Reading passage 3

You should spend about 20 minutes on Questions 26-38 which are based on Reading
Passage 3 on pages 9 and 10.

"The Rollfilm Revolution"

The introduction of the dry plate process brought with it many advantages. Not only was
it much more convenient, so that the photographer no longer needed to prepare his
material in advance, but its much greater sensitivity made possible a new generation of
cameras. Instantaneous exposures had been possible before, but only with some
difficulty and with special equipment and conditions. Now, exposures short enough to
permit the camera to the held in the hand were easily achieved. As well as fitting
shutters and viewfinders to their conventional stand cameras, manufacturers began to
construct smaller cameras in tended specifically for hand use.

One of the first designs to be published was Thomas Bolas' s 'Detective' camera
of 1881. Externally a plain box, quite unlike the folding bellows camera typical of the
period, it could be used unobtrusively. The name caught on, and for the next decade or
so almost all hand cameral were called ' Detectives', Many. of the new designs in
the 1880s were for magazine cameras, in which a number of dry plates could be pre-
loaded and changed one after another following exposure. Although much more
convenient than stand cameras, still used by most serious workers, magazine plate
cameras were heavy, and required access to a darkroom for loading and processing
the plates. This was all changed by a young American bank clerk turned photographic
manufacturer, George Eastman, from Rochester, New York.

Eastman had begun to manufacture gelatine dry plates in 1880. being one of the first to
do so in America. He soon looked for ways of simplifying photography, believing that
many people were put off by the complication and messiness. His first step was to
develop, wih the camera manufacturer William H. Walker, a holder for a long roll of
paper negative 'film'. This could be fitted to a standard plate camera and up to forty-
eight exposures made before reloading. The combined weight of the paper roll and the
holder was far less than the same number of glass plates in their ling-tight wooden
holders. Although roll-holders had been made as early as the 1850s, none had been
very successful be cause of the limitations of the photographic materials then available.
Eastman's rollable paper film was sensitive and gave negatives of good quality; the
Eastman-Walker roll-holder was a great success.

The next step was to combine the roll-holder with a small hand camera; Eastman's first
design was patented with an employee, F. M. Cossitt, in 1886. It was not a success.
Only fifty Eastman detective cameras were made, and they were sold as a lot to a
dealer in 1887; the cost was too high and the design too complicated. Eastman set
about developing a new model, which was launched in June 1888. It was a small box,
containing a roll of paperbased stripping film sufficient for 100 circular exposures 6cm
in diameter. Its operation was simple: set the shutter by pulling a wire string; aim the
camera using the V line impression in the camera top; press the release botton to
activate the exposure; and turn a special key to wind to the film. A hundred exposures
had to be made, so it was important to record each picture in the memorandum book
provided, since there was no exposure counter. Eastman gave his camera the invented
name 'Kodak'-which was easily pronounceable in most languages. and had two Ks
which Eastman felt was a firm, uncompromising kind of letter.

The importance of Eastman's new roll-film camera was not that it was the first. There
had been several earlier cameras, notably the Stirn 'America', first demonstrated in the
spring of 1887 and on sale from early 1888. This also used a roll of negative paper,
and had such refinements as a reflecting viewfinder and an ingenious exposure marker.
The real significance of the first Kodak camera was that it was backed up by a
developing and printing service. Hitherto ,virtually all photographers developed and
printed their own pictures. This required that facilities of a darkroom and the time and
inclination to handle the necessary chemicals, make the prints and so on. Eastman
recognized that not everyone had the resources or the desire to do this. When a
customer had made a hundred exposures in the Kodak camera, he sent it to Eastman's
factory in Rochester (or later in Harrow in England) where the film was unloaded,
processed and printed, the camera reloaded and returned to the owner. "You Press the
Button, We Do the Rest" ran Eastman's classic marketing slogan; photography had
been brought to everyone. Everyone, that is, who could afford $ 25or five guineas for
the camera and $ 10 or two guineas for the developing and printing . A
guinea ( $ 5 ) was a week's wages for many at the time, so this simple camera cost the
equivalent of hundreds of dollars today.

