GMAT考试写作指导：Argument范文二七

　　87. The author concludes that photographers who work in color hold a competitive

　　advantage over those who work in black-and-white. To support this conclusion, the

　　author claims that the greater realism of color accounts for its predominant use in

　　magazines and portraits. The author also points Out that newspapers now use color

　　photographs, and that there are more types of color film than black-and-white film

　　available today. This argument is problematic in several important respects.

　　First, the argument unfairly assumes that working in color is necessary in order to

　　gain an advantage. The author identifies only two areas―magazine and portrait

　　photography―where color predominates. It is possible that the overall demand for

　　black-and-white photography remains high. Moreover, the author provides no evidence

　　that the realism of color photography is the reason for its predominance. The

　　predominant use of color may be due to other factors―such as consumer preferences or

　　relative costs of film―which might change at any time.

　　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.

　　87. The author concludes that photographers who work in color hold a competitive

　　advantage over those who work in black-and-white. To support this conclusion, the

　　author claims that the greater realism of color accounts for its predominant use in

　　magazines and portraits. The author also points Out that newspapers now use color

　　photographs, and that there are more types of color film than black-and-white film

　　available today. This argument is problematic in several important respects.

　　First, the argument unfairly assumes that working in color is necessary in order to

　　gain an advantage. The author identifies only two areas―magazine and portrait

　　photography―where color predominates. It is possible that the overall demand for

　　black-and-white photography remains high. Moreover, the author provides no evidence

　　that the realism of color photography is the reason for its predominance. The

　　predominant use of color may be due to other factors―such as consumer preferences or

　　relative costs of film―which might change at any time.

　　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.