Eight hundred frames from Saturday.Six belong together.

That's a set — a named, ordered group of photos that's yours to keep. Post it as a carousel, run it out as a story series, or just keep feeding it for a year. Published finds the groups; what happens to them is your call.

Architecture — Select

Concrete, glass and light. Seven that belong together.

  • A facade of white sculpted panels folding into wavesCover
  • Undulating balcony slabs stacked up the side of a glass tower
  • White ribbed vaults converging down a long hall
  • Two curved concrete surfaces meeting, lit pink and lilac
  • A honeycomb lattice wrapping the corner of a building
  • Overlapping shell roofs against a pale sky
  • Fine white lines flowing across a curved surface

  • The frames — The photos that belong together, and nothing else.

  • The order — Drag to reorder. Slide one is the hook, and the set remembers.

  • The cover — Pin any frame as the cover — the tile that stands for the set in your grid.

  • No copies — Grouping is metadata. The same photo can sit in three sets at once, and your originals never move.

Sets that outlive the post

Some sets become a post. Some become a habit.

Silhouettes. Long shadows. Anything green. Leading lines that run out of the frame. A set doesn’t have to come from one shoot — it can be a standing collection you feed for a year. Every time a frame belongs, you add it, and the collection sharpens. When you want a post, the thinking is already done.

  • Post it. It's still there.

    Building a post from a set doesn't spend it. The set stays exactly as it was — so you can come back in six months, swap two frames for better ones, reorder, and post it again. The set is the negative; every post is a print.

  • No project required.

    A standing set belongs to no shoot. It sits on its own and grows across all of them.

  • A collection outgrows a post. Good.

    Forty silhouettes won't fit in one carousel — Instagram takes ten. So the draft opens with the whole set in it and you drop what isn't going out this time. The collection stays forty; the post is this month's cut of it.

Curating

Four ways to fill a set. None of them is scrolling.

  1. 01

    You know the frames.

    Multi-select in the library, Add to set. Existing sets are right there in the menu — including the ones that belong to no shoot.

  2. 02

    You know what you mean.

    Describe it and search says which frames match — quiet street at dusk, hands, close, warm light. No tagging required.

  3. 03

    You have one, you want the rest.

    Point at a frame and ask for more like it. The closest matches come back, ranked, in the filmstrip — drag the ones that belong into the set. This is how a silhouettes collection actually grows.

  4. 04

    You don't know yet.

    Hand the selection to Generate Sets and let it propose the throughlines.

Generate sets

Hand it the shoot. Get back a first draft.

Building a set by hand takes thirty seconds. Twenty sets takes an evening. So hand Published the selection instead — it reads what it knows about every frame and comes back with named sets, each with a cover and a reason to exist. Not an answer. A place to start arguing from.

The themes, found for you.

Published looks at the whole take through six lenses and proposes the throughlines it actually finds: facades shot head-on, green-dominant frames, silhouettes against the sky. Type your own themes instead, and it sorts to yours.

  • Motif
  • Colour
  • Form
  • Light
  • Mood
  • Framing

Nothing is saved until you say so. Tick off the sets you want, choose the project they go into, press Create — or regenerate, or throw the whole proposal away. Frames that fit nowhere go to Other, rather than being forced into a set they don’t belong in.

Projects

The shoot, whole.

A project is one real thing — a wedding, a trip, a launch. It holds the loose frames, the sets you built from them, and the posts you create from it. Three tabs, one shoot.

The projects overview: sets grouped under each project, each with its cover and how many frames it holds.

  • Context the captions can use.

    Give a project a place, an occasion and a date, and every caption written inside it knows them. The words come out sounding like that evening in Tuscany — not like a stock caption with your photo attached.

  • The order is your feed.

    Sets in a project have an order, and that order is your grid: each tile is one future post. Drag them into the shape you want before anything goes out.

  • Or don't use one at all.

    A set doesn't need a project. Standing collections live outside every shoot — a project is there for when one shoot gets big.

Group freely. Nothing breaks.

  • Originals are never touched — Sets and projects are grouping, not copies. Your files stay exactly as they came in.