In 1889an improved model with a new shutter design was introduced, and it was called
the No. 2 Kodak camera. The paper-based stripping film was complicated to
manipulate, since the processed negative image had to be stripped from the paper
base for printing. At the end of 1889Eastman launched a new roll film on a celluloid
base. Clear, tough, transparent and flexible, the new film not only made the rollfilm
camera fully practical, but provided the raw material for the introduction of
cinematography a few years later. Other, larger models were introduced, including
several folding versions, one of which took pictures 21.6 cm x 16.5 cm in size. Other
manufacturers in America and Europe introduced cameras to take the Kodak roll-films,
and other firms began to offer developing and printing services for the benefit of the
new breed of photographers.

By September 1889 , over 5,000 Kodak cameras had been sold in the USA, and the
company was daily printing 6-7,000 negatives, Holidays and special events created
enormous surges in demand for processing: 900Kodak users returned their cameras for
processing and reloading in the week after the New York centennial celebration.

Questions 26-29

Do the following statements agree with the views of the writer in Reading Passage 3?
In boxes 26-29 on your answer sheet write

YES if the statement agrees with the writer

NO if the statement does agree with the writer

NOT GIVEN if there is no information about this in the passage

26. Before the dry plate process short exposures could only b achieved with cameras
held in the hand.

27. Stirn's America' camera lacked Kodak's developing service.

28. The first Kodak film cost the equivalent of a week's wages to develop.

29. Some of Eastman's 1891 range of cameras could be loaded in daylight.

Questions 30-34

Complete the diagram below. Choose NO MORE THAN THREE WORDS from the
passage for each answer.

Write your answers in boxes 30-34 on your answer sheet.

Questions 35-38
Complete the table below. Choose NO MORE THAN THREE WORDS from the
passage for each answer.

Write your answers in boxes 35-38 on your answer sheet.

Name of
Year Developments
person/people

1880 Manufacture of gelatine dry plates .....(35).....

1881 Release of 'Detective' camera Thomas Bolas

The roll-holder combined with ..... Eastman and F.M.

.....(36).....
(37)..... Cossitt

1889 Introduction of model with .....(38)..... Eastman

Reading Passage 3, Questions 26-38

26. NO

27. YES

28. NO

29. NOT GIVEN

30. wind on (the) film_

31. (a) wire string

32. set (the) shutter

33. (the) memorandum book

34. record each picture/exposure

35. (George) Eastman

36. 1886

37. (a) (small) hand camera

38. (a) new shutter(design)

The Deep Sea

At a time when most think of outer space as the final frontier, we must
remember that a great deal of unfinished business remains here on earth.
Robots crawl on the surface of Mars, and spacecraft exit our solar system, but
most of our own planet has still never been seen by human eyes. It seems
ironic that we know more about impact craters on the far side of the moon
than about the longest and largest mountain range on earth. It is amazing that
human beings crossed a quarter of a million miles of space to visit our nearest
celestial neighbor before penetrating just two miles deep into the earths own
waters to explore the Midocean Ridge. And it would be hard to imagine a
more significant part of our planet to investigate – a chain of volcanic
mountains 42,000 miles long where most of the earth’s solid surface was
born, and where vast volcanoes continue to create new submarine
landscapes.

The figure we so often see quoted 71% of the earth’s surface – understates

the oceans’ importance. If you consider instead three-dimensional
volumes, the land dwellers’ share of the planet shrinks even more toward
insignificance: less than 1% of the total. Most of die oceans’ enormous
volume, lies deep below the familiar surface. The upper sunlit layer, by one
estimate, contains only 2 or 3% of the total space available to life. The other
97% of the earth’s biosphere lies deep beneath the water’s surface, where
sunlight never penetrates. Until recently, it was impossible to study the deep
ocean directly. By the sixteenth century, diving bells allowed people to stay
underwater for a short time: they could swim to the hell to breathe air trapped
underneath it rather than return all the way to the surface. Later, other
devices, including pressurized or armored suits, heavy’ metal helmets, and
compressed air supplied through hoses from die surface, allowed at least one
diver to reach 500 feet or so. It was 1930 when a biologist named William
Beebe and his engineering colleague Otis Barton sealed themselves into a
new kind of diving craft, an invention that finally allowed humans to penetrate
beyond the shallow sunlit layer of the sea and the history of deep-sea
exploration began. Science then was largely incidental – something that
happened along the way. In terms of technical ingenuity and human bravery,
this part of die story is every’ bit as amazing as the history of early aviation.
Yet many of these individuals, and the deep-diving vehicles that they built and
tested, arc not well known.

