 Felly, mae'n gwneud o'r hyn o'r clywed o'r ydych chi'n mynd i'r cyffredinol yma, ond mae'n ddych chi'n bwysig i'ch gwneud o'r cyffredinol a'r byddau'r funud o'r cyffredinol? Fe'n bwysig yn gyntaf o'r ddau o'r cael ei wneud o'r cyffredinol, o'r rhaid o'r cyffredinol, oed. Felly, mae'n ddweud o'r cyffredinol, mae'n ddweud o'r cyffredinol, oed eich clywed i'r cyffredinol. Iebydd, mae yw'r ffotoglafwchydd. Mae'r wlad 15 oes i'r ffodoglaf yma, ac mae'r ffotoglaf yn ymryd iawn ahog, mae'n bobl iawn o ystod iawn o'r magais. Mae dwi'n rydyn ni'n gwahod am y model i mwyaf o gael ei wathurau ar y mod, rwy'n dd heb mwyaf. Yn gyfocred o'r 10 oes, ac yn yma'n mynd i'w ddweud eich bod i'n fath o'r ddweud. Rydyn ni'n ddweud y gwaith yma, o bwysnes model yw'r ddweud yw'r ddweud. Mae yma'n gwneud i'n ddweud i'r sgareddol— yw'r prysau sgareddol— a'r ddweud o'r ddweud i'r ddweud i'r ddweud yma i ddweud o'r ddweud i'r ddweud. Ond yw'n ddweud i'r ddweud i'r ddweud i'r ddweud i'r ddweud i'r ddweud, No one had to buy the packaging anymore, no one had to pay for the mode of distribution. So certainly my business model kind of collapsed. People would buy the magazine and I would get a kick back from that. When people see my images online and I didn't get anything. So at this point I considered my product to be supplying images and I thought that was all I did as a photographer. But I kind of came to this point where I had to sort of rethink that. Editorial photography, the sort of thing that I do, I would get paid $250 by the New York Times to photograph Jude Law. That's it. So there's no money to be made there for me. The only way I would make money is by syndicating these images. And as I say, I relied on this being a model of scarcity. So I would have to kind of keep these images scarce in order for me to keep charging these prices. So as I saw my images blossom online, I saw my images appear abundantly. I saw my revenues drop and I saw my economics 1.0 brain. So this is basic supply and demand. So there's an infinite supply of my images. So now I have to restrict this supply of images in order for me to keep the prices up. So I would actively police the internet. I would go online, I would find out where my images were and I would tell these people, these bloggers, take my images down. I would write out these vitriolic emails. I would say, would you steal the food from my children's plates? Would you sort of break in and steal my car because that's effectively what you're doing by using my images for free. And I'd get the inevitable weekly email back from some 14-year-old girl in middle America who was devastated that she saw that I was apparently going to sue her and that, you know, don't please don't tell my parents and of course I'll take the images down. Which, you know, I felt really bad about that. So I would now sort of say to them, I would say, you know, oh, so it's okay. It's okay. Just please put my name on there. Leave a reference to my blog. Use the images. You're not sadden. That's fine. And she'd still be crying. So then I'd say, okay, I'll send you some extra stuff that no one else has got. I'll send you some outtakes. This is my premium stuff. This is the stuff that I would normally make some money. But I'm giving this stuff away now just so that she doesn't tell my parents because now I'm really worried about this. So what happens was, I mean, joking aside, then that is true and that happened again and again. And I realized eventually that I couldn't police the entire internet. It just wasn't really an effective use of my time. What I noticed was that this girl who was very much a part of her network of people that were into Heath Ledger, or whoever it was, would distribute these images and she would share them with her community who were most interested in Heath Ledger or due law, whoever it was. And suddenly I would get this flurry of activity and this flurry of interest in my website. Now, I didn't put this together. At the time these are just random acts. But the point being that this idea of scarcity wasn't kind of working anymore. I couldn't control the supply of my images. This is a real-time feed from Flickr. And I don't think anyone should look at it for more than 20 seconds or otherwise people start to be ill. And if you're a photographer then that will make you really ill because they are images that are being supplied. We can't compete with that. So I photographed this guy called Corey Doctorow and I'm sure you guys are much more familiar with him than I was at that time. But Corey is a science fiction author for those that aren't familiar with him. And he was apparently making money at the same time as giving his books away for free. And so I spoke to Corey and I said, you know, so Corey we have a great deal in common. We both give our work away for free but apparently you make money from it whereas I clearly don't. So how do I get from where I am to where you are? And he was extremely generous. This is a story that reoccurs with people that seem to sort of think this way. I hope now that I am also one of those people. But he's extremely generous and he said to me, well here's what we'll do. We hatched a plan whereby I would make... I've actually gone into this in some detail in other places on my blog and it was actually featured as a case study by Creative Commons in the book they released in the summer which is called The Power of Open. So if someone actually wants to read about that then I think that's probably the appropriate place to read about it rather than here within these tight to 20 minutes. What I did was to cut a long story short 125 prints or so. They're all exactly the same and we versioned them out. What Chris Andersons caused versioning in free I'm sure you're familiar with it. So number one was the most expensive, 150 odd pounds and then these were scaled down to the last 50 worth, 5 pounds each. And then there was the free version which is here on Fleckard which anyone can download. This was a high res version. Now at this point as well I'd said to this girl, this blogger I said, you know, you can use my images but please attribute it to me. Please send people back to me and please don't charge people to access it. Now my all rights reserved licence at this point kind of means I can't do that. She was breaking a law. So that kind of became a bit clumsy and not appropriate for the way I now want it to work. So Corey introduced me to Creative Commons and so he also insisted that I use