Run a crew like one business, not five phones.
Everything Mastline does for one photographer, shared across a team: one buyer history, one dispatch queue, one set of books, and splits that pay out without a spreadsheet.
Crews of two to ten, and the agencies that grew out of them.
A lead shooter with two regulars. A husband-and-wife team that splits every night. A boutique agency with a desk, a dispatcher, and a dozen contributors on an Agency plan. Where more than one person touches the pictures or the money, this is the plan.
Everyone’s frames, one set
Three shooters at three doors of the same venue upload to one shoot. Captions, selects, and the pitch draw from all of it. The buyer sees one package, not three emails.
Shared shoots · Combined selectsDispatch and review in a queue
Packages wait for whoever is on the desk to check names, restrictions, and outlet rules, then go out under the team’s name. Nothing leaves twice; nothing leaves wrong.
Review queue · ApprovalsSplits that settle themselves
Set the split once per person, per shoot, or per deal. When the sale lands, every share is calculated and paid, with the record to show who shot what and who earned what.
Revenue splits · Per-person statementsEverything in Pro, plus the parts that only matter with more than one shooter.
Shared buyer history
Every editor any team member has ever pitched, what they bought, what they paid, and when they open links, in one graph the whole crew sells from. New shooters inherit years of relationships on day one.
Roles and permissions
Owner, shooter, dispatcher, finance, and rights review. A contributor sees their own shoots and earnings; the desk sees every package; finance sees the money; nobody sees a confidential source they weren’t given.
Dispatch and review queues
Packages assemble from any shooter’s frames and wait for desk approval. Outlet-specific rules are checked automatically; the human on the desk makes the call.
Revenue splits and statements
Percentage or fixed splits, set by default and overridden per deal. Monthly statements per person, with every line tied to a picture, a buyer, and a license.
Team revenue reporting
Earnings by shooter, buyer, venue, subject, and night, with costs and net. See which crews, which doors, and which desks actually pay.
One shared archive
Ten years of everyone’s frames, searchable by subject, watched by the news radar, pitched under the team’s name, with the original shooter credited and paid on every resale.
Source protection across the team
Tips and locations are stored per person with their own visibility. A lead can share a tip with tonight’s crew without it living in everyone’s account forever.
Workload at a glance
Who is on which shoot, what is waiting for review, whose invoices are aging, and what the archive wants pitched, on one Work Queue for the whole team.
Three doors, one package, one payout.
- 10:40 PM. The lead creates the shoot and assigns two shooters to the side entrances. The tip stays in the lead’s account; the crew sees the brief.
- 11:08 PM. All three upload to the same shoot from the sidewalk. Selects are grouped across shooters; the best frame at each door rises.
- 11:14 PM. The dispatcher reviews one package, fixes a name, and sends six pitches under the agency’s name, with a 45-minute exclusive to two desks.
- 11:31 PM. A desk accepts. The license names the agency; the provenance names the shooter whose frame ran.
- Next morning. The invoice is out. The split is calculated: lead, two shooters, house. Each sees their line in their own statement.
Move the sale. Move the shares. Nobody argues.
The same arithmetic Mastline runs when a payment lands, with the handle left on. Nothing is taken from a sale the crew made itself; the 30% applies only to a sale Mastline created, and it comes off before the crew’s own splits.
Set once per person, per shoot, or per deal. Every line stays attached to the picture that earned it, so an archive resale years later pays the shooter who took it.
A tailored operating layer for larger operations.
Agency plans are built around how a crew already works: its contributor structure, outlet contracts, accounting, and archive.
Custom team structure
Staff, contributors, stringers, and desks, with contract-specific splits and visibility for each.
High-volume archive migration
Mastline moves the existing archive and metadata in, with tagging assistance and the original shooter preserved on every frame, so resale credits and pays the right person.
Outlet requirements, built in
Delivery templates per outlet: file naming, caption format, invoice layout, PO rules. Every package from every contributor follows them.
API access and integrations
Connect Mastline to an existing portal, accounting, storage, or rights-monitoring service. Keep what works; replace what doesn’t.
Agency-wide reporting and governance
Asset, submission, and revenue reporting across the whole operation, with retention, audit, and export controls counsel will sign off on.
Priority support and onboarding
A named contact, onboarding for the desk and its contributors, and the same night-hours support every shooter gets.
Studio for crews. Agency for operations.
The 70/30 split works the same way for teams: nothing on sales the crew makes itself, 30% only on sales Mastline creates, divided by the crew’s own splits. Full detail on the Pricing page.
Up to 10 team members. Dispatch and review queues, roles and approvals, team revenue allocation, 5 TB shared archive. Everything in Pro for every seat.
Start a Studio trialCustom team structure, high-volume archive migration, API access and integrations, custom permissions, priority support, flexible storage. Priced around contributor count and archive volume.
Contact MastlineBefore bringing a team over.
Who owns the pictures on a team account?
Whoever the crew’s agreement says. Mastline records the shooter on every frame and never takes ownership itself. By default the account owner controls distribution and the shooter is credited; it can be configured to match existing contracts.
Can a contributor take their work with them if they leave?
That is between the crew and its shooters, and Mastline supports either answer. Per-shooter export is available when the owner allows it, and the shooter’s credit and provenance stay on the frames either way.
Can contributors keep their own Mastline accounts?
Yes. A photographer can belong to a team for the work they do with it and keep a separate Solo or Pro account for their own work. The two never mix.
How do splits handle archive resales years later?
The split on the original shoot applies unless a different archive rule is set. The original shooter is identified on every frame, so resale pays the right person automatically.
Can the desk see a shooter’s sources?
Only if the shooter shares them. Tips and locations are stored per person with their own visibility, and access is logged.
Crews bigger than ten — is that Agency?
Yes. Studio covers up to ten seats; beyond that, Agency is priced around contributor count and archive size. Email hello@mastline.co with contributor count and archive size, and a reply says which plan fits and what migration looks like.
Bring one night’s crew. Keep the rest of the business.
Thirty days free on Studio. Agency plans start with a conversation.