This week PAN/I caught up with Luiz Rampelotto the photographer/owner of New York based editorial photo agency EuropaNewswire.
We messaged a few times chatting about the photo industry and his decision to drop his distribution network and supply images directly to the media. This, alongside diminishing editorial image prices, is a growing concern I hear from editorial photo agency owners and freelance editorial photographers all the time now …
• PAN Note: EuropaNewswire, an independent New York–based editorial photo agency established in 2004, specializing in coverage of the United Nations, political events, and major cultural and entertainment assignments in New York City. Recent coverage includes United Nations briefings, New York City political events, red carpet premieres, and major public gatherings.
EuropaNewswire owns 100% of its image rights, with an archive of over 3 million photographs collected over 22 years.
…Here’s where Luiz is with the agency currently:
“We have stopped distributing our content through other agencies. Our decision is based on unsustainable terms, including extremely low per-image returns and delayed payments that do not reflect the value of our work or the terms of our agreements.
All images are licensed directly by EuropaNewswire. We do not distribute content through microstock platforms. This ensures faster delivery, transparent rights management, and direct communication with clients.
Our archive is available for editorial use, including: News publications (print and digital) Editorial features and magazines Broadcast and documentary use Institutional and educational content.
It is increasingly clear that photographers must adapt to structural changes in the industry, particularly with the growing influence of AI on workflows and distribution.
What is urgently needed is a trusted environment where photographers and editors can connect directly. A dedicated, secure platform, similar to a controlled chatroom or network, would allow both sides to communicate, collaborate, and transact without unnecessary intermediaries. Trust and direct access are becoming critical.
Regarding the recent Getty Images developments, the current pricing model is unlikely to remain sustainable. Editors will need to diversify their sourcing strategies to manage budgets effectively, and there is already discussion about working more directly with independent photographers.
I strongly recommend encouraging PAN photographers to maintain control of their archives by hosting their work on secure, independent platforms. Relying on third party agencies to store and distribute entire collections is increasingly risky, particularly given the financial instability many agencies face and ongoing payment delays to contributors. For context, I manage an archive of over three million images, all fully owned and controlled in house.“
If photo editors require access to specific content, sample galleries, or have particular editorial needs, the agency can provide direct links or curated selections. Search and license everything NY editorial directly here www.europanewswire.com
[ One Europanewswire operational issue Luiz wanted to flag: The last three Mayor Mamdani events were unintentionally distributed via FTP from my Picturemaxx account to DPA, ZUMA, and Shutterstock, where the images were published.
This occurred due to automated FTP routing tied to the client distribution list. The issue has now been identified and corrected.]
Write to me to discuss any recent changes to your photo agency, the industry …the ‘future’! – [email protected]
Or join the conversation via the comments section below – it’s open.
I applaud you for your insightful realization of the changes taking place in the industry. I applaud you for taking action.
The industry is changing fast, and I think photographers and independent agencies need to adapt before the market forces them to. For me, direct licensing, ownership of my archive, and building direct relationships with editors became the only sustainable path forward.
The old model of creators producing the work while others control pricing and distribution is becoming harder to justify. Many agencies continue selling photographers’ images while payments are delayed for months. Across the industry, photographers are collectively owed enormous amounts of unpaid or delayed royalties, yet some companies still operate as if they fully control the market.
A lot of photographers I know have already stopped seriously distributing their work through the traditional system. Many now cover events simply because they still enjoy photography, but the time required to edit, caption, upload, and distribute images no longer matches the financial return.