around $200) and can be used with most cameras that accept interchangeable lenses, mainly DSLR, mirrorless, 35mm film and PL mount motion cameras. Two of the most popular lenses and their descriptions are displayed below.
!“The Composer Pro offers smooth focus and tilt/swivel ability. With its refined design and sturdy metal construction… the Composer Pro is the premium choice for professional photographers and videographers everywhere. It is compatible with all optics in the Optic Swap system and ships with the Sweet 35 Optic, Double Glass Optic, or Edge 80 installed.”
“The Spark is the newest addition to the Lensbaby line of lenses. It's fun, flexible, and our most affordable lens yet. Shooting with the Spark is a great way to introduce yourself to seeing the world creatively with a Lensbaby.”
Lensbaby’s marketing activities are, like the company, in their infancy. Workshops and lectures are organised, and a Lensbaby Forum has been created where people can share photos and tips to generate a sense of community. The company has a strong presence online and in social media (78,940 likes and direct sales from their Facebook page), which is key because the target audience is much younger. Lensbaby runs a Youtube channel, with more than 3,800 subscribers, where video content about their products, tutorials and interviews with professional photographers is posted. Their Instagram account is followed by 1,360 fans, Twitter by 25,000 followers and Flickr by 9,628 enthusiasts, with 78 315 photos with the Lensbaby tag. The company is currently running a Kickstarter campaign to fund the Lensbaby Sweet Spot Lens for Mobile - $44 799 from 728 backers has been raised so far. !
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Sigma
Sigma is a Japanese company, created in 1961, that manufactures cameras, lenses and other photographic accessories. All of their products are produced in the company’s own factory in Bandai, Fukushima, Japan. The company groups its lenses into three categories: contemporary lenses, art lenses and sports lenses.
From a marketing point of view, Sigma defends the idea that the lens is the most important part of the photography process but takes no real stance in communicating a message to consumers. The company uses trade shows, fairs and festivals to showcase products, publishes a newsletter and blog, and runs social, photo-sharing and ‘Sigma Pro’ forums on their site. The company’s communication is catered to an older, less trendy audience and no advertising or promotional campaigns are released to differentiate Sigma lenses from those of competitors. The insights that emerged from our qualitative research - “stable,” “crap,” and “no opinion” - reflect the indifferent attitude of consumers towards this lens maker. We solicited similar responses for Pentax, a relatively outdated camera maker, and Olympus, a camera maker known for point-and-shoot models but not renowned for quality in the independent lens production.
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Old Lenses Creating the Same Effect
The final competitor to the New Petzval lens is the availability of older, ‘vintage’ lenses that produce the same effect (both photographically and emotionally) as the New Petzval on peer-to-peer marketplace sites. If one types ‘Petzval lens’ into ebay.com, more than 60 options of original Petzval lenses come up for sale. Interestingly, a range of other lenses that produce the same effect as the Petzval are also available on these sites. These lenses are listed below. The Russian Helios 44-2 model, a lens that produces a swirly bokeh effect exactly like that of the Petzval, is widely available for purchase at prices as low as $79 on online distribution platforms. Helios was a brand of camera lens made in the USSR, usually supplied with Zenit cameras. The Helios 44-2 is the lens most associated with the swirly bokeh effect after the Petzval. The Jupiter 9 is a copy of the pre-war Zeiss Sonnar 85mm f/2, and is considered a very high quality lens. It is a vintage lens but is still in production today by Russian company LZOS and retails for around $150. The Carl Zeiss Jenar Biometar 80mm f/2.8 also produces a bokeh effect, but there are fewer listings for the sale of this lens that for the others. The Leica Summitar 50mm f/2 is another bokeh producer, and is available for between $200 and $300 on eBay.
!!The Russian Helios 44-2 produces the effect on the left, and the Leica Summitar produces the effect on the right. !!!!The photo on the left is produced by the Jupiter 9 lens. !!!!
The conclusion to be drawn from this competitive category is the availability of lenses at cheaper prices that produce the same effect as the New Petzval. While these lenses do not come with the same degree of prestige as the New Petzval, real photography enthusiasts and collectors may opt for truly vintage lenses that provide the same authentic analog experience that the New Petzval creates. !!!!
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2.1.2.1 PERCEPTUAL MAPS!Following secondary research into competitors, the following perceptual maps have been constructed to depict the competitive landscape of first cameras and then lenses in terms of the uses that they are put to by the consumers. As can be seen below, the category that Lomography is associated with (special and analog cameras) is in a different segment to the customer segment to whom the Petzval lens appeals (the ‘super-rich fettishist’). At this point, (before primary research has been conducted), we deduce that two possible routes can be taken. The first is to reposition the Lomography brand to exist within the overlap of the ‘super-rich fettishist’ and ‘hobbyist’ segments. While this would establish credibility for the brand, it would represent a strong diversion from the ‘ten golden rules’ and would require entering a space that is already highly populated. The second route would be to remove the attachment of the Lomography brand from the New Petzval as a product, which would look more like the second perceptual map. While this would allow the Lomography brand to keep its core values, it would prevent the brand from growing and benefiting from the increased exposure and credibility gained from being associated with the New Petzval. !
Perceptual Map for Camera Usage
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For Professionals
For Fun/Leisure
FunctionalEnjoyment/Experience
Pro-MirrorlessSony A6000, A6 Fujifilm X Series
Analog camera
APSC for Beginner
550D
Full frame for amateurCanon 70D, 6D
Nikon D610, D750
APSCMirrorlessNikon J1
Prosumer cameraPortable
camera
Professional DSLR: Canon Mark III, 1D,
Nikon D4
Smartphone camera
Low end compact
Phone camera applications (eg.
Instagram)Special cameras (eg. Lomography)
Instant camera
Professional
Photography as function
Middle-aged
Super rich ‘fetishist’
Hobbyist
Perceptual Map for Lens Usage
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For Professionals
For Fun/Leisure
FunctionalEnjoyment/Experience
High quality, highly niched brands
Special effect: fisheye, tilt
shiftWide range kit lens
Value-for-money mid-level lenses
High-end special effect (e.g. Petzval)
Professional specific purpose lenses
Beginner-specific lenses
Professional, high accuracy lenses
Special cameras (eg. Lomography)
Instant camera
Potential group
2.1.4 PRODUCT ANALYSIS: THE NEW PETZVAL LENS !Following on from secondary research of the competitive environment for lenses, this section now presents a summary of the secondary research conducted to gain insight on general perceptions, opinions and knowledge of the New Petzval lens itself by current consumers in the marketplace. The research method employed was that of ‘netnography’ - a scouring of online sources to solicit qualitative opinions. The research findings are split into two categories: discussions in the press, media and professional reviews, and those in social media. !2.1.4.1 PRESS!
The appearance of the lens !In general, credible sources online are very impressed by the look of the New Petzval: it is a “beautifully crafted object” according to DPReview, and “nothing short of a piece of art” according to the Photoblographer. There is a strong appreciation for historical feel of the lens - GizMag calls it a “piece of photographic history” that “feels so authentic… you’d be inclined to question it’s age” - and many remark on the amount of attention that the lens attracts on the street. Significant praise is given to the packaging, compared in terms of effort to only Zeiss, Leica and Fujifilm. On the negative side, the lens is repeatedly described as “heavy,” “impractical to handle” and “fragile.” !
The performance of the lens !The tone in reviews is less impressed by the performance of the New Petzval. In general, experts agree that the lens isn’t trying to, and can’t, compete with other modern lenses when it comes to raw image quality, but that the fact that it allows you to shoot something different in such an experiential way makes up for this. According to The Verge, “It’s hard to create very sharp images… and the “bokeh effect isn’t what many pixel-peepers would consider objectively “good," but that’s not really the point - the Petzval lens’ charm comes from its ability to paint pictures you wouldn’t really get from a traditional setup.” The lack of electronic contact reminds the user of how it used to be in the 19th century - it’s “all about the experience” rather than the results. Additionally, the fact that the lens cannot be used everyday is also continually remarked upon - “its more or less a one-trick-pony” with a specific utility for portraits, preferably in a natural landscape. !
