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

<passage>:
Just another free soul 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 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 someone’s soul from his or her image. There are a lot of things that 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 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. while they are “notable” on Wikipedia, their images aren’t free of the copyright of the photographer, or the institution who hired the photographer to take the picture. Often, even the subject of the article can’t make an image available to the Wikimedia/Wikipedia community. This means that a lot of people who have a Net presence have a legally 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. 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 pictures for something positive, rather than for something negative. The benefits greatly outweigh the risks. I think we spend way too much of 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 freely. For one, I feel that “free” CC licensed photos have a much 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 exhibit was just amazing. There were some great images, and a lot of the photographers were professionals. This is professional-quality amateurs has increased significantly due to the importance of digital in both professional and high-end amateur photography I hate to say it, a lot of people love the darkroom, but it make sense, except for particularly fussy artists, to do wet-work anymore. If you’re a commercial photographer or a high-end amateur, you can do anything you used to do in the darkroom. I think it has really lowered the bar. I don’t know how that affects the industry directly, photographers. It caused an explosion of content and an increase in the quality of content on sites like Flickr. It has allowed amateurs to create a business model with professionals. Interestingly, I think these new high-end amateurs are buying more 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, than I’ve met in any other year. I know my travels were crazy, but I think that the online world has allowed me to do that. What’s great about photography is that it captures the moment that I was sharing with that person. It’s not just a connection on a social network online, which is really pretty binary. I can look at all these photos and remember exactly what we were doing, what we were eating, what we were drinking, what we were talking about, and to me that’s a much more rich experience. It’s the combination of social software and photography. For me, reality is “the present” plus what you remember from the past. I think this 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 increases your travel, it doesn’t decrease it. It is great because you get to meet all these people. But it is bad for the environment, and bad for our jet lag. How would you characterize your contributions to free culture? is essential. My job is to keep that focus and maintain that balance. Also, CC needs to run smoothly as an organization and there is a lot of operational work that we all need to do. My photography is a way for me to participate in a small measure on the creative side of the Free individual’s personal contribution to any movement. The real meaning is

<question>:
What does the author mean to communicate by comparing the photographer's task to the sculptor's mission?

<options>:
A Photographers should strive to capture the essence of a person, vs. how the photographer wishes to portray them
B Photographers should follow the path of sculptors in using more unconventional means to capture their subjects
C Photographers should present more neutral, ambiguous renderings of a person in order to give the viewer a chance to participate in the art
D Photographers should get to know their subjects on an intimate level, so the subjects feel more free to display their authentic selves during a session

<answer>:

A