It was not until the 1970s that deep-diving manned submersibles were able to

reach the Midocean Ridge and begin making major contributions to a wide
range of scientific questions. A burst of discoveries followed in short order.
Several of these profoundly changed whole fields of science, and their
implications are still not fully understood. For example, biologists may now be
seeing – in the strange communities of microbes and animals that live around
deep volcanic vents – clues to the origin of life on earth. No one even knew
that these communities existed before explorers began diving to the bottom in
submersible. Entering the deep, black abyss presents unique challenges for
which humans must carefully prepare if the wish to survive. It is an unforgiving
environment, both harsh and strangely beautiful, that few who have not
experienced it firsthand can fully appreciate. Even the most
powerful searchlights penetrate only lens of feet. Suspended particles scatter
tile light and water itself is for less transparent than air; it absorbs and scatters
light. The ocean also swallows other types of electromagnetic radiation,
including radio signals. That is why many deep sea vehicles dangle from
tethers. Inside those tethers, copper wires or fiber optic strands transmit
signals that would dissipate and die if broadcast into open water.

Another challenge is that the temperature near the bottom in very deep water
typically hovers just four degrees above freezing, and submersibles rarely
have much insulation. Since water absorbs heat more quickly than air. the
cold down below seems to penetrate a diving capsule for more quickly than
it would penetrate, say, a control van up above, on the deck of the mother
ship. And finally, the abyss clamps down with crushing pressure on anything
that enters it. ‘I his force is like air pressure on land, except that water is much
heavier than air. At sea level on land, we don’t even notice 1 atmosphere of
pressure, about 15 pounds per square inch, the weight of the earth’s blanket
of air. In the deepest part of the ocean, nearly seven miles down, it’s
about 1,200 atmospheres. 18,000 pounds per square inch. A square-inch
column of lead would crush down on your body with equal force if it
were 3,600 feet tall.

Fish that live in the deep don’t feel the pressure, because they are filled with
water from their own environment. It has already been compressed by abyssal
pressure as much as water can be (which is not much). A diving craft,
however, is a hollow chamber, rudely displacing the water around it. That
chamber must withstand the full brunt of deep sea pressure – thousands of
pounds per square inch. If seawater with that much pressure behind it ever
finds a way to break inside, it explodes through the hole with laserlike
intensity. 

It was into such a terrifying environment that the first twentieth-century

explorers ventured.

Questions 27-30: Write the correct letter. A. B. C or D, in boxes 27-30 on

your answer sheet.

27. In the first paragraph, the writer finds it surprising that

A. we send robots to Mars rattier than to the sea bed.

B. we choose to explore the least accessible side of the moon.

C. people reached the moon before they explored the deepest parts of the
earth’s oceans.
D. spaceships are sent beyond our solar system instead of exploring it.

28. The writer argues that saying 71 % of the earth’s surface is ocean is
not accurate because it

A. ignores the depth of the world’s oceans.

B. is based on an estimated volume.

C. overlooks the significance of landscape features.

D. refers to the proportion of water in which life is possible .

29. How did the diving bell help divers?

A. It allowed each diver to carry a supply of air underwater.

B. It enabled piped air to reach deep below the surface.

C. It offered access to a reservoir of air below the surface.

D. It meant that they could dive as deep as 500 feet.

30. What point does the writer make about scientific discoveries
between 1930 and 1970?

A. They were rarely the primary purpose of deep sea exploration.

B. The people who conducted experiments were not professional scientists.

C. Many people refused to believe the discoveries that were made.

D. They involved the use of technologies from other disciplines.

Questions 31-36
Do the following statements agree with the views of the writer in
Reading Passage 3?