the freest of the CC licenses which to me was anathema. The idea of giving my work away for free was completely wrong. And I had to explain to Corey at this point, clearly mate, this is not going to work. We're giving this away. So obviously I was proved wrong and I now understand that economists refer to this as price discovery. I should have priced the most expensive one 10 times higher because what happened was there was a fight over who got the most expensive one. These prints are all the same. The only difference is they're numbered. So they went with pages from the manuscript which Corey signs. I signed the images Corey signed the manuscript and there was this fight for the most expensive and all the expensive ones went, all the cheap ones went, there was a block in the middle that didn't go but the point being that I made the traditional way of making money by syndicating the portraits of Corey I hadn't made any money at all over the previous 24 months. This I made two and a half thousand plus pounds over a much shorter period. Now you'll have to check in with the actual figures on that but the point being this was a far better way of me making money for my business. The last thing I wanted to mention with this before I get on to the class this is something that I found when people talked about receiving a book from Corey Doctoro. At the same time to this I'd ordered a flick, a print on demand book and I thought I was being pretty adventurous with this as it sort of vomited through my front door and landed on the floor. I thought this is great but I didn't feel very close to the publisher at that point. I hadn't put the money in her pocket but I got my book. This is what someone wrote when they got the book which is one of his books which was printed in butterfly sweat and wrapped in caterpillar wings or whatever on paper that came actually came from the Ark but he said I have just experienced the anticipation, excitement and fascination equivalents of a few Christmas mornings, a major birthday and discovering the Victoria's Secrets catalogue all rolled into one if you've never believed book lingerie could be used in a sentence read on about my experience unboxing a hand bound hand finished copy of Corry Doctor Oro's with a little help. This is someone who just bought a book. This is clearly someone who's you know has bought in bought into the product. So this kind of comes to me sort of three years ago when someone asked me if I'd write a class write a photography class and I, you know, a hands up I have no previous experience of lecturing or teaching so I agreed to write this class the class was called Picturing the Body and I was immediately a sailor with a couple of problems was checking all the time the problems you had this class on this course hadn't been advertised it was the first time the class this degree course had run there were eight students in the year and what they wanted they came to me and said we want more people to talk about we want more people to share our work and get feedback from and they saw my work they saw that I was teaching it and they said we also want these international opportunities we want these sort of global we want to be working on these sort of global footing so I didn't know how to solve this problem so what I did was I thought well you know it kind of worked with Corey so why don't I just open this out to the community why don't I remove the barriers to entry so the barriers to entry were that people had to be in coventry at the course in order to take part so let's remove that so I put it on a blog online and there are other barriers to entry you know I expense well let's make it free so anyone can do it which I did and also this sort of how people learn you know you have to have a way to be able to to take a degree well you know well let's remove that barrier to entry as well because you know there's clearly people have a great deal to offer so I put it online and a lot of people kind of turned up in fact one day I get a call for work and someone says so Jonathan how's that class going I'm saying yeah it's going pretty well you know it's small but it's going pretty well right so it's getting more server traffic than the rest of the department so I said oh that's interesting oh look into that and then the next week you know I crashed the service because too many people turned up and then I had to sort of put my hands up and say you know it turns out that I gave it away for free and I put the class online so that didn't go down particularly well at the university because they were they kind of saw their products in terms of knowledge now I know this now just as I've seen my products in terms of photographs they saw their products in terms of knowledge and if I give this knowledge away then who's going to pay for an education right so at that point education funding in the UK or shortly after education funding changed in the UK and people were looking for other people that were doing other things other solutions so that kind of works really well for me so the second class came along and this time I did it with the support of the university I had to put it out online and it was called photography and narrative but it didn't kind of seem the appropriate question to be asking for me bearing in mind where I was at with my business model and so on so I thought a more appropriate question is what does it mean to be a 21st century photo practitioner and I didn't have the answer to that so how are we going to teach that that again seemed rather problematic because the book hasn't been written on it yet so I thought well I'll kind of open it out and I'll ask people I'll ask people to contribute I'll ask people to come up with the appropriate questions because no one's going to have the answer but maybe if they have the questions then we can begin to explore that together I didn't have any money though so this was another problem so what I've said is you can maintain ownership of anything you contribute and we'll use this system, this platform and anybody that comes to see it will go back to you so I began to mediate the ownership of the class and mediate the authorship of the class and then I began to realise that in fact in some instances I didn't have much to offer certainly not as much in terms of the specialisms that the people were bringing to this class and my role changed it became a change from being like this broadcast model of teaching and learning where I would sort