85. The following appeared as part of an article in a photography magazine.
When choosing whether to work in color or in black-and-white, the photographer who wishes to be successful should keep in mind that because color photographs are more true-to-life, magazines use more color photographs than black-and-white ones, and many newspapers are also starting to use color photographs. The realism of color also accounts for the fact that most portrait studios use more color film than black-and-white film. Furthermore, there are more types of color film than black-and-white film available today. Clearly, photographers who work in color have an advantage over those who work in black-and-white.
Discuss how well reasoned... etc.
The author concludes that photographers who work in color hold a competitive advantage over those who work in black-and-white. To support this conclusion, the author claims that the greater realism of color accounts for its predominant use in magazines and portraits. The author also points out that newspapers now use color photographs, and that there are more types of color film than black-and-white film available today. This argument is problematic in several important respects.
First, the argument unfairly assumes that working in color is necessary in order to gain an advantage. The author identifies only two areas―magazine and portrait photography―where color predominates. It is possible that the overall demand for black-and-white photography remains high. Moreover, the author provides no evidence that the realism of color photography is the reason for its predominance. The predominant use of color may be due to other factors―such as consumer preferences or relative costs of film―which might change at any time.
Second, the argument unfairly assumes that a photographer must make an either/or choice between the two types of photography. This assumption presents a false dilemma, since the two media are not necessarily mutually exclusive alternatives. Common sense tells us that a photographer can succeed by working in both media.
Third, the fact that more kinds of color film are available than black-and-white film accomplishes little to support the argument. The difference in number might be insignificant, and the distinctions among the types of color film might be negligible. In fact, by implying that more choices in film type affords a photographer a competitive advantage, the author actually undermines his larger argument that working solely in color is the best way to succeed in the field of photography.
Finally, the argument ignores other factors―such as initiative, creativity, technical skills, and business judgment―that may be more important than choice of medium in determining success in photography. A poorly skilled photographer may actually be disadvantaged by working in color insofar as color work requires greater skill, and insofar as color photographers face keener competition for assignments.
In conclusion, this argument oversimplifies the conditions for gaining an advantage in the field of photography. To better evaluate the argument, we need more precise information as to how large a portion of all photography work today is accounted for by color work. To strengthen the argument, the author must convince us that a photographer must choose one medium or the other rather than working in both.
雅思口语考试PART3趋势分析
如何准备雅思阅读阅读过关词汇先行
不可不知的雅思考试报考新变化
中国雅思考生口语能力偏弱提高成绩有妙招
名师课堂雅思阅读搭配题解题方法
雅思阅读高分必知两大考点及备考指南
名师指点放弃雅思写作模板重视评分标准
如何快速突破雅思听说读写瓶颈
雅思阅读8.5分心得在宏观中把握细节
雅思8分的心得兴趣与技巧同样重要
中国考生雅思均分全球排名升一位
雅思阅读有玄机无处不在的信号词
名师传授应对雅思口语24大法则
雅思口语考官到底想让你展现什么
雅思写作指导如何准确的构建双边文章
中国考生在雅思写作中薄弱之处
名师支招记忆雅思词汇24条秘诀
写给雅思考生英语学习的三层境界
高中生赢战雅思写作的五大观念误区及对治方法
雅思考试的经验谈教你如何打动考官
雅思考生中的弱势群体备考词汇勿走误区
雅思听力备考之记忆能力与影子的练习
好高骛远的雅思词汇语法从高中起航
名师支招雅思考试也要打心理战
名师点睛雅思听力高分四大关注
雅思阅读备考词汇量之外四大要素
雅思写作话题预测10题
雅思考试单项强化局部定点突破
雅思口语热点话题的诸般变化
练雅思口语建议多看辛普森一家
不限 |
英语教案 |
英语课件 |
英语试题 |
不限 |
不限 |
上册 |
下册 |
不限 |