In boxes 31-36 on your answer sheet, write

YES                  if the statement agrees with the views of the writer

NO                    it the statement contradicts the views of the writer

NOT GIVEN   if it is impossible to say what the writer thinks about this

31 The Midocean Ridge is largely the same as when the continents

emerged. N

32 We can make an approximate calculation of the percentage of the ocean

which sunlight penetrates. Y

33 Many unexpected scientific phenomena came to light when exploration of

the Midocean Ridge began. Y

34 The number of people exploring the abyss has nsen sharply in the 21st
century. NG

35 One danger of the darkness is that deep sea vehicles become entangled in
vegetation. NG

36 The construction of submersibles offers little protection from the cold at

great depths. Y

Questions 37-40: Complete the summary using the list of words A-I below.

Deep diving craft

A diving craft has to be 37…sturdy…………. enough to cope with the

enormous pressure of the abyss, which is capable of crushing almost
anything. Unlike creatures that live there, which are not 38 …
hollow… because they contain compressed water, a submersible is filled
with 39 …air….. If it has a weak spot in its construction, there will be a 40
……violent…….. explosion of water into the craft.

A. ocean                                  D. hollow [=not solid]               G. energetic

B. air                                      E. sturdy [=strongly built]      H. violent

C. deep                                    F. atmosphere                                     I. heavy

WOOD FOREST

You should spend about 20 minutes on Questions 27-40. which are based on
Reading Passage 157 below.

Forests are one of the main elements of our natural heritage. The decline of
Europe's forests over the last decade and a half has led to an increasing
awareness and understanding of the serious imbalances which threaten them.
European countries are becoming increasingly concerned by major threats to
European forests, threats which know no frontiers other than those of geography
or climate: air pollution, soil deterioration, the increasing number of forest fires
and sometimes even the mismanagement of our woodland and forest heritage.
There has been a growing awareness of the need for countries to get together to
co-ordinate their policies. In December 1990, Strasbourg hosted the first
Ministerial Conference on the protection of Europe's forests. The conference
brought together 31 countries from both Western and Eastern Europe. The topics
discussed included the coordinate study of the destruction of forests, as well as
how to combat forest fires and the extension of European research programs on
the forest ecosystem. The preparatory work for the conference had been
undertaken at two meetings of experts. Their initial task was to decide which of
the many forest problems of concern to Europe involved the largest number of
countries and might be the subject of joint action. Those confined to particular
geographical areas, such as countries bordering the Mediterranean or the Nordic
countries, therefore, had to be discarded. However, this does not mean that in
future they will be ignored.

As a whole, European countries see forests as performing a triple function:

biological, economic and recreational. The first is to act as a 'green lung' for our
planet; by means of photosynthesis, forests produce oxygen through the
transformation of solar energy, thus fulfilling what for humans is the essential role
of an immense, non-polluting power plant. At the same time, forests provide raw
materials for human activities through their constantly renewed production of
wood. Finally, they offer those condemned to spend five days a week in an urban
environment an unrivalled area of freedom to unwind and take part in a range of
leisure activities, such as hunting, riding and hiking. The economic importance of
forests has been understood since the dawn of man - wood was the first fuel.
The other aspects have been recognised only for a few centuries but they are
becoming more and more important. Hence, there is a real concern throughout
Europe about the damage to the forest environment which threatens these three
basic roles.

The myth of the 'natural' forest has survived, yet there are effectively no
remaining 'primary' forests in Europe. All European forests are artificial, having
been adapted and exploited by man for thousands of years. This means that a
forest policy is vital, that it must transcend national frontiers and generations of
people, and that ft must allow for the inevitable changes that take place in the
forests, in needs, and hence in policy. The Strasbourg conference was one of the
first events on such a scale to reach this conclusion. A general declaration was
made that 'a central place in any ecologically coherent forest policy must be
given to continuity over time and to the possible effects of unforeseen events, to
ensure that the full potential of these forests is maintained'.

