The short answer
Instagram ads are paid placements bought through Meta Ads Manager and shown in the feed, in Stories, in Reels and across Explore. AR Digital Solutions is a Meta Business Partner. We produce creative for each placement, run the campaigns, set up tracking and report on sales rather than reach.
What you get
Creative made per placement.
Vertical for Reels and Stories, 4:5 for the feed, captions burned in, text clear of the interface.
A structure that suits the goal.
Sales, leads or installs, with budget free to move to whatever produces them.
Product feeds where you sell online.
Catalogue set up and dynamic retargeting for eCommerce stores.
Pixel and Conversions API.
Server side events matched to purchases and enquiries, running before spend starts.
A creative calendar, not a one off shoot.
New concepts on a schedule, so refreshes land before performance drops.
Reporting that names the winning ads.
Spend, revenue, cost per result, and which two creatives carry the account.
Feed, Stories and Reels are three products, not three sizes
The most common thing we inherit is one asset exported at three aspect ratios. It performs acceptably in one placement and poorly in the other two, and because the campaign reports a blended number, nobody notices which is which.
The feed is browsed with sound off and judged in about a second. The first frame does the work, since it doubles as the thumbnail, and the caption is cut off after roughly a line. The feed rewards a strong still image, text legible at a small size, and the product visible rather than implied. Carousels belong here, because swiping is a deliberate action the platform reads as interest.
Stories are full screen and tapped through fast. The top and bottom of the frame belong to Instagram, the profile bar at one end and the link sticker at the other, so anything important there gets covered. One idea per card, a face early, and the call to action pointing at the sticker rather than a button that isn't there.
Reels are sound on and watched inside a feed of entertainment, so an ad that opens like an ad gets flicked past before the first sentence lands. Reels want motion in the opening second, a spoken or written hook, and captions for anyone watching muted. Text has to sit clear of the lower third, where the caption and buttons overlay.
Resize one asset across all three and you get letterboxed bars in Reels, a silent talking head in the feed, and a Story with the offer hidden behind a sticker.
How much creative a campaign actually consumes.
More than most businesses expect. Fatigue is a function of how often your audience has seen the ad, so it arrives faster on a small local audience and faster again as budget rises. On a decent spend against a city sized audience, one concept often has two to four good weeks. Plan for new concepts monthly, variations of the winners in between, and treat a campaign built on one hero video as a single guess.
Telling creative fatigue from audience fatigue.
They look identical at first, since both raise cost per result. Creative fatigue shows as falling click through rate on one ad while a newer ad in the same ad set performs normally, with frequency climbing on the tired one. Audience fatigue shows when a genuinely new concept launches and immediately performs just as badly, frequency is high across the whole ad set, and reach has flattened against the audience size. Costs rising everywhere at once, in November for instance, is usually neither, and it's the auction.
The diagnostic is simple. Launch one properly different concept, not a recolour, into the same ad set. If the numbers recover, it was creative. If they don't, the audience has had enough of you and needs broadening or resting.
How a campaign runs
We audit the account and the profile
What ran before, which placements were used, whether the feed reads as a shop or a scrapbook.
We plan creative before budget
Concepts and hooks per placement, mapped to the offer and shot in one batch.
We launch and instrument
Clean structure, tracking checked, and enough budget to clear the learning phase.
We rotate on a schedule
Winners get variations, tired concepts get replaced, the calendar keeps running.
Who this suits, and who it doesn't
Anything visual. Fashion, homewares, food, beauty, fitness, property, and trades with a genuine before and after. It works hardest for eCommerce brands with a catalogue and margin.
It suits you less if the product is abstract or nobody can commit to producing creative, because without new assets an Instagram account goes quiet within weeks. If your buyers are older, weight the budget toward Facebook instead.
Why clients pick us for Instagram
We make the creative in house.
Design, copy and media buying sit in one office, so a failing concept gets replaced this week rather than next month.
Meta Business Partner.
Direct escalation when an account gets restricted or a catalogue stops syncing.
No lock in contracts.
Month to month, and the ad account, pixel and creative files are yours.
"We post constantly and get nothing from it."
Organic reach on an unpromoted business post is very small now, and posting harder doesn't fix it. Paid puts the good posts in front of people who don't follow you.