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  3. Picture-taking is a technique which can both reflect the objective world and express the singular self. Photographs depict objec

Picture-taking is a technique which can both reflect the objective world and express the singular self. Photographs depict objec

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问题     Picture-taking is a technique which can both reflect the objective world and express the singular self. Photographs depict objective realities that already exist, though only the camera can disclose them. And they depict an individual photographer’s temperament, discovering itself through the camera’s cropping of reality. That is, photography has two directly opposite ideals: in the first, photography is about the world and the photographer is a mere observer who counts for little; but in the second, photography is the instrument of intrepid, questing subjectivity and the photographer is all.
    These conflicting ideals arise from uneasiness on the part of both photographers and viewers of photographs toward the aggressive component in "taking" a picture. Accordingly, the ideal of a photographer as observer is attractive because it implicitly denies that picture-taking is an aggressive act. The issue, of course, is not so clear-cut. What photographers do cannot be characterized as simply predatory or as simply, and essentially, benevolent. As a consequence, one ideal of picture-taking or the other is always being rediscovered and championed.
    An important result of the coexistence of these two ideals is a recurrent ambivalence toward photography’s means. Whatever are the claims that photography might make to be a form of personal expression just like painting, its originality is closely linked to the power of a machine. The steady growth of these powers has made possible the extraordinary informativeness and imaginative formal beauty of many photographs, like Harold Edgerton’s high-speed photographs of a bullet hitting its target or of the swirls and eddies of a tennis stroke. But as cameras become more sophisticated, more automated, some photographers are tempted to disarm themselves or to suggest that they are not really armed, preferring to submit themselves to the limit imposed by pre-modern camera technology because a cruder, less high-powered machine is thought to give more interesting or emotive results, to leave more room for creative accident. For example, it has been virtually a point of honor for many photographers, including Walker Evans and Cartier Bresson, to refuse to use modern equipment. These photographers have come to doubt the value of the camera as an instrument of "fast seeing". Cartier Bresson, in fact, claims that the modern camera may see too fast.
    This ambivalence toward photographic means determines trends in taste. The cult of the future (of faster and faster seeing) alternates over time with the wish to return to a purer past when images had a handmade quality. This longing for some primitive state of the photographic enterprise is currently widespread and underlies the present-day enthusiasm for daguerreotypes and the work of forgotten nineteenth-century provincial photographers. Photographers and viewers of photographs, it seems, need periodically to resist their own knowingness.
The author is primarily concerned with
选项 A、erecting new technical standards for contemporary photography.
B、describing how photographers’ individual temperaments are reflected in their work.
C、analyzing the effects of photographic ideals on picture-taking.
D、explaining how the technical limitations affect photographers’ work.
答案C
解析 本题是一道全文中心主旨题。本文第1段提出对摄影术的两种不同观念。第2段分别阐述了这两种观念的由来及摄影师对这两种观念中任何一种的兴趣是反复交替的。第3段指出，这两种观念共存的结果是经常发生对摄影手段的不同看法。最后一段指出，这种对摄影手段的矛盾心理决定审美品位的发展趋向。综上所述，本文作者主要分析了两种摄影观念对摄影术的影响。故应选C。
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考研英语一

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