L’appello del 2° circuito 10.02.2026, causa 23-7652, McGuchen v. Shutterstock, affronta il tema dell’applicabilita del porto sicuro ex § 512.(c). US Code title 17 in una lite azionat da un fotografo che vi aveva individuato molte sue fotografie.
I requisiti generali sono ravvisati .
La Corte invece propende per escludere i) quello per cui deve essere un trattamento sotto la direzione dell’utente (ivi, sub (1) IN GENERAL) e, ii) quello simile della assenza di beneficio economico se il “service provider has the right and ability to control such activity” (ivi, sub 1.B);
Sul primo , sub i) :
<<There is evidence in the record that suggests Shutterstock’s review of user images is neither cursory nor automatic. To begin, when a user submits an image to Shutterstock, the image does not immediately appear on the website; rather, the contributor must wait, sometimes for hours, until they receive an email from Shutterstock letting them know which of their images were accepted. See J. App’x at 1293, 1302, 1316. That fact is not dispositive, but it suggests some intervention by Shutterstock between a user upload and the appearance of material on the platform. Moreover, Shutterstock’s website states that it “has high standards and only accepts a portion of the images submitted to be included in [its] collection.” Id. at 1071. Indeed, Shutterstock maintains a page on its website that explains why an image might be rejected and provides advice for successful submissions. Id. at 1071–88. There are “30-odd” reasons that an image might be rejected by a Shutterstock reviewer, id. at 1294–95, which include focus, exposure, lighting, and noise, id. at 1071–75.
The record also contains evidence that Shutterstock’s reviewers exercise some subjective discretion even when applying seemingly rote and straightforward criteria. For instance, when considering an image’s focus, Shutterstock reviewers are “trained to know the difference between something that’s just out of focus and something that’s more intentional.” Id. at 1341–42. And according to Shutterstock, a reviewer may still accept an image that has focus issues if it is “a really unique shot” or a “hard shot to get.” Id. at 1297. That is because, as Shutterstock has explained, “there’s no way to predict what a customer is looking for,” so although “Shutterstock wants to have a high-quality library[,] . . . [t]here’s a lot of value in . . . shots that might not be perfect.” Id. at 1296–97; see also id. at 1366 (Shutterstock employee explaining that reviewers apply “a base guideline . . . but at the same time, it’s not a black-and-white standard”); id. at 1367 (“As our reviewers are humans, they obviously can think for [themselves]. We give them guidelines and we try to give them the best tools possible to review photos and to use their best judgment based on the guidelines we give them.”). In the end, as Shutterstock itself concedes, “photography is an art . . . you can’t just say, ‘This is yes, this is no.’” Id. at 1362. Together, these statements could lead a factfinder to conclude that Shutterstock’s reviewers exercise a considerable degree of case-by-case aesthetic or editorial judgment when determining which images to allow on the platform>>.
Ciò in applicazione del criterio astratto (importante ed espressamente enunciato) per cui <<if a service provider engages in manual, substantive, and discretionary review of user content—if, on a case-by-case basis, it imposes its own aesthetic, editorial, or marketing judgment on the content that appears on its platform—then its storage of infringing material is no longer “at the direction of a user.” In other words, “extensive, manual, and substantive” front-end screening of user content is not “accessibility-enhancing” and is not protected by the § 512(c) safe harbor. Mavrix, 873 F.3d at 1056. That is because, where service providers engage in their own discretionary screening of user content, they can no longer be said to be acting “solely to facilitate access by users.”>>
Sul secondo aspetto, sub ii):
<<There is evidence in the record suggesting “intrusions into user autonomy over their posts” that exceed the bounds set by Congress for the § 512(c) safe harbor. Vimeo II, 125 F.4th at 425. As an initial matter, Shutterstock screens every image before it appears on the platform—this screening determines whether an image ever gets on the platform. By way of contrast, in Vimeo II, “[c]alling attention to selected videos by giving them a sign of approval or displaying them on a Staff Picks channel . . . did not restrict the freedom of users to post whatever videos they wished.” Id. Also in contrast to Vimeo II, there is evidence here that Shutterstock’s image review goes beyond the limited purposes of restricting the site to “selected categories of consumer preferences” and excluding unlawful images. Id. Rather than engaging in categorical content screening—like accepting only holiday-themed images, or images that feature animals—Shutterstock appears to screen user images for their overall aesthetic quality. Curating a “collection,” J. App’x at 1071, of high-quality images is not the same as designing a website “that would be appealing to users with particular interests,” Vimeo II, 125 F.4th at 425.
Further, as McGucken has argued, there is some evidence in the record that Shutterstock extensively advises potential contributors on the types of images it is likely to accept. See J. App’x at 1071–88. That is unlike the service provider in Vimeo II, which “encouraged users to create certain types of content,” but did not condition their ability to post material on whether they created the provider’s preferred types of content. Vimeo II, 125 F.4th at 416. Indeed, in Vimeo II, we cited a website’s practice of giving “its users extensive advice on content” as one fact that can distinguish a service provider that has the right and ability to control infringing activity from one that does not. Id. at 423 (citing Cybernet, 213 F. Supp. 2d at 1173). Accordingly, on the current record, a reasonable factfinder might conclude that the advice and instruction Shutterstock provides its contributors, coupled with its image screening process, are sufficiently coercive to constitute substantial influence.
Finally, for the same reasons articulated above, the duration of Shutterstock’s image review and its 93 percent approval rate are relevant facts, but they are not dispositive. See supra Section II.B.3. Ultimately, it is the factfinder’s role to determine the degree and significance of Shutterstock’s solicitation and screening of user content.>>