of broadcast the answers to people who sort of absorbed them to someone who curated a journey between these people that I saw as being as necessarily having a great deal to offer so my role became to provide the contextual links between these individuals and it kind of went well and this is the second iteration right now and the one class has more students than the entire university in fact over the last five weeks we've had more people come to the class than NYU has undergraduate students so what was on with this then? so one of the things about this class that I began to sort of realise and I don't want to get too geeky now about photography I've got 15 minutes good I've got much more to say so one of the things that was important here about photography was that the photographer didn't consider themselves to simply be a supplier of content what I proposed was that they began to consider themselves as a publisher but the question was a publisher of what and so what I said was I think we have to consider ourselves to be publishers of hubs where we mediate the authorship of the project where we mediate the ownership of the project where we get people to take a vested interest in the project, the theme the thing that we think is a story to be told and it seemed appropriate at that point to point out that the class itself had become a hub so what I had was we had a distributed class that was taking place all over the world these are the first 200 people to sign up to this latest iteration that were contributing their content but they were doing it in different places because I had no money I didn't have any money to set up any platforms universities love to do this I've noticed this in my brief tenure that the universities love to reinvent things I say something or one might say something like flicka is really great for storing images so the university institutional answer to that is let's build one like flicka let's build a university type flicka a place for hosting sound and this becomes incredibly expensive and also it didn't kind of work what really worked for me was going where the fish were already swimming if students are already using flicka to store their images then why not let them use flicka flicka is really good for storing images and if they're using sound cloud for storing sound then let's leave them there because that's free and it's constantly being updated and the same thing with Vimeo Vimeo is great for video why would we try and build that and then have to paint storage so instead what we do the basis for the classes we consider these barriers to entry so if people are already using those spaces then just need to aggregate them just need to sort of bring them together so about 18 months ago a year ago we built an app which was a simple aggregator so students can take part in these classes they can dip in, they can dip out they can take the whole class they can take bits on it but they continue to produce work in the environments they already use so if they're using flicka they're currently using that they're using Vimeo they're currently using that what the class does what the hub does is it aggregates all of these feeds so this content is dispersed all over the internet but the class aggregates into one place where it makes sense this is the place where it kind of comes back to the problem that was solved with the Corey Doctoro the generative experience having calorie versa is the generative experience I didn't get people to pay for that the university said if you give all this away for free then no one's going to pay for it my experience was the more people talked about my images the more people had increased the value of the perceived value of the analog experience the more people saw the image the more people wanted to own the original this is a well-sighted example I think it's Anderson again who talked about Mona Lisa the most familiar image the most copied image which is infinitely expensive in fact it's uninsurable so how does this translate into a university experience well it turns out that it turns out that the course is now the hardest to get into in the university it's only in its fourth year so it turns out that in fact the more people hear about this it actually increases the perceived value of this generative experience people actually want to come and sit in the classroom when 20,000 people came over the last five weeks to the class when 10,000 people are waiting to start a class in January the 30 people in the room suddenly have a pretty big platform they have a lot of people looking in at what they're doing they have a network which is established and global that they can tap into and you know what there's someone that's really kind of struggling to find the answers to the questions that I'm posing it's a hell of a resource for me when I first did this Fred Riching my heroes suddenly came along and started to feed the information because they wanted this to work Fred Riching who wrote after photography he got involved and was again incredibly generous Stephen Mays of Seven Agency and David Campbell these people who photographically you probably will be aware of them these are the people that are sort of defining this new vision and they just came along and started to help me out Richard Stormer wrote to me and said how excited he was about the project which for me was a sort of particularly emotional so it nevertheless presents this problem because institutions have the institution that I was now familiar with had kind of had one product you come along and you buy a three-year degree so how do you version that? how do you spread it out so that you can have like one class one day, one week, one workshop how do you chop it up so people have different entry points the other I mean we are sort of moving on with that and we are sort of doing exactly that in a moment the other thing we are sort of working on at the minute is how to distribute these generative experiences which I think is one of the most exciting sort of the thing I am most excited about right now is kind of, you know, this is open kind of isn't enough which is kind of where I am at now with this and the people I am working with the key is to sort of distribute this experience so that people can not only experience it experience a generative version of it remotely but they can also take ownership of it and it moves from being a tweet-up to being a slight slam when everyone gets together and shares images over a beer they