MY LOVE OF NATURE, goes right back to my childhood, to the times when I
-stayed on, my grandparents' farm in Suffolk. My father was in the armed forces, so we
were always moving and didn't have a home base for any length of time, but I loved going
there. I think it was my grandmother who encouraged me more than anyone: she taught me
the names of wild flowers and got me interested in looking at the countryside, so it
seemed obvious to go on to do Zoology at University.
I didn't get my first camera until after I'd graduated, when I was due to go diving in
Norway and needed a method of recording the sea creatures I would find there. My father
didn't know anything about photography, but he bought me an Exacta, which was really quite a
good camera for the time, and I went off to take my first pictures of sea anemones and
starfish. I became keen very quickly, and learned how to develop and print; obviously I
didn't have much money in those days, so I did more black and white photography than
colour, but it was all still using the camera very much as a tool to record what I found both by
diving and on the shore. I had no ambition at all to be a photographer then, or even for some
years afterwards.
Unlike many of the wildlife photographers of the time, I trained as a scientist and therefore my
way of expressing myself is very different. I've tried from the beginning to produce pictures
which are -always biologically correct. There are people who will alter things deliberately: you
don't pick up sea creatures from the middle of the shore and take them down to attractive
pools at the bottom of the shore without knowing you're doing it. In so doing you're actually
falsifying the sort of seaweeds they live on and so on, which may seem unimportant, but it is
actually changing the natural surroundings to make them prettier. Unfortunately, many
of the people who select pictures are looking for attractive images and, at the end of the day,
whether it's truthful or not doesn't really matter to them.
It's important to think about the animal first, and there are many occasions when I've not
taken a picture because it would have been too disturbing. Nothing is so important that
you have to get that shot; of course, there are cases when it would be very sad if you didn't,
but it's not the end of the world. There can be a lot of ignorance in people's behaviour towards
wild animals and it's a problem that more and more people are going to wild places: while
some animals may get used to cars, they won't get used to people suddenly rushing up to
them. The sheer pressure of people, coupled with the fact that there are increasingly fewer
places where no-one else has photographed, means that over the years, life has become
much more difficult for the professional wildlife photographer.
Nevertheless, wildlife photographs play a very important part in educating people about
what is out there and what needs conserving. Although photography can be an
enjoyable pastime, as it is to many people, it is also something that plays a very important
part in educating young and old alike. Of the qualities it takes to make a good wildlife
photographer, patience is perhaps the most obvious - you just have to be prepared to sit it out.
I'm actually more patient now because I write more than ever before, and as long as I've got a
bit of paper and a pencil, I don't feel I'm wasting my time. And because I photograph
such a wide range of things, even if the main target doesn't appear I can probably find
something else to concentrate on instead.

How is she different from some of the other wildlife photographers she meets ?

• she tries to make her photographs as attractive as possible

• she takes photographs which record accurate natural conditions

• she likes to photograph plants as well as wildlife

• she likes to photograph plants as well as wildlife

102.

