Picture-taking is a technique both for annexing the objective world and for expressing the singular self. Photographs depict obj

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问题     Picture-taking is a technique both for annexing the objective world and for expressing 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 antithetical 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 a fundamental 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 an 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 the claims that photography might make to be a form of personal expression on a par with painting, its originality is inextricably linked to the powers 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 limits imposed by premodern 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 modem 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 modem 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 nostalgia for some pristine state of the photographic enterprise is currently widespread and underlies the present-day enthusiasm for daguerreotypes and the wok of forgotten nineteenth-century provincial photographers. Photographers and viewers of photographs, it seems, need periodically to resist their own knowingness.
Which of the following statements would be most likely to begin the paragraph immediately following the passage?

选项 A、Photographers, as a result of their heightened awareness of time, are constantly trying to capture events and actions that are fleeting.
B、Thus the cult of the future, the worship of machines and speed, is firmly established in spite of efforts to the contrary by some photographers.
C、The rejection of technical knowledge, however, can never be complete and photography cannot for any length of time pretend that it has no weapons.
D、The point of honor involved in rejecting complex equipment is, however, of no significance to the viewer of a photograph.

答案C

解析 本题为推理题。根据最后一段最后一句话“Photographers and viewers ofphotographs,it seems,need periodically to resist their own knowingness.”可知,这句话主要讲述了摄影者和观看者需要定期抗拒他们已有的有关拍照的知识,才能跟得上正在流行的这两种观点中的其中一个观点。由此可以推测,文章接下来将继续讲解跟拍照知识相关的内容。四个选项中只有C选项符合这一推断,因此C项正确。
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