This project aims to show the value of the digital domain, or the commons, by examining different case studies of online communities, focusing on art and other creative works. Creative Commons has increasingly played an important role in shaping the commons and will therefore be looked at more extensively than the other models. However, other models serve to illustrate how online communities have created their own standard practices when dealing with copyright issues and the commons as well.

Goldstein, Jim. "Creative Commons." Digital Photo Pro.

      Goldstein begins by pointing out that "digital photography has fueled a revolution in online media consumption". Photographers need to be aware of copyright laws. Of course, there is always the problem that copyright can't keep up with the digital world- enter Creative Common's licenses, which Lessig designed to adapt to the 21st century and allow authors to provide freedoms on their work that will help enrich online culture. Goldstein explains the three layers of CC licenses: machine-readable expression, commons deed, and legally enforceable terms. Th question he then raises is whether or not CC is right for professional photographers. He believes that it is important to realize that "image availability is now taken for granted" and is therefore seen not as intellectual property but free content.

      This is where Creative Commons comes in. It serves to improve the granting of permission with legal licenses that allow photographers to decide what rights to give away without the hassle of hoping internet users go out of their way to personally ask permission. The licenses are designed to be as clear as possible, so most if not all users can easily disguish what rights are given and what rights are not. CC has already developed a passionate following and even the heavyweight Flickr has adopted these licenses. The CC+ license was designed specifically for photographers; it enables publishers to pursue commercial rights and other services beyond the normal noncommercial CC license. So then, that's the answer to Goldstein's question? He doesn't have one. Instead, he argues that the use of CC is a personal choice for each photographer, but that they should consider the pros and cons of the different licenses.

      While the article doesn't delve to deeply into the choices photographers have to make when deciding whether or not to use a CC license, it gives both a simple and easy to understand overview of Creative Commons and outlines the factors that affect photographers in the digital world. And while he poses more questions than he answers, it does leave readers with food for thought. In a world where content is assumed to be free and especially with photography, where keeping a name attached to an image is difficult, to say the least, what choice do you think you would make? He points out the important things to consider when deciding; perhaps most importantly, once something has a CC license, you can't change it back.

In this project I will discuss the history and reasoning behind Creative Commons, the importance of its existence and principles (with an emphasis on online photography) and illustrate three relevant cases.