MY LOVE OF NATURE, goes right back to my childhood, to the times when I
-stayed on, my grandparents' farm in Suffolk. My father was in the armed forces, so we
were always moving and didn't have a home base for any length of time, but I loved going
there. I think it was my grandmother who encouraged me more than anyone: she taught me
the names of wild flowers and got me interested in looking at the countryside, so it
seemed obvious to go on to do Zoology at University.
I didn't get my first camera until after I'd graduated, when I was due to go diving in
Norway and needed a method of recording the sea creatures I would find there. My father
didn't know anything about photography, but he bought me an Exacta, which was really quite a
good camera for the time, and I went off to take my first pictures of sea anemones and
starfish. I became keen very quickly, and learned how to develop and print; obviously I
didn't have much money in those days, so I did more black and white photography than
colour, but it was all still using the camera very much as a tool to record what I found both by
diving and on the shore. I had no ambition at all to be a photographer then, or even for some
years afterwards.
Unlike many of the wildlife photographers of the time, I trained as a scientist and therefore my
way of expressing myself is very different. I've tried from the beginning to produce pictures
which are -always biologically correct. There are people who will alter things deliberately: you
don't pick up sea creatures from the middle of the shore and take them down to attractive
pools at the bottom of the shore without knowing you're doing it. In so doing you're actually
falsifying the sort of seaweeds they live on and so on, which may seem unimportant, but it is
actually changing the natural surroundings to make them prettier. Unfortunately, many
of the people who select pictures are looking for attractive images and, at the end of the day,
whether it's truthful or not doesn't really matter to them.
It's important to think about the animal first, and there are many occasions when I've not
taken a picture because it would have been too disturbing. Nothing is so important that
you have to get that shot; of course, there are cases when it would be very sad if you didn't,
but it's not the end of the world. There can be a lot of ignorance in people's behaviour towards
wild animals and it's a problem that more and more people are going to wild places: while
some animals may get used to cars, they won't get used to people suddenly rushing up to
them. The sheer pressure of people, coupled with the fact that there are increasingly fewer
places where no-one else has photographed, means that over the years, life has become
much more difficult for the professional wildlife photographer.
Nevertheless, wildlife photographs play a very important part in educating people about
what is out there and what needs conserving. Although photography can be an
enjoyable pastime, as it is to many people, it is also something that plays a very important
part in educating young and old alike. Of the qualities it takes to make a good wildlife
photographer, patience is perhaps the most obvious - you just have to be prepared to sit it out.
I'm actually more patient now because I write more than ever before, and as long as I've got a
bit of paper and a pencil, I don't feel I'm wasting my time. And because I photograph
such a wide range of things, even if the main target doesn't appear I can probably find
something else to concentrate on instead.

Which does 'them' refer to in the 7"' line in paragraph 3?

• sea creatures

• attractive pools

• seaweeds

• seaweeds

MY LOVE OF NATURE, goes right back to my childhood, to the times when I
-stayed on, my grandparents' farm in Suffolk. My father was in the armed forces, so we
were always moving and didn't have a home base for any length of time, but I loved going
there. I think it was my grandmother who encouraged me more than anyone: she taught me
the names of wild flowers and got me interested in looking at the countryside, so it
seemed obvious to go on to do Zoology at University.
I didn't get my first camera until after I'd graduated, when I was due to go diving in
Norway and needed a method of recording the sea creatures I would find there. My father
didn't know anything about photography, but he bought me an Exacta, which was really quite a
good camera for the time, and I went off to take my first pictures of sea anemones and
starfish. I became keen very quickly, and learned how to develop and print; obviously I
didn't have much money in those days, so I did more black and white photography than
colour, but it was all still using the camera very much as a tool to record what I found both by
diving and on the shore. I had no ambition at all to be a photographer then, or even for some
years afterwards.
Unlike many of the wildlife photographers of the time, I trained as a scientist and therefore my
way of expressing myself is very different. I've tried from the beginning to produce pictures
which are -always biologically correct. There are people who will alter things deliberately: you
don't pick up sea creatures from the middle of the shore and take them down to attractive
pools at the bottom of the shore without knowing you're doing it. In so doing you're actually
falsifying the sort of seaweeds they live on and so on, which may seem unimportant, but it is
actually changing the natural surroundings to make them prettier. Unfortunately, many
of the people who select pictures are looking for attractive images and, at the end of the day,
whether it's truthful or not doesn't really matter to them.
It's important to think about the animal first, and there are many occasions when I've not
taken a picture because it would have been too disturbing. Nothing is so important that
you have to get that shot; of course, there are cases when it would be very sad if you didn't,
but it's not the end of the world. There can be a lot of ignorance in people's behaviour towards
wild animals and it's a problem that more and more people are going to wild places: while
some animals may get used to cars, they won't get used to people suddenly rushing up to
them. The sheer pressure of people, coupled with the fact that there are increasingly fewer
places where no-one else has photographed, means that over the years, life has become
much more difficult for the professional wildlife photographer.
Nevertheless, wildlife photographs play a very important part in educating people about
what is out there and what needs conserving. Although photography can be an
enjoyable pastime, as it is to many people, it is also something that plays a very important
part in educating young and old alike. Of the qualities it takes to make a good wildlife
photographer, patience is perhaps the most obvious - you just have to be prepared to sit it out.
I'm actually more patient now because I write more than ever before, and as long as I've got a
bit of paper and a pencil, I don't feel I'm wasting my time. And because I photograph
such a wide range of things, even if the main target doesn't appear I can probably find
something else to concentrate on instead.