The target audience of the lens !Experts and reviewers agree that the lens is not for everyone, and is targeted at “the professional, semi-professional and advanced amateur that straight up knows what they’re doing.” There is a resounding opinion that it cannot be bought as someone’s first lens because a) it is considered a “fun” purchase (meaning that people who already own lenses would buy it to supplement their collection), b) the appeal is “subjective, not objective” (meaning that emotional reasons are much stronger than the rational need to create good images), and c) it requires technical knowledge and is not easy to use - according to Layers Magazine, “Suddenly confronted with a lack of autofocus, no ability to quickly dial in your aperture and possibly no in-camera metering, you're forced to slow down and think about what you are doing.”
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The maker !Lomography is framed in the reviews as a company with little credibility in the professional market - “Lomography isn't a company we've historically talked about much on DPReview; with its emphasis on 'shoot from the hip' photography using plastic film cameras, it's a long way from the typical interests of our readers.”, Those that did mention the maker, however, remarked with surprise at how well the brand has done to create such a product - the Photoblographer saw “very little colour fringing from this lens even when we cranked up the contrast; that’s quite a feat for a company that was otherwise billed as creating hipster gear.” !2.1.4.1 SOCIAL MEDIA!The general feeling that one gets from researching the New Petzval on social media is of excitement and expectation. There are three main categories of messages spread on social media:
• People who have already purchased the lens are proud to show off pictures they’ve taken - the main themes are portraits, flowers and nature, weddings and events.
• There are many posts from enthusiastic people who show excitement at the news that Lomography has brought the Petzval lens back to life. Some have already ordered one and are impatient to receive it, while others are just passionate about photography and like to keep themselves and others updated on the latest entrants into the camera and lens market.
• There are also posts by passionate photographers who are aware of the release of the New Petzval lens but are critical about it, due to the high price or the fact that the same effect can be achieved with a software or smartphone filters.
The general positive trends that can be identified in social media conversations include excitement for the release of the lens; expectation of those who have ordered it; a desire to show the pictures shot with the New Petzval; a desire to appear up to date with the latest news in the photographic world; an appreciation for the aesthetic and the appearance of the lens; an appreciation for the mechanical touch of the New Petzval and a general pleasure in handling it; and an appreciation for the continuity with the historical lens. The general negative trends that can be identified include the high price; the difficulty experienced in focusing the lens; the fact that the effect not so unique because it can be achieved with a software or filters; and the fact that the lens difficult to purchase in some geographical areas
Many groups are built around the New Petzval lens on Facebook, by people who own it and like to be part of a community of amateurs as well as experts who can appreciate each other’s work. People share their best pictures, explaining how they achieved the effect that differentiates them and which camera and tools they used. The most common concern spotted is the difficulty to adjust the focus, and in some countries the tricky accessibility of the product. In general, people refer to Petzval with no mention of Lomography. Many people knew the old version of Petzval and are grateful to see it back to life, showing that the historical roots are an important part of the lens’ success.
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Posts on Twitter are mainly links to articles announcing the release of the lens or to reviews and photography blogs.The common trait is the pleasure of the whole experience of owning and handling the New Petzval. An example from a member of Lomography community, Sandravo: “I love it! What else can I say?! It is an amazing feeling to look through that lens and see the world change in front of your eyes. Not to forget the looks of disbelief on people’s faces, when they stand next to me, holding some very expensive digital gear!”
But even on Twitter some critics can be found:
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Many are the pictures taken with the New Petzval shared on Pinterest, but what’s different here is the huge amount of pictures of the lens itself, and the appreciation for its appearance and for the fact that it’s the new version of a very much loved lens from the 19th century. The backgrounds of the people posting about the New Petzval are varied: there are some professional photographers who have added the lens to their collections, some amateur photographers who use it to give a special touch to their daily life or events pictures, and some are just passionate about new trends and advertise it even if they don’t own one.
YouTube
There are many videos of people showing the lens as it comes out of the box on YouTube, and describing it as a work of art because of the brass material, the luxury packaging and the easy manual mechanics. There are also short films taken with the lens, appreciated for the vintage look achieved without the need of filters and software. People uploading videos are in general excited and enthusiastic owners of the lens, willing to share their experience with it.
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2.2 PRIMARY RESEARCH!After obtaining a broad overview of the competitive market, the perception of the New Petzval by experts and customers in the marketplace and the trends defining the context within which the Lomography problem should be considered, we then conducted primary research to better understand the consumer to whom the product appeals. !2.2.1 Qualitative Analysis!Qualitative research consisted of in-depth interviews with four customer profiles that we constructed off the back of secondary research. !
The ‘super-rich fettishist’ !This profile consists of extremely wealthy males between the ages of 50 and 70 who already own numerous cameras and lenses and would buy the New Petzval as an addition to a collection. The fettishist sees it as a playful purchase that will enrich his experience of photography, bring him joy and allow him to demonstrate something novel and exciting to his friends and family. He makes the decision based on emotional rather than rational (price-guided) factors. Our research found that people within this segment considered Leica the benchmark for excellence in photographic products and were entirely unfamiliar with the Lomography brand. They were intrigued by the New Petzval, using words such as “mysterious,” “strange,” “minimalist” and “beautiful” to describe it, and estimated its price to be higher than the 700 euros it retails for. In general, response to the question of “Would you buy this lens?” varied between a tentative “yes” and “most definitely,” indicating positive purchase intent from a first impression. !
The ‘professional photographer’ !The ‘professional photographer’ makes a living from taking photos and makes carefully considered investments in photographic equipment. Our interviewees in this segment spent between 3,000 and 5,000 euros on photography a year, and all estimated the price of the lens to be lower than its retail price. The majority of professionals knew the Lomography brand but didn’t own Lomography products, and considered the brand to be “young,” “fun” and “creative.” The adjectives they used in response to the New Petzval included “special,” “hipster,” “vintage” “novel,” “exotic” and “intriguing.” All professionals said they would not buy the product. !
The ‘hobbyist’ !The third profile is the ‘hobbyist’ (or ‘enthusiast’) which includes anyone between the ages of 25 and 50, but tending towards the older bracket, who is passionate about photography and takes photos for familial, recreational reasons - “to have a photo as a souvenir”. On average, the hobbyists we interviewed spent 300 euros on photography a year and relied on known, trusted brands for their purchases. The majority did not know Lomography and those who did didn’t own products. “Gimmicky,” “retro,” “fun” and “plastic” described the themes of the responses to the brand, while “interesting”, “unique,” “iconic” and “specialised” described
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their responses to the New Petzval. The majority of hobbyists said they would buy the lens, but only if they got the chance to try it out first. !
The ‘Lomo-friendly youth’ !The fourth profile includes anyone between the ages of 18 and 25 who knows the brand Lomography well. This could be a Lomography fan and owner, or someone who would like to own a Lomography product but can’t afford it. There was a noticeable change in the attitude towards both Lomography and the New Petzval of this consumer. Adjectives such as “powerful,” “modern,” “trendy,” “elegant,” “innovative,” and “dynamic” described their perceptions of Lomography, indicating an aspirational admiration that didn't exist in the other three segments. While all interviewees in this segment estimated the price of the lens to be lower than it actually is, they described the lens as “bold,” “artful,” “elegant,” “precision,” “high quality” and “avante-garde.” We found a noticeably stronger perception of the lens as a high-quality product within this group than within the others. !2.2.2 Quantitative Analysis!To further investigate the patterns that emerged from our qualitative research, we designed a questionnaire and distributed it to photographic communities online. The insights we gained from the questionnaire are graphically depicted below. !Gender, age and country distributions of respondents: !!!!!!!!
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Type of camera owned: !! !!!!!!!!!!!Type of lens owned:!!!!!!!!!!!!Sources of information about lenses:
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Attitudes towards photography:
Attitudes towards lenses:
!Attitudes towards the New Petzval:
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Further findings!• When asked about the features of the New Petzval, the most appealing feature is the swirly bokeh effect
while the least appealing feature is the custom-shaped apertures. • People who own a Lomography product already are more appealed to by the swirly bokeh effect than
people who do not own a Lomography product. • The brass appearance of the lens is much preferred to the black. • The average estimation of the price of the lens is 610 euros. The group of people who value the lens most
highly in terms of price are people who own vintage cameras. !In-depth findings!Besides analysing in detail the above data, this section seeks also to verify the findings from qualitative research. Because the survey was not able to reach a sufficient number of respondents that fit into the ‘super-rich fettishist’ category, the analysis focuses on the rest of the potential target market for the New Petzval. !Correlation between age and intention to purchase:!
• We find that there is no difference in correlation between intention to purchase and age - for both young and old age groups, the intention to purchase is low (0.008). Having said that, however, younger respondents would be more inclined to rent the lens (0.14) than older age groups.