  • One photo, many sets — The same frame can appear in three sets without being duplicated once.

  • Posting doesn't spend a set — Build as many draft posts from it as you like; the set stays.

  • Delete a set, keep the photos — The frames go back to the library, untouched.

  • Delete a project, keep the sets — They carry on as standalone sets. Nothing you built is lost.

  • It proposes. You decide — Every grouping the AI suggests is a proposal you confirm, edit or throw away.

FAQ

Questions before you group your first shoot.

If yours isn't here, the team replies within a day.

Contact support
What exactly is a set?
A named, ordered group of photos that belong together, with a cover. It is an organising unit first — what you do with it is a separate decision. Post it as a carousel, run it out as a story series, or simply keep it and keep adding to it. The order matters: it becomes the order of your slides.
How does a set relate to a project?
A project is a shoot — a wedding, a trip, a launch. It holds the sets you built from it, the loose frames that are not in a set yet, and the posts you create from it. Sets can live inside a project or entirely outside one, so a standing collection does not have to belong to any shoot.
Do I need a project before I can make a set?
No. Sets work perfectly well on their own, and that is where standing collections live — a silhouettes set is not part of one shoot. A project is there for when a single shoot grows big enough that its sets need a home.
Can I keep feeding the same set over months?
Yes. Add frames to an existing set from anywhere in the library — sets that belong to no shoot are listed first in the menu. Inside the set, search by description or ask for look-alikes of a frame you already have, and drag the matches straight in. A set is an organising unit, not a one-off.
How many photos can a set hold?
More than a post can carry, which is the point. A silhouettes collection can hold forty frames while an Instagram carousel takes ten. When you build a post from the set, the draft opens with everything in it and you drop the frames that are not going out this time. The set itself stays as it was.
Can a set go out as stories instead of a carousel?
Yes, on Instagram and Facebook. Each photo in the set becomes its own story, published one after another a couple of minutes apart — up to ten frames, which runs over roughly twenty minutes. Stories carry no caption and no hashtags, so the pictures do the talking. You can do both from the same set: the carousel today, the story series tomorrow.
What are the limits per channel?
They belong to the platforms, not to the set. An Instagram or Facebook carousel takes ten images and a story series takes ten frames; Threads and LinkedIn take twenty, TikTok takes more, X and Bluesky take four. A set is allowed to hold more than any of them, and Published tells you what will not fit before it goes out.
Does building a post use the set up?
No. Creating a draft post reads the set and leaves it exactly as it was, so you can build from the same set again next season. A draft is a snapshot: if you improve the set afterwards, that improves the next post you build from it, not one you have already published.
How does Published group my photos into sets?
Two ways. Smart mode reads what it knows about every frame — subject, colour, shape, light, mood and framing — and proposes named sets along the themes it actually finds; type your own themes to steer it instead. Timeline mode clusters by capture time into the phases of a day, with templates for a wedding, a trip or an event.
Does the AI create sets without asking me?
No. Generate Sets produces a proposal and writes nothing until you confirm it. It is a starting point, not an answer: tick the sets you want, regenerate for a different take, or throw the whole proposal away. Frames it cannot place go into a set called Other rather than being forced somewhere they do not belong.
Can the same photo sit in more than one set?
Yes, as often as you like. Grouping is metadata — nothing is copied and your originals never move. A frame can be part of the wedding set it came from and your standing silhouettes collection at the same time.
What happens if I delete a set or a project?
Deleting a set leaves every photo in it untouched in your library. Deleting a project keeps its sets — they simply become standalone sets again — and the photos stay exactly where they were. Grouping never destroys anything.
Keep going

A set is the start of the pipeline.

Once your library groups itself, the rest of the week follows from it.

Batch

Turn a week of sets into a week of scheduled posts.

Drafts, captions per channel and a queue on your cadence — a whole shoot in one pass.

Read more →Framing & Formats

Make one set fit every platform.

Focal-point crops per format, uncropped letterbox borders, split panoramas — without re-cropping by hand.

Read more →Organisation

Find the frame in the first place.

The folders your photos arrived in, semantic search, look-alikes — the library a set is built from.

Read more →