That general declaration was accompanied by six detailed resolutions to 3ssist

national policymaking. The first proposes the extension and systematic sitter of
surveillance sites to monitor forest decline. Forest decline is still poorly
understood but leads to the loss of a high proportion of a tree's needles or
leaves. The entire continent and the majority of species are now affected:
between 30% and 50% of the tree population. The condition appears to result
from the cumulative effect of a number of factors, with atmospheric pollutants the
principal culprits. Compounds of nitrogen and sulphur dioxide should be
particularly closely watched. However, their effects are probably accentuated by
climatic factors, such as drought and hard winters, or soil imbalances such as
soil acidification, which damages to roots. The second resolution concentrates on
the need to preserve the genetic diversity of European forests. The aim is to
reverse the decline in the number of tree species or at least to preserve the
'genetic material' of all of them. Although forest fires do not affect all of Europe to
the same extent the amount of damage caused the experts to propose as the
third resolution that the Strasbourg conference considers the establishment of a
European databank on the subject. All information used in the development of
national preventative policies would become generally available. The subject of
the fourth resolution discussed by the ministers was mountain forests.

In Europe, it is undoubtedly the mountain ecosystem which has changed most

rapidly and is most at risk. A thinly scattered permanent population and
development of. leisure activities, particularly skiing, have resulted in significant
long-term changes to the local ecosystems. Proposed developments include a
preferential research program on mountain forests. The fifth resolution relented
the European research network on the physiology of trees, called  Euro Silva
should support joint European research on tree diseases and their physiological
and biochemical aspects. Each country concerned could increase "the number of
scholarships and other financial support for doctoral theses and research
projects in this area, finally, the conference established the framework for a
European research network on forest ecosystems. This would also involve
harmonizing activities in individual countries as well as identifying a number of
priority research topics relating to the protection of forests The Strasbourg
conference's main concern was to provide for the future. This was the initial
motivation, one now shared by all 31 participants representing 31 European
countries. Their final text commits them to on-going discussion between
government representatives with responsibility for forests.
Questions 27-33
Do the following statements agree with the information given in Reading Passage
157?
In boxes 27-33 on your answer sheet, write:

TRUE   if the statement agrees with the information-

FALSE    if the statement contradicts the information
NOT GIVEN   if there is no information on this

27 Forest problems of Mediterranean countries are to be discussed at the next

meeting of experts.
28 Problems in Nordic countries were excluded because they are outside the
European - Economic Community.
29 Forests are a renewable source of raw material.
30 The biological functions of forests were recognised only in the twentieth
century.
31 Natural forests still exist in parts of Europe.
32 Forest policy should be limited by national boundaries.
33 The Strasbourg conference decided that a forest policy must allow for the
possibility of change.
Questions 34-39
Look at the following statements issued by the conference.
Which six of the following statements. A-J, refer to the resolutions that were
issued?

Match the statements with the appropriate resolutions (Questions 34-39).

Write the correct letter. A-J. in boxes 34-39 on your answer sheet.
A  All kinds of species of trees should be preserved.
B  Fragile mountain forests should be given priority in research programs.
C  The surviving natural forests of Europe do not need priority treatment.
D  Research is to be better co-ordinate throughout Europe:
E  Information on forest fires should be collected and shared.
F  Loss Of leaves from trees should be more extensively and carefully monitored
G  Resources should be allocated to research into tree diseases.
H  Skiing should be encouraged in thinly populated areas.
I  Soil imbalances such as acidification should be treated with compounds of
nitrogen and sulphur.
J  Information is to be systematically gathered on any decline in the condition of
forests.

