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 shaping projects, digital collections, reuse and GLAMs themselves.

Across UK GLAMs, this has materialised as follows:
 * Open access has removed barriers across GLAMs' systems and within GLAM operations. Participants from two open GLAMS noted that the shift to open revealed where internal barriers had been, as they became visible only once removed.
 * Open access has "removed the copyright delay". Participants from open GLAMs noted turnaround is quicker and has resulted in more public engagement in a playful way. The focus is now more about digitisation turnaround and flipping content for online access, rather than allowing copyright to drive that process. One open GLAM divides its digitisation approach into primary and secondary photography: primary photography includes more difficult work or specialist training; secondary photography is faster and just for imaging purposes to expand online access. They have found that when a secondary image is created, and is popular, this often spurs additional asset creation.
 * Open access has positively impacted GLAMs' ability to attract research funding that includes funding for digitisation. One participant observed, "[w]hen seeking external funding for digitisation, funders are more willing to support policies for open access and want to see any assets produced with the funding published for public release".
 * More than one participant noted that the amount of funding attracted by the GLAM's well-known open access programme far outweighed the revenue generated via commercial licensing on an annual basis. And while direct value is measured by the funding award, the added value of the open access programme to the GLAM as a research institution is immeasurable.
 * Open access has positively impacted internal and external researchers' ability to pitch new projects and publish on topics that require images.
 * Users are no longer required to navigate rights restrictions. This has led to greater overall public interest in collections. Some open GLAMs noted an increase in collections inquiries and the need to respond to confirm that people can really reuse the images.
 * Open GLAMS regularly receive positive attention online and in print for releasing images to the public domain. This is seen to add brand value, increase reputation and reach and raise interest around the collection, which carries monetary value.
 * Open GLAMs are gaining a good reputation among educators and academics. A far greater number are now using images, which raises the profile and research interest in collections.
 * Open GLAMs continue to be credited for use of images in academic publications and receive complimentary copies.
 * Some GLAMs have stopped acquiring commercial image sets (which come accompanied by copyright claims) so they can focus on data that they can release via open licences and tools.

Within TaNC projects, this has materialised as follows:

A Culture of Copyright