What the writer means by 'ignorance in people's behaviour' is

• altering things deliberately

• people suddenly rushing up to animals

• people taking photographs of wild animals

• people taking photographs of wild animals

MY LOVE OF NATURE, goes right back to my childhood, to the times when I
-stayed on, my grandparents' farm in Suffolk. My father was in the armed forces, so we
were always moving and didn't have a home base for any length of time, but I loved going
there. I think it was my grandmother who encouraged me more than anyone: she taught me
the names of wild flowers and got me interested in looking at the countryside, so it
seemed obvious to go on to do Zoology at University.
I didn't get my first camera until after I'd graduated, when I was due to go diving in
Norway and needed a method of recording the sea creatures I would find there. My father
didn't know anything about photography, but he bought me an Exacta, which was really quite a
good camera for the time, and I went off to take my first pictures of sea anemones and
starfish. I became keen very quickly, and learned how to develop and print; obviously I
didn't have much money in those days, so I did more black and white photography than
colour, but it was all still using the camera very much as a tool to record what I found both by
diving and on the shore. I had no ambition at all to be a photographer then, or even for some
years afterwards.
Unlike many of the wildlife photographers of the time, I trained as a scientist and therefore my
way of expressing myself is very different. I've tried from the beginning to produce pictures
which are -always biologically correct. There are people who will alter things deliberately: you
don't pick up sea creatures from the middle of the shore and take them down to attractive
pools at the bottom of the shore without knowing you're doing it. In so doing you're actually
falsifying the sort of seaweeds they live on and so on, which may seem unimportant, but it is
actually changing the natural surroundings to make them prettier. Unfortunately, many
of the people who select pictures are looking for attractive images and, at the end of the day,
whether it's truthful or not doesn't really matter to them.
It's important to think about the animal first, and there are many occasions when I've not
taken a picture because it would have been too disturbing. Nothing is so important that
you have to get that shot; of course, there are cases when it would be very sad if you didn't,
but it's not the end of the world. There can be a lot of ignorance in people's behaviour towards
wild animals and it's a problem that more and more people are going to wild places: while
some animals may get used to cars, they won't get used to people suddenly rushing up to
them. The sheer pressure of people, coupled with the fact that there are increasingly fewer
places where no-one else has photographed, means that over the years, life has become
much more difficult for the professional wildlife photographer.
Nevertheless, wildlife photographs play a very important part in educating people about
what is out there and what needs conserving. Although photography can be an
enjoyable pastime, as it is to many people, it is also something that plays a very important
part in educating young and old alike. Of the qualities it takes to make a good wildlife
photographer, patience is perhaps the most obvious - you just have to be prepared to sit it out.
I'm actually more patient now because I write more than ever before, and as long as I've got a
bit of paper and a pencil, I don't feel I'm wasting my time. And because I photograph
such a wide range of things, even if the main target doesn't appear I can probably find
something else to concentrate on instead.