• While income is not related to attitudes towards the New Petzval, there is a positive correlation between income and intention to purchase the lens. !
Preferences of vintage lens users towards the New Petzval: !• Contrary to what would be expected (the vintage lens users would have a lower preference for the New
Petzval), the research shows that vintage lens users would be more inclined to rent the lens than the rest of the people. !
Media channels: !From the insights of the quantitative research, we break the customer segments from qualitative research down into further segments - people who use photography to express themselves, people who prefer to use vintage lenses and people with high interest in buying or using the New Petzval. In terms of media channels, the data shows that third party websites and recommendation from friends are very important to all the groups. Social media, on the other hand, is less likely to have an impact in persuading a customer to choose a lens.
!I use camera as
expressionHigh Intention to user New Petval
Vintage Lens User
All Users
Advertisement 14% 13% 18% 10%
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!!Intention to buy: !When asked why they would not be interested in purchasing the New Petzval, the two most significant reasons given are because the lens looks too expensive and because the lens is not essential and would therefore not be used regularly. It is not a practical purchase as it is unnecessary. For people who do have a high intention to buy the lens on the other hand, the special features (bokeh effect, apertures, brass appearance, etc,) do not emerge as the factors that trigger them to purchase intention. By this, we can deduce that there is more to the reasons behind purchase intentions of the lens than the product form alone. !Further research: !There is still a gap in the quantitative research about what it is about the lens that truly appeals to customers who have positive intention to buy the product. Further discussions with lead users and shop salespeople would help to investigate the nature of this trigger. It would also be valuable to interview people who actually own (or have preordered) the product to examine what attribute of this product appeals to them. !!!!!!!!!!!!
Forums/blogs 24% 17% 18% 19%
Companies Website 17% 25% 18% 15%
Third party websites/reviews 28% 38% 36% 21%
Recommendation from friends 38% 42% 55% 29%
Shop visit 21% 25% 18% 17%
Specialized magazine 17% 29% 27% 17%
social media 17% 21% 36% 17%
Professional Reviews 41% 50% 55% 31%
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3.KEY FINDINGS AND PROBLEM REDEFINITION !The key findings of our research, in the context of the pre-identified problems, can be defined as follows:
• We find that the core value proposition of the New Petzval, as determined from both qualitative and quantitative insights and responses to the product, can be defined by the following five elements. 1. Luxury. The lens is a luxury product not only because of its price and scarcity, but because it is not a necessity - its emotional appeal is much stronger than its functional appeal. The product provides the user with a ‘luxury’ experience that differs from more conventional choices in the category in terms of the effort required to command and carry the lens, the patience and enjoyment in adjusting the manual focus, etc. 2. History and Heritage. The lens is valuable not only because it creates a unique effect but because it is proof of the evolution of photography. By owning a New Petzval, a person feels closer to the roots of the art. 3. Experience. The New Petzval is not only about capturing an experience or activity, it is about deepening the experience of doing so. The New Petzval is not about the destination but rather the journey, which manifests in the mastery of the manual focus, the steep learning curve of the lens, the feeling of being taken back in time. 4. Art. The New Petzval is more than just an image recording device, it is a tool used to create art. 5. Emotion. The lens is subjective rather than objective: each photo is proof of effort, a record of experience, a documentation of people and places. There is no necessity to judge a picture from the point of view of a professional camera.
• The middle market of photographers - professionals and middle-aged hobbyists - does not represent a feasible target for the New Petzval because these consumers make decisions based on rational factors and cannot justify the expense of the lens. The most promising targets appear to be those who can afford it, those to whom the emotional aspect of the lens appeals, those who wish to be early adopters, and those with an intrinsic reason for wanting to own the lens that isn’t captured by the lens itself. The problem becomes how to divide the market of potential customers into understandable groups, and how to tailor communications to each group specifically without losing coherence and consistency of the brand message.
• The tangible features of the lens (apertures, brass design, etc.) are not heavy triggers of purchase. Our research finds that although people find these aspects interesting, those who are truly keen to buy the lens are drawn more by the emotional and historical value propositions. The problem therefore becomes how to translate the emotional value proposition of the lens into a trigger in the consumer decision journey.
• Lomography brand name adds no value to the New Petzval as a product. Lomography is not mentioned in consumer conversations about the product online, and when it is mentioned in expert/third-party reviews, the tone is of surprise rather than endorsement. The problem here becomes how to affiliate the product to the brand in a way that does not harm the perception of the product.
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4.OBJECTIVES Given the above findings and the redefined problem set, we can develop the following objectives for our strategy:
To re-evaluate target segments and identify the most profitable for the New Petzval.
To develop a core brand message that is coherent but allows enough flexibility to communicate different value propositions to different segments.
To affiliate the New Petzval to the Lomography brand in a way that does does not detract value for consumers for whom the brand is unimportant, and adds value for consumers to whom the brand is influential.
To translate the emotional value of the lens, which is usually discovered in the post-purchase phase of the consumer decision journey, into a trigger for purchase. !
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5.BRANDING STRATEGY !Given the findings of our research and the stated objectives, we have developed a branding strategy based on the following principles:
• The New Petzval will be positioned as a luxury product.
• The overlap between the value propositions of the Lomography brand and the New Petzval is defined as below. To unite Lomography and the New Petzval, we want to leverage the aspects that the two have in common, most notable of which are their respective histories and the idea of photography as an experience, a journey rather than a destination.!
• The customer group will be split into three segments - ‘the ‘super-rich’ fetishist, the ‘Bobo’, and the ‘Lomo fan’. The ‘middle-aged hobbyist’ and the ‘professional’ will be discarded.
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6.PROPOSAL !6.1 INTRODUCTION
This section presents our recommendations to Lomography in four parts. To begin with, the proposed segmentation will be outlined and justified, then the overall strategy will be presented. The ways in which the strategy will reach customers will then be explained, covering distribution, online content and partnerships, and to end off, the way the strategy will be communicate with customers will be highlighted through retail strategy and packaging.!6.2 SEGMENTATION
The four consumer profiles drawn from secondary research were the ‘super-rich fettishist,’ the ‘middle-aged hobbyist,’ the ‘professional’ and the ‘Lomo-friendly youth.’ Having looked deeper into this segmentation with primary research, we have altered our view of the customers who represent realistic buyers of the Petzval and have identified the following three as the most feasible.
6.2.1 Super-rich fetishist
Profile
The consumer most likely and able to buy the New Petzval is the super-rich photography fetishist. This group consists of the world’s hidden, highly educated millionaires in their 50s and 60s, who are in early retirement or the ‘harvest’ stages of their careers as investment bankers, CEOs and businessmen. They are able to buy whatever they want and they have traveled to every corner of the world. Their hobbies are diversified but very selective - golf, sailing, polo, poker, fishing, spiritual pastimes (meditation), tea-, wine- and whiskey-tasting, gardening, art appreciation, photography, leisurely travel. Most importantly, these men are are humble and low-profile, and prefer to remain out of the spotlight. They’ll be found in designer shops, business lounges, high-profile restaurants, seven-star hotels and art galleries, but they’ll never be seen at public events that would expose them to the camera. Contrary to how the masses perceive luxury products, this group perceives luxury as ‘the best’, no matter the popularity of the brand or whether or not others agree. They use iPads and iPhones to email and read the news but never to share on social media or consult a blog about the best place to eat. They rely on experts for everything - credit card centres for restaurant bookings, private travel agencies for travel plans, car dealers that have been known and trusted for years. As they grow older, the physical things that these men buy with their money become less important than the ‘reason why’ - they want to explore meaning, they enjoy the experience of products rather than just the ownership of them and they live in constant pursuit of spirituality and self actualisation.
Consumer decision journey
When it comes to photography, this segment is not overly technology-savvy but requires a high level of specification from their purchases. They will own cameras of the highest quality, and may own a collection of lenses used for different purposes.
