Launching in New York and Philadelphia
A reviewed marketplace for high-end photography. Deposits held in escrow, licensing agreed before anyone shoots, and payout on delivery.
Selected work
Work from approved photographers will appear here as the roster is reviewed, each credited to the photographer and shown with their permission.
The problem
The work is the easy part. Chasing invoices, holding dates on a verbal yes and negotiating usage after the pictures are already running is what wears photographers down.
A normal payment term for commercial work, counted from delivery and after the invoice clears procurement.
Dates get held and other work turned down on a promise that can disappear the week before.
Usage gets settled once images are already in use, when the photographer has no leverage left.
Representation solves collections and access, but costs a quarter of the fee and owns the client.
How the money moves
Funds are collected when a quote is accepted and held until the work is delivered. Nobody shoots on a promise.
The client accepts the quote. Their payment terms are set by how well we know them, and locked onto the booking.
A deposit is captured, or an invoice issued into escrow. The date isn't held until it clears.
The gallery is released once approvals, embargoes and talent releases are cleared.
Payment goes to the photographer within two business days of delivery.
New clients pay a card deposit. Established organisations can pay by invoice. Either way, the money is in escrow before the shoot. Licensing (channels, territory, term, exclusivity, paid-ad rights) is recorded in writing up front and can be extended later.
Three ways to book
Brands and agencies, creators doing branded content, publications, and private clients all book the same reviewed photographers, each in the way that suits the work.
Fixed scope, fixed price, published availability. Pick a date and pay. No quote, no waiting.
Brief one photographer by name. They scope and quote it, and usage is agreed before anyone shoots.
Set a budget and let available photographers claim it. The first qualified claim wins.
Events and getting-ready
A publication sends a photographer into a hotel suite while talent gets dressed. The date is on the calendar for months, but whether it happens is decided in the last 48 hours. That's a standby problem, not a search problem.
The event date is public. Nothing is booked yet.
The publicist grants or withholds suite access.
The publication confirms one photographer and releases the rest.
Shoot in the suite. Frames are approved or killed on the spot.
The embargo lifts and the story is already filed.
Hold two or three photographers against an event date. Confirming one releases the others automatically, and unconfirmed holds expire on their own.
Prior suite access, credentials and which publicists have cleared a photographer count for more than star ratings.
Galleries unlock when talent arrives, worked out from the event itself. Delivery deadlines count back from it in minutes.
The outlet publishes first, and the photographer knows exactly when they're free to post the work themselves.
Where
Philadelphia, DC and Boston are a train ride from New York. A photographer 95 minutes away on Amtrak counts as New York supply, not a second launch.
Where the client relationships are. The roster is built to serve it first.
95 minutes by rail. Its own home market, and travel supply for New York.
Editorial and institutional work with real budgets, three hours from New York.
Opens once the corridor roster has depth to spare.
For photographers
Every application is reviewed by a person, and you'll hear back within five business days either way.
For clients
Brands, agencies, publications and private clients get a reviewed roster, clear quotes, and licensing that holds up.
Who's behind it
Built by someone who has been on both sides of it.