Read the following passage and questions, then choose the right answer from options, the answer should be one of A, B, C, D.

<passage>:
In his foreword to the book, Lessig writes that you understand your subjects “by learning to see them in a certain way.” What is that certain way? I think I’m trying to get a mental image of a person, certain expressions, or what I think that person is about. I’m trying to capture what I think they look like, which is many times a minority of their typical expressions, or their typical stance. So, if I’m taking pictures of Larry [Lessig], I want to have his signature hand gestures, and not just random ones. I think I’m trying to capture pictures of people that help others see what they’re about. Some photographers will make someone look the way the photographer wants them to look, and not the way they appear, so they’ll pick the one picture out of 100 where the guy looks more egotistical than he really is. Some photographers are almost medical, and are going after a perfect portrait. I’m somewhere in between. It’s amazing how many people will upload snapshots of people where the pictures don’t look like them at all. To me, uploading a picture that is not an easily recognizable picture of that person defeats the point, which I’m working toward, to try to express who they are. On the other hand, professional photographers usually have a subject whom they don’t know personally, so they end up having to try to capture an image that they’ve created based on who they think the person is or how they want that person to appear. You know how sculptors often say that they’re just freeing an image from a block? What I’m trying to do is free make this hard. A lot of people are uncomfortable in front of a camera, or might make expressions that aren’t very natural for them. And if the person is nervous, it’s very difficult to try to see what it is that you’re trying to capture. A lot of what I’m doing is, I just start shooting photos. After half an hour of having their picture taken, people start to ignore you. Or I’ll take pictures when I’m talking to people about what they’re doing, so after a while they get distracted by the conversation and forget about the camera. That’s something that I’m not perfect at, but I’m getting better. I think good photographers are also able to disarm people through conversation, but still, it’s difficult to have a disarming conversation with somebody you don’t know, or to make them laugh. Many times people make a face for me that they wouldn’t make for a professional photographer. For instance, a board meeting picture, like the one with Eric Saltzman: that was during a very tense discussion. I’ve found that people are at their most animated at these kinds of meetings, and look the most alive when they are under a lot of pressure, and super- focused. But usually if an outsider is in the room, they won’t get into that. I mean, it would be difficult for a cameraman to be in a room where a board is having a heated debate. But those are the things that I’m trying to capture, because most people don’t get to see that. At the Creative Commons board meeting, Larry asked me to put the camera away after awhile [laughs] because it was distracting. We were having a very heated discussion and I was taking all of these pictures. But he credited me later because afterward those pictures turned out the best. In your mind, what is a ‘Freesoul’ ? A freesoul is somewhat of a pun. On the one hand it means you are free, photographer to take the picture. Often, even the subject of the article encumbered Net presence. People who are invited to conferences get asked all the time, “By the way, do you have a photo that we can use?” But they don’t. By making these pictures available under a Creative Commons license, now they do. This is solving the issue of legal freedom. The third part of the pun is that, since I’m asking for a model release from the subjects, I’m asking everyone to be much more open and giving about their image than most people typically are. I’m giving, you’re giving, we’re all giving to participate and to try to create this Of course people can abuse that, just like they can abuse anything. But fact is, it’s much more likely that somebody is going to use these pictures for something positive, rather than for something negative. The benefits greatly outweigh the risks. I think we spend way too much of our lives worrying about the risks, at the cost of a lot of the This is a celebration of all of the people who are willing to give. In a way, giving up your image and allowing anyone to use it: it’s the ultimate gift. In one way it’s kind of vain. [laughs] But in another way it’s wonderful. A Wikipedia article on some person but with no picture is sad. Besides Wikipedia, how do you imagine these photos being used? They can be used in textbooks and in mainstream media articles about the person. Now they can get a picture that represents the person, at least from my perspective. That said, I shouldn’t be the only person doing this. More people should do the same, and make the photographs available higher chance of not disappearing. But I don’t know exactly how these photos are going to be used, so in a sense I’m curious. For example, they’re not all pictures of people sitting at desks in the Berkman Center. There’s one more important thing: Creative Commons is great for original creative works or derivative creative works, but when it involves human images, it gets very complicated. We all know the Virgin without getting permission from the models, and got in trouble. What we’re trying to do here is to expand beyond just copyright, to make it the philosophical side, the Internet has become much more of a business. Now, when you go to many Internet conferences, it’s mostly salesmen in attendance. right now is a good example of the importance of continuing to balance these principles with business interests. Similarly, I think that business interests can help make Creative “free” and not allow businesses to use Creative Commons in exploitive or making is international. What are your personal realizations or experiences? Well, we’re all getting old, if you look at these pictures. But there’s another thing, though, about this book: the number of professional-quality amateurs has increased significantly due to the and some of this software at a couple hundred dollars, it doesn’t really make sense, except for particularly fussy artists, to do wet-work anymore. If you’re a commercial photographer or a high-end amateur, you completely away from film, and I think this happened to a lot of photographers. It caused an explosion of content and an increase in the photography books and photographs and are probably providing an increasing revenue stream for professional photographers. I think most amateurs, including myself, are paying homage to the professionals and not trying to “compete” with them. Despite the existence of social software, what is still important about meeting people face-to-face? For me, the right way to use a lot of the new social software is by making it easier to spend more physical time with the people you like best. Dopplr is a great example. When I visit a city, I will see all of the people who are in the city at the friends, and they’re not in their hometown. That’s the really interesting thing that is happening right now: it’s project is really sharing memories with people. Blog posts contribute as well, but to me photography is a really good way of doing that. When I look at the expressions, I remember the moment and get a sense of presence. around. Just as I never believed that we would have a paperless office, being able to connect with people through social software mostly How would you characterize your contributions to free culture? I think it’s mostly incremental. I think there is very little we actually do all by ourselves, and I hate saying, “I did this” or “I did that.” I think that in most cases, focusing on individual contributions or achievements undervalues the importance of everyone else involved. Having said that, I think my main contribution is probably in supporting balance between business and the non-business elements of the movement to participate in a small measure on the creative side of the Free participants who aren’t so well known and who are essential to moving everything forward. Personally, I don’t think it’s ultimately meaningful to talk about one

<question>:
How does the author try to disarm their subjects?

<options>:
A Engaging them in conversation
B Telling them a personal story
C Highlighting their best angles
D Making silly faces or gestures

<answer>:

A