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For this segment, we believe the ‘trigger’ of the purchase decision journey to be the appearance of the lens, as it evokes a story, a historical value, that other modern lenses do not. The ‘active evaluation’ process is highly influenced by experts and recommendations from friends and credible sources. The ‘moment of purchase’ will take place at a reliable dealer if not via delivery, and there will be no attention given to what brand the lens is produced by. A ‘loyalty loop’ will only exist with this segment if the brand adds real, recognisable quality and value to the life of the buyer - even if this happens, however, this segment can never be relied upon to spread the word. !6.2.2 ‘Les Bobos’
Profile
The term ‘Bobo’ has been coined from a mix of ‘bohemian’ and ‘bourgeois.’ Traditionally, the ‘bourgeoisie’ was an affluent, well-educated class of people who worked in corporations, lived in the suburbs and defended tradition and morality. Bohemians, on the other hand, were artists and intellectuals, flouting convention and upholding creativity. The ‘Bobos,’ the new “enlightened elite of the information age,” are a perfect mix of the two - “highly educated with one foot in the bohemian world of free-spirited creativity and another in the bourgeois realm of ambition and worldly success.” !Typically, Bobos are aged between 30 and 50 years old and live in cities. They are wealthy and work mainly in creative industries as artists, journalists or publicists. They work not to accumulate money but rather for their intellectual and personal enrichment - their professions are extensions of their hobbies. They demand quality, delivery, durability and design from the goods they purchase and have an immoderate taste for high consumption: they would never spend money on ostentatious items such as sports cars or flat-screen TVs, but will spend highly on objects for everyday life (an oven, organic food, an antique piece of furniture). While ‘les Bobos’ reject mass consumption, they are very important consumers in that they want to consume differently. They look for products off the beaten track - as soon as something fall into the mass market, they lose interest. More than anything, this group looks for difference, rarity and authenticity; they yearn for spiritual harmony and prioritise balance, family and well-being. They are the opinion leaders that determine the trends of tomorrow. !
Consumer decision journey
Bobos are triggered by new technology or modes of consumption, and combine nostalgia, new technology and convenience in their purchase decisions. In the context of the New Petzval, the trigger would be the will to do something mainstream (taking photos) in an artistic and differentiated way, or to spoil themselves. Their consideration set would consist of expensive, high quality lenses (from Leica, for example), or a vintage lens bought from a second-hand shop. Their process of active evaluation would be influenced by existing knowledge of the Lomography brand, consultations of reviews on credible websites, the ability to test the product and the places where the product can be bought. The opinions of friends would play less of a role than for the super-rich segment, which is less concerned with projecting a certain image through purchase behaviour. The moment of purchase would be at the physical point of sale. The post-purchase experience would be predicated on the quality of the photos, the experience of using the lens, comments from family and friends and the way the lens makes them feel about themselves when they use it. A loyalty loop would be generated by connecting with this group in their everyday lives, and becoming relevant to them by facilitating a
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sense of meaning and value in the way they use the product. !6.2.3 ‘Lomo fan’
Lomography has built a worldwide community of enthusiastic fans over the decades. What they all share is a strong interest in photography, a desire to be and be seen as different and creative, and a passion for the brand, its historical roots and the cultural movement around it. !The typical ‘Lomo fan’ is between 18 and 30 years of age, owns one or more plastic camera(s) and has their own profile on the Lomography website where they share their analog images with the rest of the community. Photography occupies an important role in their life and is something into which they invest time and money. While people in this group are aware of trends and cultural movements, they enjoying being different and expressing this uniqueness through artistic photography. !Young Lomo fans will be triggered by the consumption patterns of their friends, or by the desire to project a certain image of themselves. Their consideration set will consist of products that allow them to express their creativity and unique personality, and give them access to a community in which their efforts can be appreciated and their questions answered. Their active evaluation will comprise information searches on social media and blogs, the opinions of friends and influencers, word of mouth and budget restrictions. As a point of purchase they will rely mainly on e-commerce or Lomography stores. The quality of their post-purchase experience will be determined by the ability share their pictures with friends and/or other photography enthusiasts, whose feedback they crave as validation. Having such a strong passion towards the brand and its products, this customer group is a good target for Lomography’s communication as they are already well disposed toward it. !6.2.4 Discarded Segments
Before conducting primary research, ‘professionals’ and ‘middle-aged hobbyists’ were segments we believed would be interested in the New Petzval. This section will explain the reason why we do not think that it is feasible for Lomography to communicate with these segments, and why it is better to invest resources in communication with the younger Lomography’s fans.
Professional photographers are not easily influenced by advertisements and communication for photography products, as they base their purchases on professional needs and careful evaluation, sustained by deep expertise and search for advice and reviews within their professional network. We believe that any communication strategy directed at them would fall on deaf ears because the value proposition of the product does not align with what they are looking for.
The middle-aged hobbyists represent a difficult category for the company. In this case too, every purchase is well pondered and carefully selected from a range of initial considerations. Even if hobbyists have more money and time to dedicate to photography, the activity remains only a hobby which means that they require tools that are practical, reliable and that can be versatile. The fact that most of the hobbyists we interviewed used photography mainly when on holiday and had active interests - “fishing,” “hiking,” “bike riding,” “traveling,” and “spending time in nature” - indicates that the Petzval would not be the most practical choice of lens for them.
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Additionally, this segment has less need to show off than a younger segment, and photography is for them an authentic passion: they don’t shoot because it’s trendy but rather because it’s something they love, and this influences their purchase decisions. This customer group has access to many sources of information about photography products, both from specialised magazines and their networks of friends, photography forums, professionals and retailers, and is therefore not easily influenced by communication and advertising.
We suggest instead that Lomography strengthen its communication about the Petzval with those who are already fans and customers of the brand, in the attempt to instil in them a sense of aspiration toward Petzval. The idea is to create a sense of fascination and expectation in the minds of the younger customers, who will consider this lens as the ultimate photography purchase once they are able to afford it. Efforts should therefore not be put towards convincing them to buy the lens (as the price barrier is too high and not easily overcome), but in the attempt to build an aura of expectation and aspiration around the New Petzval, ensuring that it remains constantly present in the young consumers’ minds. In this way the purchase will be postponed but the intention will be built early, when the customers are already fond of the brand and most receptive to advertising. !6.3 CONCEPT PRESENTATION
The concept we have developed is to position the New Petzval as the poster product for experiential luxury. The campaign is entitled ‘Make Your Story History.’ Before the concept is explained, context will be provided with a brief discussion of luxury industry trends. !6.3.1 Justification: Luxury Trends
As the world’s wealth and buying power increases, particularly in developing eastern countries, luxury is becoming democratised and demanded at more affordable prices. In order to stay relevant, luxury brands are obliging: designer clothing brands are creating ranges for high-street stores, high-end confectionary brands are partnering with mass transport companies, and champagne is becoming more of an everyday drink than something for special occasions. Luxury products are also being consumed and perceived in very different ways at the opposite ends of the globe: in Asia and other developing regions where consumers are eager to flaunt new wealth, ostentation is key, while in the West (Europe in particular), traditional status symbols are giving way to a more discreet form of luxury. !The psychology of luxury consumption is also undergoing interesting shifts. According to business journalist Jane Bainbridge, “the luxury aesthetic and the relationship of wealthy people with their money is evolving.” As ‘peers’ become more important than ‘brands’, the way we show off is becoming less about what we buy and more about what we do. Social sharing is becoming the primary indicator of status - as Bainbridge puts it, the era of social media has led to the mindset of “no need to admire my Armani suit, just look at my perfect family and our Maldives diving pictures.” Luxury is therefore becoming more about the story behind a product. The need for authenticity and relevance rather than the impulsive ‘buying for buying’s sake’ is driving a more subtle approach to luxury consumption. !Luxury has also not escaped the infiltration of the experience economy. In seeking a deeper understanding and level of involvement with a luxury brand, consumers are driving demand for ‘experiential luxury’, conveyed
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in the heritage, craftsmanship and rarity of products. Instead of buying a £30,000 watch, luxury consumers would rather cook alongside a Michelin-star chef, travel to a faraway spa retreat, go on a bespoke safari or attend a fine at auction. According to a report by Boston Consulting Group, “experiential luxury accounts for almost 55% of the total luxury spend worldwide and has grown 50% faster than sales of ordinary luxury products.” !6.3.2 Product Levels!We have defined the product levels of the New Petzval as follows.
6.3.3 Storytelling !Two successful identification codes for luxury brands are historical narratives (as seen in Hermes and Salvatore Ferragamo) and brands built around the stories of influential individuals (such as Coco Chanel). Given the above product levels, we propose that the communication codes for the New Petzval be anchored in a narrative of the lens itself and the founder, Joseph Petzval. The idea would be to highlight the history of one of the oldest lenses ever created and develop a sense of mystery and intrigue around its creator. This ‘storytelling’ would become integrated into each of the communication tools developed and will guide our entire communication and branding strategy. !
