Si Barber for EPUK 2025.

This article is divided between a short summary and a longer exploration below. Feel free to leave your thoughts in the comment section.

The Short Read

Collective Management Organisations (CMOs) like PICSEL (Picture Industry Collecting Society for Effective Licensing) and DACS (Design and Artists Copyright Society) play a vital role in supporting photographers by managing their copyright and related rights on a collective basis. These organisations act as intermediaries between photographers (rights holders) and users of their work, such as publishers, broadcasters, libraries or educational institutions. 

Together they collect around £26m and pay it out to creators, taking around 15% for their efforts.

Eligibility

Any visual artist whose work has been published is eligible to make a claim. You qualify if your creations have appeared in a book, magazine, or associated UK-based website, or if they have been showcased on a TV program aired in the UK or rebroadcast overseas. If your work is present in these publications or services and you possess the required proof, you are eligible to submit a claim.

Evidence of Publication

Each CMO publishes its own rules as to what constituents evidence, but broadly it can be an ISBN number for a book, a web link or in the case of a magazine an ISSN number.

https://www.dacs.org.uk/payback/claim-payback

https://picsel.org.uk/home/how_it_works/

The Claim Window

Each January, members are notified by email of the claim period opening and have the opportunity to submit claims for the years leading up to their request. By filling out a designated form and uploading it to the DACS/PICSEL website, members can initiate their claims. When it comes to publications, claims can be made for any that were released in the UK during the last year as well as for prior years. For television claims, only programs that were aired in the previous year, along with repeat broadcasts from earlier years, are eligible.

The claim window closes in April and payment is made in the autumn via BACS.

Payments

Payments are due if your work matches recorded instances of copying. The amount  received is  dependent on the data provided with the claim. The more relevant and accurate the data is, the higher the payment is likely to be.

Excluding yourself from a CMO

It should be noted that there is absolutely no compulsion for photographers to be registered with a Collective Management Organisation. Some have decided to exclude themselves as it suits their particular business model. As one photographer stated “My work is unusually expensive to make and I did not feel the payments offered amounted to fair compensation for the quantity and breadth of rights given so I took the decision to enter myself on the CLA exclusion register.”

To register themselves on the exclusion list photographers must contact the Copyright Licensing Agency (CLA)  who operate a register of excluded works. The register can be viewed here: https://cla.co.uk/excluded/authors-visual-artists/

 

Claims encompass secondary uses of your work, inc

Summary

PICSEL is more focused on image licensing and revenue generation specifically for photographers, while DACs takes a broader approach to copyright management, advocacy, and moral rights for all visual artists.

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The long read

The following is a more detailed look at CMOs in general and examinens the similarities between PICSEL & DACS.

 The Function of Collective Management Organisations for Photographers

1. Licensing and Rights Management
   CMOs negotiate and issue licenses on behalf of photographers for the use of their images in various contexts, such as books, magazines, TV broadcasts, or digital platforms. This is particularly useful for "secondary rights," where individual licensing would be impractical—e.g., when a school photocopies a textbook containing a photographer’s image. By collectivising this process, CMOs simplify what would otherwise be a fragmented and time-consuming task for individual photographers. 

2. Royalty Collection
   They collect royalties or license fees from users (e.g., businesses, schools, or media companies) who reproduce or distribute photographers’ works under collective licensing schemes. These schemes are often facilitated through partnerships with other organisations, such as the Copyright Licensing Agency (CLA) or the Educational Recording Agency (ERA), which aggregate revenue from multiple sectors. 

3. Royalty Distribution
   After deducting administrative fees (typically a percentage of the collected revenue), CMOs distribute the royalties to their photographer members based on usage data. This ensures photographers receive fair compensation for uses they might not even be aware of, such as incidental copying or broadcasting. 

4. Advocacy and Legal Protection
   CMOs advocate for photographers’ rights at national and international levels, lobbying for stronger copyright protections and fair remuneration policies. They may also provide legal support or advice in cases of copyright infringement, although this varies by organisation. 

5. Data Management and Transparency
   They maintain records of members’ works, licenses issued, and usage patterns. This documentation ensures accurate royalty distribution and provides transparency to photographers about how their earnings are calculated. 

6. Market Representation
   By representing a collective of photographers—ranging from individuals to large agencies—CMOs strengthen their bargaining power in negotiations with licensees. This amplifies the voice of photographers who might otherwise struggle to assert their rights independently. 

7. International Reach
   Through reciprocal agreements with CMOs in other countries, organisations like PICSEL and DACS collect royalties for uses of their members’ works abroad, expanding the income potential beyond the UK.

What is a qualifying image?

Both Picsel and DACS define a qualifying image for inclusion in their collective management organisation as an artwork or creative visual content that is original and fixed in a tangible medium. This typically encompasses photographs, illustrations, paintings, and other visual works created by artists. To be considered qualifying, the image must adhere to certain copyright criteria, ensuring that it is not only original to the creator but also that the rights to reproduce and manage these images have been assigned to the collective organisation for the purpose of licensing and distribution. Specific eligibility criteria may vary, so it's advisable to refer directly to their official guidelines for detailed information.

Benefits of PICSEL for Photographers

Launched in December 2015, PICSEL is a not-for-profit CMO charged with representing photographers, libraries, and agencies, it manages over 300 million works, ensuring fair pay for secondary uses like photocopying or digital reproduction. Transparent and member-focused, PICSEL deducts a fee (around 15%) from  revenue, distributing the rest while reserving funds for members’ benefit. It advocates for creators through efforts like the Smart Fund and welcomes all photographers, fostering inclusivity in a digital age.

Summary of Benefits:

• Equitable Pay: Ensures fair and timely royalty distribution for secondary uses, leveling the playing field for photographers.

   

• Choice and Competition: Offers an alternative to traditional CMOs, empowering photographers with options for rights management.

   

• Inclusivity: Welcomes all photographers—individuals or agencies—enhancing representation across the industry.

   

• Transparency: Provides clear insight into revenue collection and distribution, with member-driven governance.

   

• Advocacy: Pushes for broader compensation mechanisms (e.g., Smart Fund), amplifying photographers’ voices in policy debates.

   

• International Scope: Leverages agreements with foreign CMOs to secure overseas royalties.

Benefits of DACS for Photographers

 

Summary of Benefits:

• Diverse Revenue Streams: Offers Payback royalties, copyright licensing income, and ARR (where applicable), broadening income potential.

   

• Global Reach: Secures royalties from over 36 countries via an extensive international network.

   

• Commercial Opportunities: Facilitates high-profile licensing deals with major brands and media outlets.

   

• Proven Track Record: Brings 40 years of expertise, ensuring reliability and trust for photographers.

   

• Robust Advocacy: Campaigns on critical issues like AI and copyright, protecting photographers’ rights in a changing world.

   

• Creative Support: Enhances visibility through platforms like Artimage, connecting photographers with new audiences.

Conclusion

PICSEL: A photography-centric CMO excelling in primary licensing and royalty collection for reproduction, ideal for photographers focused on publishing and digital media.

DACS: A comprehensive CMO offering broader services (licensing, Payback, ARR) and global representation, better suited for photographers seeking diverse income streams and wider rights management.

Furher reading:  Licensing Bodies & Collective Management Organisations - Government Guide.

©Si Barber. Moral rights asserted.