Wire photography, already filed.
Agency photography lands in your library credited, licensed and searchable, alongside anything your own photographers file. When a story needs a picture, the picture is already there.
Two sources, one library, everything filed on the way in. Open any stage for what it attaches.
Finding a picture for a story usually means logging into two agency portals, searching each separately, downloading a comp, remembering to note the credit, and hoping somebody checks the licence before it goes out. The picture exists. Everything around finding and clearing it is manual, and the credit line is the thing that gets forgotten at eleven at night.
Photo Studio brings the wire into your own library as it is filed, with the credit and the licence attached from the start, sitting next to the work your own photographers sent in. One place to search, one place where rights are recorded, and no separate step where somebody has to remember something.
9 things it does. Open any one for how it works.
Your agency subscriptions file directly into the library as pictures are transmitted, at full resolution, without anybody logging into a portal.
Photographer, agency and usage terms are recorded when the picture arrives, not typed in later by whoever is publishing at midnight.
This is the part that quietly prevents problems. A credit line entered at the moment of filing is a credit line that is correct; one typed from memory at the point of publication is the reason corrections get issued.
Staff and stringer photography sits alongside the wire, searched the same way. One library, not an agency library and a folder on a shared drive.
Agency captions arrive in the language they were filed in and are rendered into Arabic, so a picture desk working in Arabic can search and read in Arabic.
Open an article and see pictures that fit it, drawn from your own library first and from openly licensed sources when your library has nothing.
Where the wire has nothing — an old portrait, a building, a map — freely licensed sources are searched, and the licence and attribution come with the picture rather than needing to be looked up.
Find pictures by subject, source or date, and clear out what a story no longer needs without going through them one at a time.
Place a picture into a piece from inside the editor, and the credit goes with it automatically. Nobody retypes an attribution.
A new agency, a partner feed or a photographer's drop folder is connected as a source and starts filing. Nothing about your workflow changes.
Your agencies, once. From then on their photography files into your library as it is transmitted.
Staff and stringers upload directly, so their work is searched alongside the wire rather than sitting in a folder somebody has to be told about.
Open the piece and pictures that fit it are already suggested. Choose one, or search the library yourself.
The credit and licence travel with the picture into the article. There is no separate step where an attribution has to be remembered.
The person publishing the last story of the night is not the person who found the picture. Because the credit and licence arrived with the photograph and travelled into the article, there is nothing for them to look up, remember or get wrong.
A picture transmitted by an agency four minutes ago is already in your library and already searchable. The gap between an agency filing a photograph and your desk being able to use it stops being a person logging in.
A figure who was a junior official six years ago is suddenly the story. The wire has nothing recent that helps, but the archive and openly licensed sources between them hold what you need — with the licence terms attached, so using it is a decision rather than a risk.
Which agencies file, which feeds are connected, and which are muted when a source floods the desk.
Every picture carries where it came from and on what terms. What you may do with it is visible before you use it.
Pictures offered against a story are a shortlist to look at, never something placed into a piece on your behalf.
What is kept and for how long is your policy. Clearing out a story's pictures is something you do, not something that happens.
Attribution travels with a picture from filing to publication. There is no point in the chain where it can be quietly lost.
What you are entitled to do with a photograph is recorded and visible, including for freely licensed material where the terms are easy to overlook.
Every image in the library was photographed by somebody. Nothing here creates imagery, and a news library is not a place for pictures of events that were never photographed.
A suggestion is a shortlist. Which picture runs with a story is an editorial decision every time.
Almost every published attribution error is the same story: the person who found the picture is not the person who published it, and the credit was carried between them in somebody's memory or a note in a message. Recording the photographer, the agency and the terms at the moment a picture arrives — and carrying them into the article automatically — removes the handover entirely. It is a small piece of engineering that quietly prevents the corrections nobody wants to issue.
Any that transmit over a standard feed, including ones that require credentials. Each is connected once as a source and then files continuously without anybody logging in.
Yes — staff and stringers upload into the same library, so their work is searched alongside the wire rather than living in a folder that has to be shared around.
It records and displays the terms a picture arrived under so the decision is informed. It does not make the legal judgement for you, and no software should claim to.
Openly licensed sources are searched as a fallback, with the licence and attribution attached. For anything older or more obscure that is frequently where the usable picture is.
The useful demonstration is the one that runs on your footage and your wire feeds. Tell us how your desk works and we will show you the parts that matter — and say so where we do not help.