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Lomography already emphasises its own storytelling. In 1990, two students from Vienna discovered the Lomo Kompakt Automat and started a whole movement among their friends. One of their mottos was, and still is, “the future is analogue”. The storytelling of the Petzval will come back to the very roots of photography and will be coherent with the story of Lomography. In fact, both messages are oriented around the fact that the future of photography is to go back to its past, by using analogue cameras or through the reinvention of old lenses. Moreover, the Lomography brand and the Petzval lens were both born in Vienna. The idea of heritage will appeal to the three different targets in the following ways: !• The current ‘Lomo fan’
The current loyal Lomography customer is not a target for the New Petzval lens as they do not have the motivation nor the revenue to buy it. Nevertheless, the message delivered about the New Petzval lens should be in coherence with the general branding of Lomography, so as to keep this segment satisfied. Moreover, this group represents the strongest potential customers for the future, so by making the New Petzval seem relatively unattainable to them now though luxury positioning, we will create aspirational value for them to own it later on in life.
• The ‘super-rich’ customer
This target segment is highly accustomed to luxury brands and the quality and experiences derived from luxury offerings. Therefore, the New Petzval must enter their consideration set for leisure purchases in comparative position with other luxury products. By utilising similar codes - narratives and visual branding that imply heritage, craftsmanship and quality - the New Petzval will attract the attention of this customer base.
• The ‘Bobos’
This segment likes to consume in ways other than the mainstream. They are attracted by rarity, authenticity and meaning, and they are looking for products that combine quality, technology and a certain kind of nostalgia. Thus, a product that emphasises a mythical history will appeal them. The desire to own and be a part of a piece of history would appeal to them as much as the ability the New Petzval provides for them to create art.
The ‘story’ of the narrative will be as follows.
“In 1826, Chalon-sur-Saône, France, 61-year old Nicéphore Niepce successfully took the earliest recorded photograph from his bedroom window. His method of heliography, or ‘sun art’, was achieved by exposing bitumen and lavender oil to the sun for several days on a polished sheet of pewter. When Niepce died suddenly several years later, Parisian artist Louis Daguerre took over his research and, with a famous exclamation of “I have seized the light – I have arrested its flight!” developed the first ever photographic device, the ‘Daguerreotype’. Enamoured by the technology, the French government released the camera to the world for free, and ‘Daguerreotypomanie’ took hold. People, presidents and congressmen couldn’t believe the sharpness and precision of the images the camera produced and street flocked to have their picture frozen in history. Because exposure time was counted in hours, however, they had to stand very still.
!
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It was at this time that Joseph Petzval, the chair of mathematics at the University of Vienna, was urged by a colleague to put his life’s work on optics to use and develop a way to shorten the exposure time of the Daguerreotype. Petzval was brilliant mind - at the age of 16 he was versed in latin, mathematical analysis and classical literature, and spoke five languages - and an avid sportsman, fencer and rider. Legend has it that he rode to his lectures at the University of Vienna on a black Arabian horse.
Using three artillery officers and eight corporal cannoners donated by the Austrian government as aid, Petzval locked himself in an abandoned monastery at Kahlenburg mountain for six months where he perfected the first distortionless objective lens in August of 1840. With an exposure time of just 10 to 15 seconds, this lens, sometimes described as the earliest example of a parallel computer, made snapshots possible for the first time in history. Unfortunately, Petzval allowed the Viennese entrepreneur Peter Wilhelm Friedrich von Voigtländer to produce the lens without a patent or a contract, which led to Voïgtlander marketing the lens as the ‘Voïgtlander Orthoskop’ and making a fortune while Petzval went bankrupt. In 1859, Petzval's home was broken into, and his manuscripts — a result of many years of research — were destroyed. Petzval never managed to reconstruct the lost documents and died forgotten, embittered, and destitute in Vienna in 1891. Just before his death, Petzval was reported to have said, "I defeated the light, I have it firmly in hand, because there is much darkness in the world too."
!6.3 REACHING THE TARGET
6.3.1 The New Petzval Project
Luxury, by nature, is exclusive. By being able to spend a certain amount of money on a certain product or service, luxury consumers become part of an elite society, a ‘club’ that only opens its doors to those who qualify. We propose for Lomography to incorporate this idea of social prescription into its strategy with the New Petzval Project, a society/league/club that people become a part of when they buy the New Petzval. The New Petzval Project would be much more than just a monthly newsletter or an online login, however; it would be the cornerstone of all marketing and distribution activities for the New Petzval.
The New Petzval Project would consist of three tiers. The first tier would be open to anyone interested in the New Petzval who could register for free on the microsite or in Lomography stores. This group would receive nothing more than email communications about the lens and invitations to New Petzval workshops. These periodically held workshops would be structured in three parts.
Workshops
The first, an explanation of the ‘storytelling’ behind the New Petzval, would focus on the history of the lens, the craftsmanship of the design and the features that differentiate it from a typical vintage lens. The second part would be a tutorial in which people would be given the lens and briefly guided by a tutor to different areas (preferably historical and in nature) where they can shoot their own photos. The final part would be photo sharing, in which participants share their work and describe the formation of art pieces.
While the core objective of these workshops is to increase potential groups’ awareness of the lens, the cost of the workshops would cover the operational cost of running them, rather than generating profit. This phase is intended to appeal to the first consumer group, the ‘Lomo fan,’ who want to experience the lens but cannot
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afford to buy one. By giving them the opportunity to hold the lens in their hands, aspirational value is created through a sense of unattainability and desire for ownership.
Renting
The next level of the New Petzval Project is the ability to rent the lens. Rather than making the lens available to anyone and everyone, however, as the idea of renting generally applies, the renting of the New Petzval would remain an exclusive process in coherence with the premiumization of the product. People wishing to use the lens for anywhere from one day to a week must apply to rent it, either online or in store. Their application will be processed and either approved or rejected according to a range of variables. If approved, the customer will receive a hand-delivered lens in exquisite packaging. The lens will arrive in a trunk, reminiscent of an old-world African safari, that is lined with ‘NPP’ (New Petzval Project)-printed lining and compartmentalised into elegant sections. In the most central compartment would be the lens in a drawstring silk bag; in another would be a beautiful leather-bound handbook that resembled the diary of an explorer, with hand-drawn sketches, annotations and tracing paper between the pages. In another compartment would be an envelope of sepia photos of influential people from the past, taken with the New Petzval; in another would be a pocket watch and a handwritten note, ‘Make your Story History’. Opening the box would be an entire experience that would take the customer back in time and, with the many tactile, special and highly detailed touches, make them feel as though they really were being welcomed into to an exclusive club of elite. Customers may have to wait several weeks due to the limited amount of New Petzvals available, which would emphasise the scarcity of the New Petzval and generate anticipation and excitement.
We believe the renting schedule would enhance purchase intention by exposing potential customers to the elegance of the packaging and the product, the exclusivity of hand delivery and the feeling of being one of a selected, ‘hand-picked’ few who have the opportunity to experience the lens without owning it. By appealing to the emotion of the customer, the strategy is coherent with the value proposition of the product. By remaining exclusive, it is staying in line with the luxury positioning.
Renting the lens in this way would make economic sense for Lomography. The price of renting it would be 150 euro for one day, which would ensure that people rented it for only four days or less and ensuring that the concept did not cannibalise sales. Renting would not only provide an additional revenue stream but would ensure future revenue by converting potential buyers into buyers. We propose that there be an average of 5 lenses in circulation in a city - for the bigger cities like Paris, the number could reach 50, but for the majority of cities which are smaller and less concentrated with wealthy people or creatives, there could be only one.
J.P. (Joseph Petzval) Club
Access to the third tier of the New Petzval Project is to anyone who purchases the lens. Upon purchase, a buyer receives a beautiful ‘hand-written’ invitation to join the J.P Club and is given a membership number. This membership number is used to log in to a private microsite where a member can fill in personal details, interact with other members of the club, share their images and experiences of the New Petzval and gain information about New Petzval events, meetings and specialised workshops. As this community grows and becomes filled with wealthy, influential members of society, it becomes an asset to Lomography. Lomography can then sell access to this highly desirable target audience to corporate brands (such as airline companies, alcohol providers, luxury brands, etc.).