34  Resolution 1
35  Resolution 2
36  Resolution 3
37  Resolution 4
38  Resolution 5
39  Resolution 6
Question 40
Choose the correct letter, A. B, C or D.
Write the correct letter in box40 on your answer sheet

40  What is the best title for Reading Passage 157?

    A  The biological, economic and recreational role of forests
    B  Plans to protect the forests of Europe
    C The priority of European research into ecosystems
    D Proposals for a worldwide policy on forest management
27 NOT GIVEN
28 FALSE
29 TRUE
30 FALSE
31 FALSE
32 FALSE
33 TRUE
34 J
35 A
36 E
37 B
38 G
39 D
40 B

ou should spend about 20 minutes on Questions 27–40, which are based on the

reading passage below.
IS PHOTOGRAPHY ART?
This may seem a pointless question today. Surrounded as we are by thousands
of photographs, most of us take for granted that, in addition to supplying
information and seducing customers, camera images also serve as decoration,
afford spiritual enrichment, and provide significant insights into the passing
scene. But in the decades following the discovery of photography, this question
reflected the search for ways to fit the mechanical medium into the traditional
schemes of artistic expression.

The much-publicized pronouncement by painter Paul Delaroche that the

daguerreotype* signalled the end of painting is perplexing because this clever
artist also forecast the usefulness of the medium for graphic artists in a letter
written in 1839. Nevertheless, it is symptomatic of the swing between the outright
rejection and qualified acceptance of the medium that was fairly typical of the
artistic establishment. Discussion of the role of photography in art was especially
spirited in France, where the internal policies of the time had created a large pool
of artists, but it was also taken up by important voices in England. In both
countries, public interest in this topic was a reflection of the belief that national
stature and achievement in the arts were related.
From the maze of conflicting statements and heated articles on the subject, three
main positions about the potential of camera art emerged. The simplest,
entertained by many painters and a section of the public, was that photographs
should not be considered ‘art’ because they were made with a mechanical device
and by physical and chemical phenomena instead of by human hand and  spirit;
to some, camera images seemed to have more in common with fabric produced
by machinery in a mill than with handmade creations fired by inspiration. The
second widely held view, shared by painters, some photographers, and some
critics, was that photographs would be useful to art but should not be considered
equal in creativeness to drawing and painting. Lastly, by assuming that the
process was comparable to other techniques such as etching and lithography, a
fair number of individuals realized that camera images were or could be as
significant as handmade works of art and that they might have a positive
influence on the arts and on culture in general.

Artists reacted to photography in various ways. Many portrait painters -

miniaturists in particular - who realized that photography represented the
‘handwriting on the wall’ became involved with daguerreotyping or paper
photography in an effort to save their careers; some incorporated it with painting,
while others renounced painting altogether. Still other painters, the most
prominent among them the French painter, Jean- Auguste-Dominique Ingres,
began almost immediately to use photography to make a record of their own
output and also to provide themselves with source material for poses and
backgrounds, vigorously denying at the same  time its influence on their vision or
its claims as art.
The view that photographs might be worthwhile to artists was enunciated in
considerable detail by Lacan and Francis Wey. The latter, an art and literary
critic, who eventually recognised that camera images could be inspired as well as
informative, suggested that they would lead to greater naturalness in the graphic
depiction of anatomy, clothing, likeness, expression, and landscape. By studying
photographs, true artists, he claimed, would be relieved of menial tasks and
become free to devote themselves to the more important spiritual aspects of their
work.

Wey left unstated what the incompetent artist might do as an alternative, but
according to the influential French critic and poet Charles Baudelaire, writing in
response to an exhibition of photography in 1859, lazy and untalented painters
would become photographers. Fired by a belief in art as an imaginative
embodiment of cultivated ideas and dreams, Baudelaire regarded photography
as ‘a very humble servant of art and science’; a medium largely unable to
transcend ‘external reality’. For this critic, photography was linked with ‘the great
industrial madness’ of the time, which in his eyes exercised disastrous
consequences on the spiritual qualities of life and art.

Eugene Delacroix was the most prominent of the French artists who welcomed
photography as help-mate but recognized its limitations. Regretting that ‘such a
wonderful invention’ had arrived so late in his lifetime, he still took lessons in
daguerreotyping, and both commissioned and collected photographs. Delacroix’s
enthusiasm for the medium can be sensed in a journal entry noting that if
photographs were used as they should be, an artist might ‘raise himself to
heights that we do not yet know’.