The writer now finds it more difficult to photograph wild animals because

• there are fewer of them

• they have become more nervous of people

• it is harder to find suitable places

• it is harder to find suitable places

MY LOVE OF NATURE, goes right back to my childhood, to the times when I
-stayed on, my grandparents' farm in Suffolk. My father was in the armed forces, so we
were always moving and didn't have a home base for any length of time, but I loved going
there. I think it was my grandmother who encouraged me more than anyone: she taught me
the names of wild flowers and got me interested in looking at the countryside, so it
seemed obvious to go on to do Zoology at University.
I didn't get my first camera until after I'd graduated, when I was due to go diving in
Norway and needed a method of recording the sea creatures I would find there. My father
didn't know anything about photography, but he bought me an Exacta, which was really quite a
good camera for the time, and I went off to take my first pictures of sea anemones and
starfish. I became keen very quickly, and learned how to develop and print; obviously I
didn't have much money in those days, so I did more black and white photography than
colour, but it was all still using the camera very much as a tool to record what I found both by
diving and on the shore. I had no ambition at all to be a photographer then, or even for some
years afterwards.
Unlike many of the wildlife photographers of the time, I trained as a scientist and therefore my
way of expressing myself is very different. I've tried from the beginning to produce pictures
which are -always biologically correct. There are people who will alter things deliberately: you
don't pick up sea creatures from the middle of the shore and take them down to attractive
pools at the bottom of the shore without knowing you're doing it. In so doing you're actually
falsifying the sort of seaweeds they live on and so on, which may seem unimportant, but it is
actually changing the natural surroundings to make them prettier. Unfortunately, many
of the people who select pictures are looking for attractive images and, at the end of the day,
whether it's truthful or not doesn't really matter to them.
It's important to think about the animal first, and there are many occasions when I've not
taken a picture because it would have been too disturbing. Nothing is so important that
you have to get that shot; of course, there are cases when it would be very sad if you didn't,
but it's not the end of the world. There can be a lot of ignorance in people's behaviour towards
wild animals and it's a problem that more and more people are going to wild places: while
some animals may get used to cars, they won't get used to people suddenly rushing up to
them. The sheer pressure of people, coupled with the fact that there are increasingly fewer
places where no-one else has photographed, means that over the years, life has become
much more difficult for the professional wildlife photographer.
Nevertheless, wildlife photographs play a very important part in educating people about
what is out there and what needs conserving. Although photography can be an
enjoyable pastime, as it is to many people, it is also something that plays a very important
part in educating young and old alike. Of the qualities it takes to make a good wildlife
photographer, patience is perhaps the most obvious - you just have to be prepared to sit it out.
I'm actually more patient now because I write more than ever before, and as long as I've got a
bit of paper and a pencil, I don't feel I'm wasting my time. And because I photograph
such a wide range of things, even if the main target doesn't appear I can probably find
something else to concentrate on instead.

Wildlife photography is important because it can make people realise that

• photography is an enjoyable hobby

• we learn little about wildlife at school

• it is worthwhile visiting the countryside

• it is worthwhile visiting the countryside

MY LOVE OF NATURE, goes right back to my childhood, to the times when I
-stayed on, my grandparents' farm in Suffolk. My father was in the armed forces, so we
were always moving and didn't have a home base for any length of time, but I loved going
there. I think it was my grandmother who encouraged me more than anyone: she taught me
the names of wild flowers and got me interested in looking at the countryside, so it
seemed obvious to go on to do Zoology at University.
I didn't get my first camera until after I'd graduated, when I was due to go diving in
Norway and needed a method of recording the sea creatures I would find there. My father
didn't know anything about photography, but he bought me an Exacta, which was really quite a
good camera for the time, and I went off to take my first pictures of sea anemones and
starfish. I became keen very quickly, and learned how to develop and print; obviously I
didn't have much money in those days, so I did more black and white photography than
colour, but it was all still using the camera very much as a tool to record what I found both by
diving and on the shore. I had no ambition at all to be a photographer then, or even for some
years afterwards.
Unlike many of the wildlife photographers of the time, I trained as a scientist and therefore my
way of expressing myself is very different. I've tried from the beginning to produce pictures
which are -always biologically correct. There are people who will alter things deliberately: you
don't pick up sea creatures from the middle of the shore and take them down to attractive
pools at the bottom of the shore without knowing you're doing it. In so doing you're actually
falsifying the sort of seaweeds they live on and so on, which may seem unimportant, but it is
actually changing the natural surroundings to make them prettier. Unfortunately, many
of the people who select pictures are looking for attractive images and, at the end of the day,
whether it's truthful or not doesn't really matter to them.
It's important to think about the animal first, and there are many occasions when I've not
taken a picture because it would have been too disturbing. Nothing is so important that
you have to get that shot; of course, there are cases when it would be very sad if you didn't,
but it's not the end of the world. There can be a lot of ignorance in people's behaviour towards
wild animals and it's a problem that more and more people are going to wild places: while
some animals may get used to cars, they won't get used to people suddenly rushing up to
them. The sheer pressure of people, coupled with the fact that there are increasingly fewer
places where no-one else has photographed, means that over the years, life has become
much more difficult for the professional wildlife photographer.
Nevertheless, wildlife photographs play a very important part in educating people about
what is out there and what needs conserving. Although photography can be an
enjoyable pastime, as it is to many people, it is also something that plays a very important
part in educating young and old alike. Of the qualities it takes to make a good wildlife
photographer, patience is perhaps the most obvious - you just have to be prepared to sit it out.
I'm actually more patient now because I write more than ever before, and as long as I've got a
bit of paper and a pencil, I don't feel I'm wasting my time. And because I photograph
such a wide range of things, even if the main target doesn't appear I can probably find
something else to concentrate on instead.

