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The right to make copies. The right to distribute copies. The right to make derivative works. The right to perform or display the work.

The way the default rules of copyright ownership work, the photographer you hire to shoot your wedding holds the copyrights in your wedding photos.

But that's just the default. You can change all that with the contract you sign when you hire your photographer. Most wedding photographers these days do retain the copyrights in the photos they take of your wedding, but they may give you a license to make personal, non-commercial uses of your photos. This is especially common when photographers offer a CD or DVD containing the high-res files of all your pictures. You usually have to pay extra, but a license like this means you can print copies yourself, post your pictures on Facebook, and send them to your friends, without asking for permission and without violating your photographer's copyright. These are all good rights to have, and I highly recommend reading your contract carefully to see if you get them, and if you don't, to ask.

Many photographers, artists, musicians, and authors – including the ones who make a living from their art – now use Creative Commons licenses because they recognize that it is good for them. They always get credit as the creator, and it's easier for people to discover and fall in love with their work when fans are free to copy and share it.

Her biggest concern was that if the license was attached to high-resolution versions of the photos it would be too easy for people to make infringing uses, especially in print

we compromised with an agreement that we would be allowed to attach a Creative Commons Attribution-Noncommercial license only to low-res versions of the files. This is enough to allow for web-based reuses of our photos, but was limited enough that our photographer was comfortable giving it a try. We edited the language in her standard photographer contract to reflect the new license, and that was it.

The Web Community

At Reed College, having all the texts available in a political-science class on the iPad meant it was easier to refer to readings and pull in outside material for discussion, says Martin Ringle, the college's chief technology officer.

Course readings were converted to PDF's at Reed, which allowed students to mark them up using an application called iAnnotate, but Mr. Ringle acknowledges that this wouldn't work for all classes, because many texts can't easily be converted to PDF's, and many electronic textbooks don't allow annotation.

While Apple has promoted the iPad's ability to change learning, Ms. Simon says that as far as she knows, the company isn't working with leaders in the learning process: professors themselves.

but consumer decisions rather than educational ones will probably determine which tablets students purchase—and which ones colleges will support, he says.

role-playing games

enabling learners to “experience” historical events or places instead of reading off a page.

visual representations

of data

One recurring theme in the presentations was the need for “linked open data” — types of research data that are tagged and stored in such a way that they can integrate with other research.

If one researcher had architectural data about New York City, and another had demographic data about the city, and each were able to cross-reference the other’s data with her own, it would deepen the context and understanding for both.

With linked open data on the rise, the same could soon happen with research data

“Linked open data is a very technical infrastructure, but the result of that is information that’s shared widely for free. A lot of scholarly data over the last hundred years or so is locked up in expensive journals that the public could never afford to subscribe to.

That could be the key to winning back support for the humanities