87. The author concludes that photographers who work in color hold a competitive
5 V3 S* ^$ P# h' \advantage over those who work in black-and-white. To support this conclusion, the 8 x! M6 o( \# K) o
author claims that the greater realism of color accounts for its predominant use in 8 H T8 h& Q4 y6 s
magazines and portraits. The author also points Out that newspapers now use color ; s( v8 a2 r0 g, K6 H- }+ x
photographs, and that there are more types of color film than black-and-white film
F. z! D- C% _8 C6 O5 D! G% a) Aavailable today. This argument is problematic in several important respects." @ ?" I" E5 A% l* n
First, the argument unfairly assumes that working in color is necessary in order to * W2 o! M0 z$ _7 `4 R& t
gain an advantage. The author identifies only two areas—magazine and portrait ! Y1 A, Q" O( e+ ? U: g2 Z$ x0 ?
photography—where color predominates. It is possible that the overall demand for ! N5 t8 s1 M! e; y5 j$ }
black-and-white photography remains high. Moreover, the author provides no evidence 1 |& `) |1 Y4 v5 W0 h6 ^: @
that the realism of color photography is the reason for its predominance. The & ?8 Y3 Q1 x( d6 \, `, |
predominant use of color may be due to other factors—such as consumer preferences or
, N6 D- N& t% G1 ?$ mrelative costs of film—which might change at any time.
3 |9 p' ~" K* _8 X" g, ~( I/ J) H Second, the argument unfairly assumes that a photographer must make an , o) s3 x* Q4 w5 ?
either/or choice between the two types of photography. This assumption presents a false 2 k; B& \. h* n% q
dilemma, since the two media are not necessarily mutually exclusive alternatives.
, H9 g8 }1 d6 D) z2 fCommon sense tells us that a photographer can succeed by working in both media.5 x; @$ A) X) i9 Z, W0 {* T
Third, the fact that more kinds of color film are available than black-and-white - L6 Q3 r! c* O1 `2 k! T
film accomplishes little to support the argument. The difference in number might be
7 Q) c# }% r* K3 {insignificant, and the distinctions among the types of color film might be negligible. In
3 I4 K% B* |% Q! Y. ?fact, by implying that more choices in film type affords a photographer a competitive
w% f1 F2 L# a- @' r5 ^* y2 Y+ G1 Hadvantage, the author actually undermines his larger argument that working solely in
* _5 y2 Z, \! \8 }color is the best way to succeed in the field of photography.
1 M: C7 E, D$ Z Finally, the argument ignores other factors—such as initiative, creativity, technical
+ U' h t- ]" ~: O( H3 e0 kskills, and business judgment—that may be more important than choice of medium in 5 B- |7 U+ t6 w# u
determining success in photography. A poorly skilled photographer may actually be
/ ]8 ?; G) c( Idisadvantaged by working in color insofar as color work requires greater skill, and * r0 Y6 q ?& s+ Y
insofar as color photographers face keener competition for assignments.
1 k4 {0 Y5 k4 c1 } M( Y5 N; G In conclusion, this argument oversimplifies the conditions for gaining an
. x) k* l' G% k3 Zadvantage in the field of photography. To better evaluate the argument, we need more
+ \- D- ]+ H$ ]precise information as to how large a portion of all photography work today is
( s6 d: O: o) taccounted for by color work. To strengthen the argument, the author must convince us ; O( }, ^/ }+ S
that a photographer must choose one medium or the other rather than working in both. |