Why is she more patient now ?

• she does other things while waiting

• she has got used to waiting

• she can concentrate better than she used to

• she can concentrate better than she used to

MY LOVE OF NATURE, goes right back to my childhood, to the times when I
-stayed on, my grandparents' farm in Suffolk. My father was in the armed forces, so we
were always moving and didn't have a home base for any length of time, but I loved going
there. I think it was my grandmother who encouraged me more than anyone: she taught me
the names of wild flowers and got me interested in looking at the countryside, so it
seemed obvious to go on to do Zoology at University.
I didn't get my first camera until after I'd graduated, when I was due to go diving in
Norway and needed a method of recording the sea creatures I would find there. My father
didn't know anything about photography, but he bought me an Exacta, which was really quite a
good camera for the time, and I went off to take my first pictures of sea anemones and
starfish. I became keen very quickly, and learned how to develop and print; obviously I
didn't have much money in those days, so I did more black and white photography than
colour, but it was all still using the camera very much as a tool to record what I found both by
diving and on the shore. I had no ambition at all to be a photographer then, or even for some
years afterwards.
Unlike many of the wildlife photographers of the time, I trained as a scientist and therefore my
way of expressing myself is very different. I've tried from the beginning to produce pictures
which are -always biologically correct. There are people who will alter things deliberately: you
don't pick up sea creatures from the middle of the shore and take them down to attractive
pools at the bottom of the shore without knowing you're doing it. In so doing you're actually
falsifying the sort of seaweeds they live on and so on, which may seem unimportant, but it is
actually changing the natural surroundings to make them prettier. Unfortunately, many
of the people who select pictures are looking for attractive images and, at the end of the day,
whether it's truthful or not doesn't really matter to them.
It's important to think about the animal first, and there are many occasions when I've not
taken a picture because it would have been too disturbing. Nothing is so important that
you have to get that shot; of course, there are cases when it would be very sad if you didn't,
but it's not the end of the world. There can be a lot of ignorance in people's behaviour towards
wild animals and it's a problem that more and more people are going to wild places: while
some animals may get used to cars, they won't get used to people suddenly rushing up to
them. The sheer pressure of people, coupled with the fact that there are increasingly fewer
places where no-one else has photographed, means that over the years, life has become
much more difficult for the professional wildlife photographer.
Nevertheless, wildlife photographs play a very important part in educating people about
what is out there and what needs conserving. Although photography can be an
enjoyable pastime, as it is to many people, it is also something that plays a very important
part in educating young and old alike. Of the qualities it takes to make a good wildlife
photographer, patience is perhaps the most obvious - you just have to be prepared to sit it out.
I'm actually more patient now because I write more than ever before, and as long as I've got a
bit of paper and a pencil, I don't feel I'm wasting my time. And because I photograph
such a wide range of things, even if the main target doesn't appear I can probably find
something else to concentrate on instead.

Which of the following describes the writer?

• poud

• sensitive

• aggressive

• aggressive

Which one of the following is spelled correctly.