The question of whether the photograph was document or art aroused interest in
England also. The most important statement on this matter was an unsigned
article that concluded that while photography had a role to play, it should not be
‘constrained’ into ‘competition’ with art; a more stringent viewpoint led critic Philip
Gilbert Hamerton to dismiss camera images as ‘narrow in range, emphatic in
assertion, telling one truth for ten falsehoods’.

These writers reflected the opposition of a section of the cultural elite in England
and France to the ‘cheapening of art’ which the growing acceptance and
purchase of camera pictures by the middle class represented. Technology made
photographic images a common sight in the shop windows of Regent Street and
Piccadilly in London and the commercial boulevards of Paris. In London, for
example, there were at the time some 130 commercial establishments where
portraits, landscapes, and photographic reproductions of works of art could be
bought. This appeal to the middle class convinced the elite that photographs
would foster a desire for realism instead of idealism, even though some critics 
recognized that the work of individual photographers might display an uplifting
style and substance that was consistent with the defining characteristics of art.

These writers reflected the opposition of a section of the cultural elite in England
and France to the ‘cheapening of art’ which the growing acceptance and
purchase of camera pictures by the middle class represented. Technology made
photographic images a common sight in the shop windows of Regent Street and
Piccadilly in London and the commercial boulevards of Paris. In London, for
example, there were at the time some 130 commercial establishments where
portraits, landscapes, and photographic reproductions of works of art could be
bought. This appeal to the middle class convinced the elite that photographs
would foster a desire for realism instead of idealism, even though some critics
recognized that the work of individual photographers might display an uplifting
style and substance that was consistent with the defining characteristics of art.

* the name given to the first commercially successful photographic images.

Questions 27-30
Choose the correct letter, A, B, C or D.
Write your answers in boxes 27-30 on your answer sheet.

27. What is the writer’s main point in the first paragraph?

   A. photography is used for many different purposes.

   B. photographers and artists have the same principal aims.
   C. Photography has not always been a readily accepted art form.
   D. photographers today are more creative than those of the past.

28. What public view about artists was shared by the French and the English?

   A. that only artists could reflect a culture’s true values

   B. that only artists were qualified to judge photography
   C. that artists  could lose work as a result of photography
   D. that artist success raised a country’s international profile

29. What does the writer mean by “the handwriting on the wall” in the second line
of paragraph 4?

   A. an example of poor talent

   B. a message that cannot be trusted
   C. an advertisement for something new
   D. a signal that something bad will happen

30. What was the result of the widespread availability of photographs to the

middle classes?

   A. The most educated worried about its impact on public taste.

   B. It helped artists appreciate the merits of photography.
   C. Improvements were made in photographic methods.
   D. It led to a reduction in the price of photographs.
 
Questions 31-34

Complete the summary of Paragraph 3 using the list of words, A-G, below.

Write your answers in boxes 31-34 on your answer sheet.

A) inventive        C) beneficial        E) mixed       G) inferior      

B) similar            D) next                F) justified
 
Camera art
In the early days of photography, opinions on its future were 31  ...........................
., but three clear views emerged. A large number of artists and ordinary people
saw photographs as 32  ............................ to paintings because of the way they
were produced. Another popular view was that photographs could have a role to
play in the art world, despite the photographer being less 33...............................
Finally, a smaller number of people suspected that the impact of photography on
art and society could be 34...........................
Questions 35-40

Look at the following statements and the list of people, A-E, below.

Match each statement with the correct person.

Write the correct letter, A-E, in boxes 35-40 on your answer sheet.
35. He claimed that photography would make paintings more realistic.
36. He highlighted the limitations and deceptions of the camera.
37. He documented his production of artwork by photographing his works.
38. He noted the potential for photography to enrich artistic talent.
39. He based some of the scenes in his paintings on photographs.
40. He felt photography was part of the trend towards greater mechanisation.

A.  Jean-Auguste-Dominique Ingres

B.  Francis Wey
C.  Charles Baudelaire
D.  Eugene Delacroix
E.  Philip Gilbert Hamerton
27. C
28. D
29. D
30. A
31. E
32. G
33. A
34. C
35. B
36. E
37. A
38. D
39. A
40. C