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The way in which the New Petzval Project would unite the three segments is described by the image below. The discrepancy between the ‘lomo fan’ and the ‘super-rich’ (the fact that the two are so different and opposite, both in their purchase and consumption behaviours and attitudes toward Lomography) is addressed through the continuity of the club. By providing the ‘lomo fan’ with a more affordable way to access the product that remains aspirational, the ‘Bobo’ with a way to consume differently (other than the mainstream), and the ‘super-rich’ with an opportunity to be part of an exclusive, understated movement and gain excellent customer service, the strategy fulfils the aforementioned objectives of
• tailoring communications to each group specifically without losing coherence and consistency of the brand message;
affiliating the New Petzval to the Lomography brand in a way that does does not detract value for consumers for whom the brand is unimportant, and adds value for consumers to whom the brand is influential; and
incorporating all segments into an overarching community based on individual jobs-to-be-done and value propositions.
!6.3.2 Influencer Identification
We propose that Lomography identify 200-1,000 people in each city (depending on the size and prominence of the city) who they want to be a part of the High Petzval League and send each a personalised invitation to join the society. This invitation would be delivered by a well-dressed, well-spoken Lomography representative with a New Petzval lens, who would briefly demonstrate how the lens works and give the potential customer the chance to shoot with it. Once again, the personal touch of being ‘hand-picked’ and the experience of the invitation and delivery process align with the value proposition of the lens, and would make the product highly
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OwningTrying/renting
Lomo Fan ‘Super-rich’Les ‘Bobos’
J.P. ClubRentingWorkshops
desirable and credible in the minds of the customers. One of the most important aspects of luxury is customer relationship management, and this would be an excellent way to establish a sound sense of customer service with the customers who matter most.
These 200-1,000 people in each city would be chosen for their influence in photographic, cultural, corporate or artistic circles. By putting the lens in the hands of the ‘right’ target audience, we believe the word-of-mouth effect generated would be invaluable marketing for the product.
!6.3.2 Distribution Channels
Because the wealthy segment we are targeting will not frequent a Lomography store, it is important to place the product at points of sale they are more likely to see.
Classical camera stores
As a way to further enhance the ‘storytelling’ aspect of the New Petzval, we propose that the lens be sold in specialised analogue and vintage photography equipment stores, rather than only online and in Lomography shops. Because such stores are few and far between, they are well-known by vintage enthusiasts, camera experts looking for analog equipment and ‘Bobos’ particularly interested in photography, this distribution channel would serve the purpose of not only increasing sales but also gaining increased exposure to, and penetration of, the classic camera market. Examples of such shops include Phote Börse in Vienna, Michel Champion in Brussels, Cemtrum FotoSkoda in Prague, One Of Many Cameras in Copenhagen, Photo Beaumarchais in Paris, ASA90 in Berlin, Ars-Imago in Rome, FotoFransen in Amsterdam, Kutuzov Foto in Moscow, Casanova Foto in Barcelona, Aperture Photographic in London and many, many more.
Department Stores
To consistently establish the New Petzval as a luxury product, Lomography should extend the distribution to selected department stores. Stores like Harrod’s, Galeries Lafayette and La Rinascente are not only a point of reference for luxury shopping and for present ideas, but are also popular touristic destinations. These elements make the category of department stores attractive in terms of the visibility they would offer to the New Petzval, and are very consistent with the luxury nature of it and with the rest of the retail and communication strategy. In order to maintain the image of the product consistent across all the distribution channels, we think it would be essential for Lomography to make sure the New Petzval is always displayed in the same way, with its structure hanging from the ceiling, in an appropriate space within the store. Lomography’s brand is already known in this market and in some of the stores already has a dedicated corner, which can greatly facilitate the entrance of the New Petzval. !
Museum and Art Gallery stores
Lomography is able to go beyond video and digital format and present the storyline and history of the New Petzval lens in a tangible format. Art, history and photography museums are touch points for the ‘super-rich’ and ‘Bobo’ segments of our target audience. We therefore propose that Lomography create a collection of Petzval lenses from throughout history to be artfully displayed in museums and galleries around the world. These mini-exhibitions would frame the New Petzval as a piece of art in its time machine capsule and would
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explain the origin of Petzval lens and its historical role in the evolution of photography. The exhibitions would not only promote the product in a non-commercial setting but would also be a point of sale - a Lomography representative would travel with the exhibition and take orders from people who wished to buy the product.
!6.3.3 Video Content
Over the last few years, video has exploded as a medium for online communication and content distribution. According to Cisco, video content will account for 69% of all consumer internet traffic by 2017, and on-demand video traffic alone will have almost trebled. We propose for video to become a primary mode of content distributed to connect the New Petzval with its intended audience. The first video campaign we propose is ‘The History of Photography in 12 Episodes.’
The campaign will be similar to the ‘Inside Chanel’ video series released by Chanel in 2011, and will artfully showcase the history of photography. Each episode will explain a certain stage in the evolution of the art form starting at its roots with Niepce’s heliography all the way to the highly advanced images of space we capture today. The idea of the videos would be to deliver a depth of insight about the history of photography that could not be gained from Wikipedia, and to use rich imagery, an emotive narrative and excellent cinematic and editing techniques to intrigue and entice the watcher into owning a piece of the history themselves. One video would be released each month for a year on online platforms, and all episodes would be consolidated onto a DVD and other saleable forms at the end of the year.
6.3.4 Partnerships
Opera and Theatre Houses
To remain in this feeling of continuity with the past, and leveraging on Joseph Petzval’s creation of the opera glasses, we thought that a good way for Lomography to connect with their older and more affluent target audience is to show its presence with the New Petzval lens in the locations where these people gather, particularly for artistic purposes. We propose for Lomography to establish partnerships with the major Opera houses and theatres in all the relevant capitals of the world, starting with a first collaboration with the Opera Garnier in Paris. The idea is to showcase the lens in the halls of these venues as if it was a piece of jewellery and, on special and exclusive occasions, to hire a photographer to shoot pictures of the participants in their elegant attires, and give them a printed picture at the exit. From such partnerships, Lomography would gain increased visibility among a customer group that is very appropriate for the New Petzval lens. Furthermore, the New Petzval would benefit significantly from the Opera houses’ communication and media relations. This idea was generated as a result of primary research’s findings, where we learned that seeing and touching Petzval - holding it in your hands and experiencing the manual features - are real triggers of intention to purchase the lens. By displaying the lens in the halls of theatres and Opera houses, attendees would have the opportunity to see, hold and experience it during the intervals. !At the same time the presence of a Lomography product in such a peculiar venue as a novel tool to record memories of luxurious and exclusive nights would raise the attention of a younger customer base and of all Lomography’s community and reduce the sense of distance and perception of inaccessibility toward these realities, thanks to a new shared language. Lomography would also offer to these partners the possibility to be advertised on all its communication channels, thus reaching a very wide, international and differentiated
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audience. This is very much in line with the Opera Garnier’s new interest in attracting a younger audience to form a modern generation of opera connoisseurs. If the first collaboration in Paris shows the hoped success, the concept can be easily exported to all the other Opera houses in Europe, where the same exchange of benefits can be achieved. !
Luxury Brands
A different kind of partnership could be organised with some luxury brands, in order to take advantage of their communication channels and advertisements. The unique look of the lens, and its gold and vintage appearance make it a beautiful object to hold in your hands: a collaboration with luxury brands of watches, jewellery or even beauty products like nail polish would offer Lomography the possibility to be portrayed in these brands’ advertisements. This could especially work for some minor brands looking for a point of differentiation and an innovative way to advertise, who would be willing to capitalise on the artistic and creative nature of the New Petzval to achieve more precise positioning.
Following the example of the collaboration with Eastpack for the traditional plastic cameras, another partnership opportunity for Lomography could be with the luxury suitcase brand, Globe Trotter. The New Petzval could be sold together with certain bags, framing the lens as the irreplaceable companion for weekends and holidays. We learned from desktop and primary research that a common trait of the different customer groups is the passion for travelling and for open-air activities: for this reason we think that the association of Petzval with a suitcase brand would prove a successful source of visibility for the lens. Globe Trotter would gain visibility within the artistic world and add some personality to one of its lines of luggages, to differentiate them from the competition and give some extra benefit to its offering and benefit of Lomography communication channels. The New Petzval would benefit from an additional distribution, communication and advertisement channel, establish its name within the luxury world and gain a spot on the main shopping streets around the world. Globe Trotter is an appropriate brand to choose because it, like the New Petzval, is steeped in history (HM Queen Elizabeth II chose Globe Trotter for her honeymoon luggage in 1947 and Sir Edmund Hilary ascended to first base camp with Globe Trotter during his conquest of Everest in 1953), and emphasises the craftsmanship and quality of its cases.
