A Copytrack alternative when you want it down, not paid for
Copytrack and TakedownCase get compared because both start the same way — you discover your work somewhere it should not be. They diverge immediately afterwards, on the question of what a good outcome looks like, and that difference decides which one you want.
Two different definitions of winning
Copytrack’s model is post-licensing. It finds unlicensed uses of your images and then pursues the user for a licence fee covering the use that already happened, working on a commission of what it collects. The logic is that an image used commercially without a licence represents revenue you were owed, and the remedy is to be paid.
Our model is removal. We identify where your material has been copied, establish who hosts it and who their designated copyright agent is, file a compliant notice as your authorised agent, and follow it until the page is down or we have exhausted the route. You pay per URL that comes down.
Neither definition is more correct. They suit different situations, and the honest way to choose is to work out which outcome actually solves your problem.
When payment is the better outcome
Pursuing a licence fee makes sense when the use has clear market value and removing it does not get that value back.
- Your images have an established licence price. You sell usage rights, you have a rate card or a stock portfolio, and the unlicensed use displaced a sale that would otherwise have happened.
- The use is over. A magazine printed it last year; a campaign ran and finished. There is nothing left to take down, so removal is meaningless and payment is the only remedy available.
- The user is substantial and traceable. A real company with an address, which makes a licensing conversation realistic rather than theoretical.
- You would licence it anyway. If you would have said yes to the use for a fee, converting it into a paid licence after the fact is simply the deal you wanted, late.
When removal is the better outcome
Removal is what you want when the copy is actively costing you something that money would not repair.
- A competitor is using your material to sell against you. Your product photography and your descriptions on their store. Every day it stays up is a day they are trading on your work. A licence fee would, absurdly, legitimise it.
- It is damaging your search results. Duplicated page copy means two pages competing for the same queries, and you do not control which one a search engine prefers. Payment does not resolve that; removal does.
- The copy misrepresents you. Your photographs attached to someone else’s product, your words under someone else’s name, your work implying an endorsement that does not exist.
- You would never have licensed it. If no fee would have made you agree, then a fee is not the remedy you are looking for.
- The copier is anonymous or offshore. A licensing demand needs someone to negotiate with. A § 512 notice does not — it goes to the host, who has their own reason to act.
That last point is practically important and often overlooked. Recovery depends on identifying and reaching a party with money. Notice-and-takedown routes around that problem entirely by addressing the intermediary instead.
The risk in a demand for payment
There is a reason we do not send payment demands, and it is worth understanding whichever route you take.
A copyright notice and a demand for money are different instruments with different legal postures. Section 512(f) makes anyone liable who “knowingly materially misrepresents” that material is infringing, and the cases that have produced liability involve notices used for something other than protecting a work. Mixing a takedown notice with a payment demand invites exactly that characterisation, and in some jurisdictions it is explicitly out of bounds — Canada’s notice-and-notice regime under s. 41.25 bars settlement demands in a notice outright.
So we keep the two separate. We file notices. If you want to pursue value for past use, that is a legal claim and it belongs with a copyright attorney or a service built for it, which is what Copytrack is.
We are not quoting their rates
Using both, in order
These are not mutually exclusive, and for some cases the sensible sequence is removal first and value second.
- 1
Establish what happened and when
Document the copy while it is live. Archive captures, screenshots with dates, the match itself. Evidence gets harder to collect after a page comes down, and it is the same evidence either route needs.
- 2
Stop the ongoing harm
If a competitor is actively using your material, file. The daily cost of leaving it up usually exceeds whatever might eventually be recovered.
- 3
Then take advice on value
With the material down and the evidence preserved, a copyright attorney can tell you whether the past use is worth pursuing, and registration status will be part of that conversation.
Doing it the other way round — opening with a payment demand while the copy stays up — means the harm continues throughout a negotiation you may not win.
What each route needs from you
The two models ask for different things, and the difference is worth knowing before you commit to either.
- A recovery claim needs a valuation
- To ask for a licence fee you need a defensible figure: a rate card, comparable licences, a stock price for equivalent use. Without one the demand is a number somebody invented, and it will be treated that way.
- A recovery claim needs a reachable party
- Someone with an address, a legal identity and assets. An anonymous dropshipping store registered through a privacy service is not a party you can realistically pursue for money.
- A removal notice needs the right recipient
- Not the copier at all, but their host’s registered designated agent. That is a research task, and it is most of what determines whether a notice does anything.
- A removal notice needs certainty about ownership
- It is sworn under penalty of perjury. Embedded stock, theme demo content and unassigned freelance work are the three recurring ways people file over material that is not theirs.
Registration cuts across both. It is not required to file a notice and makes no difference to whether a host acts. It matters if a dispute ever reaches a US federal court, where registration is a precondition to suing and, if made in time, unlocks statutory damages and attorney’s fees. For a photographer with a volume business, group registration of published photographs is what makes individual claims economic at all. For a business with four hundred product descriptions, registering everything is not a sensible programme.
A note on tone
Both routes work better when the opening move is proportionate. A notice is a formal, routine document that a host processes as a matter of course; a licensing approach is a commercial conversation. Neither is improved by anger, and a reviewer at a hosting company reads dozens of these a week.
It is also worth being honest with yourself about what you want. A surprising number of people who think they want money actually want the copy gone and an acknowledgement that it was wrong, and a surprising number who think they want a takedown would settle happily for a fee. Deciding which one you are saves pursuing the wrong remedy for weeks.
Last reviewed October 23, 2026. This is general information about a US statute, not legal advice, and we are not a law firm.
What people ask next
Can you send a licensing demand on my behalf?
No. We file removal notices only. A demand for payment is a legal claim and we are not your lawyers.
If the content comes down, have I lost the chance to claim for past use?
Not inherently, but evidence gets harder to gather once a page is gone. Document the copy while it is live, whatever you decide afterwards, and take advice from a copyright attorney before assuming anything about a claim.
Do you handle text as well as images?
Yes. Our scan covers the distinctive writing on your pages and your images together, which matters because most business copying involves both.
Does filing a notice stop me suing later?
No. A notice and a lawsuit are separate tracks. But the fact that a notice swears to a good-faith belief under penalty of perjury is a reason to make sure it is accurate, which is also why we consider fair use before filing and write that consideration down.
Related
A Pixsy alternative for businesses, not catalogues
Pixsy monitors image catalogues and pursues recoveries on commission. If you are a business whose website was copied, the shape of the problem is different. Here is the comparison.
The law, plainlyWhat is § 512(f)?
The provision that makes a knowingly false takedown notice actionable, what Lenz v. Universal added to it, and what a sender has to do to stay on the right side of it.
If this happened to youMy photos are being used without permission
Someone is using your photographs without a licence. What you can actually ask for, the difference between removal and payment, and how to avoid weakening your own position.
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