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.
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