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!!Additionally, to leverage on the idea of ‘experiential luxury,’ Lomography could partner with companies that operate or are associated with desirable, expensive holiday destinations. African safaris, spa retreats, luxury beach resorts and bespoke trips (to watch the penguins in Antarctica or the gorillas in Kenya, for example) are popular amongst our wealthy target group. By associating the New Petzval with these brands, the value proposition of the product is brought to life as people are encouraged to make their own stories history. A partnership would benefit the other companies by providing access to an expanded customer base and allowing the opportunity for more high end, luxury positioning.!6.4 COMMUNICATING WITH THE TARGET
6.4.1 Retail Strategy
While the products usually sold by Lomography are not premium products, the New Petzval is indeed one. The decoration of Lomography stores corresponds to the current communication of the brand - colourful, trendy, welcoming and young. This does not fit with the New Petzval target or with the image we wish to portray about the product, which is why we must incorporate luxury retail logic into the Lomography’s stores to ‘premiumize’ and differentiate the product from the rest.
We propose that a space be allocated to the display of the New Petzval in every Lomography store. This space should be refined and empty, to produce an effect of scarcity. There should be a colour contrast between this section and the rest of the store - the New Petzval section should be black and gold with only a few monochromatic pictures taken by the Petzval Lens. Each object that exists in the space (whether purely decorative or serving a function, such as holding up a structure or the lens itself) should be evocative of history, craftsmanship and science - metal cogs, a workman’s tools, hand sketches on aged paper.
The New Petzval will appear in a specially designed, miniature ‘time machine’ similar to that in the image below that will be suspended from the ceiling. The New Petzval will sit inside the time machine behind by a small glass door that people will have to open (by turning a key) in order to remove the product. T h i s w i l l c r e a t e a h i g h expectation for the visitor while evoking a sense of mystery and ‘otherworldliness’ about the lens and emphasising its fragility. By being elevated and behind a
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‘barrier’, the lens becomes positioned as something people can see but not easily reach. The aspirational and luxury qualities of the lens are subtly communicated, and the difference between the New Petzval and the other Lomography products is made clear. Additionally, the time machine appears like a piece of art, attracting immediate attention from passers-by.
6.4.2 Packaging
Because our netnography research proved packaging to be a highly appreciated differentiating feature of the New Petzval, we believe packaging provides an excellent opportunity to further communicate the history, craftsmanship and uniqueness of the lens. We propose for Lomography to approach contemporary artists to showcase the personality of the product through high-design packaging. For example, Lomography could approach Matthieu Lehanneur, a French designer with a futuristic vision who is always focusing on new technologies and trying to move away from traditional design. Seeing as he has collaborated with luxury companies as Veuve Cliquot and Cartier and the Hostals Pullman in the past, it would be safe to assume that he would be open to the opportunity to broaden his own awareness in the general public. Other suggestions for artists include Fafi, Yaya Herman Düne, Gig Art Color and Kitt Santos.
Furthermore, Lomography could organise a contest in which customers and Lomo community members are given the opportunity to design their own version of the ‘New Petzval Time Machine,’ which would be developed into packaging for the product. The best designer would win a New Petzval or a cash prize, be interviewed in the magazine and have their packaging design displayed in prime position on the website and shared on social media. Contests are already a current strategy used by the brand, with an actual part of the website dedicated to the current competition. Furthermore, a contest on the design of an actual Lomography 1
camera was held in August 2013 - ‘Design a La Sardina Dress Competition’ - which invited consumers to design the exterior of the camera. Thus, this would be a way to unite the New Petzval communication with the current communication of the brand.
Each of these options for novel packaging (by artists and Lomography fans) would be distributed to only one in every 50 buyers of the New Petzval. This would not only reduce costs for Lomography (as packaging for the New Petzval is already in production) but would also enhance the luxury aspect of the product by emphasising scarcity and rarity. The lucky few who receive the special packaging feel as though they are buying an actual piece of art, a precious object that has been customised just for them. !!!!!!
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http://www.lomography.com/magazine/competitions-).1
7.CONCLUSION !In conclusion, this report summarises the project completed by Team A1 of ESCP Europe’s Marketing and Creativity Masters, in which we approached the unfamiliar market for the New Petzval lens by conducting secondary and primary, both qualitative and quantitative, research. In the light of interesting and unexpected findings, we reframed our objectives at the halfway mark and designed a strategy that launches the New Petzval under the Lomography brand name to begin with (via workshops) but removes it for the most profitable customer base (super-rich photography enthusiasts and fetishists) by the end of the process. We unite the Lomography brand and the New Petzval product in our strategy according to the overlapping elements of the two, which forms the foundation for our premiumisation strategy, ‘The answer to the future lies in the past.’
!We believe (and our research proves) that the New Petzval is a truly unique product that will add value to the lives of countless amateur photographers. While appealing to an entirely different target audience, the product retains aspects of the Lomography culture - going back to the traditional values of photography - but in a slightly different way than from what the brand is used to. We urge Lomography to look at its market in a different way than how it does so currently: instead of focusing on its own internal transition from analog to digital, we recommend to focus on the consumer’s journey from the generic modern day activity to the age-old artistic experience.
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8.REFERENCE LIST !
Reviews on New Petzval Lens
• layersmagazine.com/petzval-dslr-art-lens.html, Michael Corsentino, 22 Aug 2014 • www.dpreview.com/articles/3428107727/a-look-at-the-lomography-petzval-85mm-f2-2-lens, Andy
Westlake, Stacy Patton, 2 Jul 2014 • www.thephoblographer.com/2014/06/15/review-lomography-petzval-lens-canon-ef-mount/, Chris Gampat ,
15 Jun 2014 • www.gizmag.com/lomography-petzval-lens-review/31137/, Simon Crisp, 12 Oct 2014 • www.lensrentals.com/blog/2014/07/a-new-old-lens, Roger Cicala, 9 Jul 2014 • www.theverge.com/2014/10/8/6945365/lomography-petzval-lens-review, 8 Oct 2014 • http://www.thephotofrontier.com/lomography-petzval-art-lens-review/
!Petzval user community!• Petzval user group: https://www.facebook.com/groups/petzvaluser/ • Petzval lens Lomography: https://www.facebook.com/groups/1450848061813835/ !Facebook Pages on different manual focus lens
• Manual focus lens photo sharing page: https://www.facebook.com/groups/mflensesgallery/ • Manual focus lens buy/see page: https://www.facebook.com/groups/MFlensesMarketplace/ • Vintage lens and camera video making community page: https://www.facebook.com/
VintageLensesForVideo!Forum page, community on vintage lens and art lens
• Website on Pentax lens with also discussion on different manual focus lens : http://www.pentaxforums.com/forums/10-pentax-slr-lens-discussion/276301-bokeh-battle-da-50-135-vs-tamron-70-200-a.html
• Website of film making with DSLR : EOSHD.com • Website about all kinds of lens(both manual focus and automatic focus): http://mflenses.com/ • The Professional Photography forum: http://www.theprofessionalphotographyforum.com/forums/index.php
• Website and forum on vintage lens : http://www.vintage-camera-online.com/smf2/ • Analog Photography Users Group: http://www.apug.org/forums/home.php • Discussion on art lens : http://www.theprofessionalphotographyforum.com/forums/general-discussion/?
PHPSESSID=lrg1m5qkttpd6ob2v0hfiqf0g4 • http://www.photographyblog.com/ !