have that one-on-one experience and the next step is how do they validate that which I think is sort of interesting but this idea of open isn't enough you know, we have been saying now for two, three years this is open, it is licensed CC BY you know, you can have this and you can use this, you can build on this make it even better contributes to what we are doing here and we all win but people are really reluctant to do that I think that most people still sort of think on one level there is kind of stealing stuff I mean, I would think this and this is why I think this so I don't think it is enough necessarily for people like me to just be passively open and so what we are doing now is we are trying to be actively open so we are now actively devising educators packs so that you can download the framework for phone art, for photography and narrative and you can have that experience at your church group at your primary school at your secondary school and you can use it on your degree or maybe you can change it and use it for your MA but again, you know this is kind of where we are at right now and I think that's the sort of the most exciting part so I'm not going to say anything else unless somebody wants me to the technology but ok, so you said up to almost 20,000 people so as a photography class the students had to take pictures with this class, right? they have to do a bunch of different things over 20,000 people have come to the visitors have come to the class site over the last five weeks and so all the material is online there are tasks online that people do each week and there are plenty of workshops there are plenty of places where you can go and get online tutorials but that sort of structured a program of learning with the start middle and end I mean, I sort of try to build in a lot of gaming dynamics where people sort of you know they level up, they get experience they get lots of rewards they get lots of quick feedback well here's what I'm thinking it's ok so you have all these people, right? and they have all these different levels of experience in photography and you know you could have somebody who only has a cellphone camera potentially taking this class so somebody maybe at your level who's taking this so how do you reconcile all that and you know, get everybody to you know, I mean to a common ground be able to you know, be able to teach people how to get the most out of the camera they have and you know so not just the theory of it but to get to the technical aspects of the craft, you know what I'm saying? Yeah well you know we like it too geeky about photography the technical barrier to entry has been removed everyone's a photographer now so I don't even begin to start to teach and technique there are much better places to learn that you go on YouTube if you want to learn how to use your particular camera in multiple functions then actually what we do is we build a forum and we said here are questions that we get regularly asked do you have a great resource where you can learn how to use X or how to light Y and people have contributed those places to go to that but the thing, so that's easy you know when I look for photography students I never look for people that are gifted photographers I look for people that have got something to say you want a story teller you don't want a technician teaching people how to use a camera is easy that's yeah so someone that's using a phone camera is equally as valuable especially if they've got a great story to tell more so in most cases I think most people believe I think cell phone images for a start are much more believable than sort of highly produced images if you will so does that make sense does that answer that or is just confused the issue that's how I teach, it's great I guess from my perspective there's all different ways to teach there's no writer wrong I'm a teacher photographer and I agree with you about photography as a story but to it's art and so I'm speaking from the perspective of somebody who's a two dimensional artist so he's a little straighter painter and there's there's technology to enhance the story effects and all that and so with the wide variety of cameras the wide variety of expertise levels it's like for those people to get the maximum I guess out of I guess people bring their own expectations to the class too I guess it depends on what they want to get out of it one of the things is giving people feedback the right levels of feedback if you will and it's physically impossible we're working one day a week technically although Matt Johnson who's the guy I work with and he's worked seven days a week on it all the time zones as well but what we did is we tried to facilitate environments where people could peer assess and peer support each other and try to encourage people to do that to give the right levels of support so are you able to do an online critique or something? that's exactly what we did so hi how did you say a little bit more about how things played out with commentary so is it being recorded? I believe it is but I suppose what I'm interested in is what kind of persuasion what kind of process did you go through to get them from what have you been giving away on our knowledge to ok let's carry on and see how it goes I've been given the one finger so the answer is in truth there was a moment of shock when I was opened a little bit initially but in truth my line manager is extremely supportive he would be standing with me here today if he weren't actually running the shop so at that moment he saw he has the same vision that our product is far more than simply knowledge it is this generative learning experience that's what our product is so at that point when so many people are coming when the course suddenly is the most is the hardest one to get into in the university and it's second year which he was at that point and when we're now currently turning away more people than any other course within the university at that point one has to look at it and say what are you doing differently so at that point then they're sort of like ok well maybe this stuff is worse so when you was reading this back you had that interest because if that interest hadn't been there then I would have called the club well yeah I would have carried on doing it anyway you know so I guess these are sort of concrete outcomes aren't they 20,000 people you can't really argue with those stats they're investment bank statistics aren't they is that it, thank you