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Webpage on lens and New Petzval Lens
• Information website for more professional photographer: Photographycorner.com • General forum on all kinds of lens: http://www.thephotoforum.com • General information website on analogy photography • SLR Lounge: http://www.slrlounge.com • Vintage lens collection web page: http://www.antiquecameras.net/petzvallens.html • Vintage lens collection web page: www.mathieulehanneur.fr/!Photography Trends
• http://www.digitaltrends.com/photography/digipod-turns-your-film-slr-into-digital/ • http://www.cnet.com/news/camera-industry-retools-for-richer-high-end-market/ • http://re35.net • http://www.bhphotovideo.com/explora/photography/hands-reviews/holiday-2012-digitizing-your-analog-
media • http://www.theguardian.com/technology/2014/jan/03/collaborative-consumption-experience-economy-
startups • http://www.futuresource-consulting.com/2013-11Cameraspressrelease.html • http://www.thephoblographer.com/2014/04/02/mirrorless-cameras-rise-according-amateur-photographer/
#.VD5k2r7NbL8 • http://www.imaging-resource.com/news/2014/04/02/mirrorless-camera-sales-rising-despite-continually-
shrinking-global-camera • http://www.ttgdigital.com/ttg-luxury/global-spending-on-experiential-luxury-tops-980bn/4690318.article • http://digitalphotographydaily.com/recent-photography-trend-2-point-and-shoot-size-dslrs/
http://www.marketingmagazine.co.uk/article/1213629/rise-discreet-luxury-new-consumer-elite • http://www.bcg.com/media/PressReleaseDetails.aspx?id=tcm:12-107201 • http://www.wealthx.com/articles/2014/experiential-marketing-crucial-for-luxury-brands-to-connect-with-
uhnw-clients-wealth-x-survey-shows/ • http://www.kpmg.com/FR/fr/IssuesAndInsights/ArticlesPublications/Documents/Luxury-experiences-in-
china-2011.pdf • http://www.theguardian.com/theobserver/2000/may/28/focus.news1 • Like CPR and defibrillators, the DigiPod breathes new (digital) life into a film SLR • www.digitaltrends.com !Lens rental, specialised camera shop reference!• http://www.lensrentals.com/ • www.camerapedia.wikia.com/wiki/Camera_and_photography_shops !!!
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!COMPANY CONSULTANCY PROJECT
CONSUMER SURVEY
!Thank you for agreeing to participate. We are conducting a company consultancy project, aiming to understand people’s photographing habit as well as selection of camera and lens. The survey will take you around 15 minutes to finish. There are open-ended questions in the survey, please answer instinctively and elaborate wherever you feel it necessary.
!Section 1: Photographic Habits !1. Do you own a photographic device (including smartphone)?
-Yes -No (Jump to Question 22) !
2. If yes, which type of camera do you own? (Select one or more options)
!3. Which of these do you primarily use? (Select one or more options))
Digital compact
Digital reflex (full frame)
Analog
Digital mirror-less
Smartphone
Digital reflex (DSLR)
Digital compact
Digital reflex (full frame)
Analog
Digital mirror-less
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!4. What brands of camera do you own? (Select one or more options)!
!5. How much do you spend on photography per year ?
- 0-100 €- 100-500 € - 500-1000 € - more than 1000 €. !
6. What do you spend this budget on mostly?!
7. Please rate the degree to which you agree or disagree with the following statements. (Strongly Disagree, Disagree, Neither Agreen or Disagree, Agree, Strongly Agree) !
Smartphone
Digital reflex (DSLR)
Canon
Nikon
Leica
Sigma
Sony
Olympus
Polaroid
Fujifilm
Pentax
Samsung
Other (Please specify)
Lomography
Camera(s)
Lens(es)
Other accessories
Photo editing software
Photography class/courses
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!8. How long have you been taking photos for?
- my whole life- between 10 and 20 years - between 5 and 10 years - very recently (less than 5 years) !
9. What do you take photos of? !
!10. Do you use image-editing software?
- yes- no !
11. If yes, why do you use this software? - to improve photo quality
I use photography as a way to record special memories
I use photography as a way to document big moments
I use photography as a way to record my daily life
I'm passionate about photography
I use photography as a way to express my creativity
I take photos primarily to share them on social media
I take photos as part of my profession
I consider myself as a camera collector
professional purposes
holiday and travel
family
social events
outdoor landscapes
creative scenes/details
selfies
daily life
food
portraits
nature
sport
Other(Please specify)
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- to add effects/filters?- to manipulate images - to create graphics for professional purpose!
12. Do you consider yourself part of a photographic community?
Yes (Please specify)/No
!Section 2: Lens consumption behavior
The following questions will focus on the lens that you are using for your camera. !13. How many lens are you currently owning ?
- 0 (Jump to Question 18) - 1- 2- 3- 4 or more.
14. Which brand(s) of lens do you own?
Canon
Nikon
Leica
Pentax
Sigma
Tamron
Olympus
Lensbaby
Lomography
Yonguo
Mamiya
Hasselblad
Zeiss
Voigtlander
Sony
Samsung
Other
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15. How much do you spend a year on lens(es)?
16. Where do you get information about photographic products? (Please choose one or more options)
17. Please rate how important the following statements are to you (0 = Not important, 5 = Very important).
0 - 100 €
100 - 500 €
500 - 1000 €
more than 1000 €
Advertisements
Forums/blogs
Companies' websites
Third party websites/reviews
Recommendations from friends
Shop visits
Specialized magazines
Social media
Professional reviews
Value for money is important
I look for a lens with high functionality
User reviews influence my lens purchase decisions
I need a high-quality lens
The reputation of the lens is important
The price of the lens is important
Trying the physical product before making a decision is important
I like to see the results produced by the lens before I buy it
Third party reviews influence my lens purchase decisions
Seeing the physical product before making a decision is important
I look for a lens with special effect capabilities
The brand name of the lens is important
Media exposure increases the credibility of the lens
Appearance of the lens is important
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!Section 3: Relationship with Lomography 18. Have you heard of the brand Lomography?
-Yes
-No (Jump to Question 25)
19. How would you describe the Lomography brand? Please provide three adjectives.
_____________________________________
20. Do you own one or more Lomography products? If yes, which one(s)?
Yes (please specify which one)
-No
21. What attracted you to the product? (Select one or more options)
22. If you don't own a Lomography product, why?(Select one or more options)
Section 4: !The Petzval lens was one of the earliest photographic lenses developed by Joseph Petzval in 1840. Lomography has brought this historic tradition back to life with the New Petzval lens. Manufactured in Russia by Zenit, each lens is crafted from brass and features high-quality glass optics. The lens produces images with extreme sharpness, strong color saturation, artful vignetting and swirly ‘bokeh’ backgrounds. The lens comes with custom aperture plates in the shapes of
the look of the camera
the effect of the photos
the vintage touch of the camera
the fact that my friends have one
what the camera says about me
other (please specify)
I don’t like photography
I don’t know Lomography
I don’t like Lomography
I can achieve the effect of Lomography products in Photoshop
Too expensive
I don't have any occasion to use it
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stars, teardrops, etc, and works excellently for portraiture. The Petzval lens exists for Canon EF and Nikon F mount analogue and digital cameras.
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"
"
"
!23. Please rate the degree to which you find each feature of the Petzval lens appealing.
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!24. Rate how much you agree or disagree with the following statements about the Petzval lens. (Strongly Disagree,
Disagree, Neither Agreen or Disagree, Agree, Strongly Agree)
25. Would you buy this lens?
Yes (If Yes, Why?) No (If No, Why?) !
26. What would cause you to rent the lens ?
Swirly bokeh effect
Strong color saturation
Brass material of lens
Artful vignetting
Custom shaped apertures
The lens is expensive
The appearance of the lens is appealing
The lens is of a high quality
The lens is vintage
The lens is unique
This lens is for once-off occasions
The lens is an unnecessary luxury
I want to try using this lens
The lens is for hipsters
The photos the lens produces are unique
The lens can’t be replaced by lenses of other brands
I feel proud to own this lens
I would consider renting this lens
I would consider buying this lens!
It would be cheaper
I could use it for special occasions only
I could appear to own it
I could try it for a period before buying
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!1. How much would you be prepared to pay to rent the lens for a weekend (in Euro)?
Open Answer
26. Can you estimate the price of this lens (in Euro)?
Open Answer
!Personal Data !27. You are
- male- female
28. How old are you? - under 18- 19-24 - 25-29 - 30-34 - 35-39 - 40-44 - 45-49 - 50-54 - 55-59 - 60+!
29. What is your yearly household income?Open answer
30. What is your occupation?
Higher managerial and professional occupations
Lower managerial and professional occupations
Intermediate occupations (clerical, sales, service)
Lower supervisory and technical occupations
Freelancer/self-employed
Out of work/looking for work
Student!
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31. Which country do you live in? ______!32. You are :
- married without children- married with children- in a relationship- single!
33. What best describes your interests? (you can choose multiple answers) - sport- fashion- music- travel- cinema- theatre- reading - fine art- cooking - science- research - philosophy - technology
- investing - partying/dancing - socializing !This is the end of survey. Thank you very much. !
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