• acquintence

• acquaintence

• acquaintance

• acquaintance

1. Often, we passionately pursue matters that in the future appear to be contradictory to our real  intention or nature; and triumph is followed by remorse or regret. There are numerous examples of such a trend in the annals of history and contemporary life.
2. Alfred Nobel was the son of Immanuel Nobel, an inventor who experimented extensively with explosives. Alfred too carried out research and experiments with a large range of chemicals; he found new methods to blast rocks for the construction of roads and bridges; he was engaged in the development of technology and different weapons; his life revolved around rockets and cannons and gun powder. The ingenuity of the scientist brought him enough wealth to buy the Bofors armament plant in Sweden.
3. Paradoxically, Nobel's life was a busy one yet he was lonely; and as he grew older, he began suffering from guilt of having invented the dynamite that was being used for destructive purposes. He set aside a huge part of his wealth to institute Nobel Prizes. Besides honouring men and women for their extraordinary achievements in physics, chemistry, medicine and literature, he wished to honour people who worked for the promotion of peace.
4. It's strange that the very man whose name was closely connected with explosives and inventions that helped in waging wars willed a large part of his earnings for the people who work for the promotion of peace and the benefit of mankind. The Nobel Peace Prize is intended f or a person who has accomplished the best work for fratern ty among nations, for abolition or reduction of war and for promotion of peace. 5. Another example that comes to one's mind is that of Albert Einstein. In 1939, fearing that the Nazis would win the race to build the world's first atomic bomb, Einstein urged President Franklin D Roosevelt to launch an American programme on nuclear research. The matter was considered and a project called the Manhattan Project was initiated. The project involved intense nuclear research the construction of the world's first atomic bomb. All this while, Einstein had the impression that the bomb would be used to protect the world from the Nazis. But in 1945, when Hiroshima was bombed to end World War II, Einstein was deeply grieved and he regretted his endorsement of the need for nuclear research. 6. He also stated that had he known that the Germans would be unsuccessful in making the atomic bomb, he would have probably never recommended making one. In 1947, Einstein began working for the cause of disarmament. But, Einstein's name still continues to be linked with the bomb. Man's fluctuating thoughts, changing opinions, varying opportunities keep the mind in a state of flux. Hence, the paradox of life: it's certain t hat nothing is certain in life.

The Manhattan Project was intiated ______.

• in honour of Einstein

• to protect the Nazis

• to bomb Hiroshima

• to bomb Hiroshima

1. Often, we passionately pursue matters that in the future appear to be contradictory to our real intention or nature; and triumph is followed by remorse or regret. There are numerous examples of such a trend in the annals of history and contemporary life.
2. Alfred Nobel was the son of Immanuel Nobel, an inventor who experimented extensively with explosives. Alfred too carried out research and experiments with a large range of chemicals; he found new methods to blast rocks for the construction of roads and bridges; he was engaged in the development of technology and different weapons; his life revolved around rockets and cannons and gun powder. The ingenuity of the scientist brought him enough wealth to buy the Bofors armament plant in Sweden.
3. Paradoxically, Nobel's life was a busy one yet he was lonely; and as he grew older, he began suffering from guilt of having invented the dynamite that was being used for destructive purposes. He set aside a huge part of his wealth to institute Nobel Prizes. Besides honouring men and women for their extraordinary achievements in physics, chemistry, medicine and literature, he wished to honour people who worked for the promotion of peace.
4. It's strange that the very man whose name was closely connected with explosives and inventions that helped in waging wars willed a large part of his earnings for the people who work for the promotion of peace and the benefit of mankind. The Nobel Peace Prize is intended f or a person who has accomplished the best work for fratern ty among nations, for abolition or reduction of war and for promotion of peace. 5. Another example that comes to one's mind is that of Albert Einstein. In 1939, fearing that the Nazis would win the race to build the world's first atomic bomb, Einstein urged President Franklin D Roosevelt to launch an American programme on nuclear research. The matter was considered and a project called the Manhattan Project was initiated. The project involved intense nuclear research the construction of the world's first atomic bomb. All this while, Einstein had the impression that the bomb would be used to protect the world from the Nazis. But in 1945, when Hiroshima was bombed to end World War II, Einstein was deeply grieved and he regretted his endorsement of the need for nuclear research. 6. He also stated that had he known that the Germans would be unsuccessful in making the atomic bomb, he would have probably never recommended making one. In 1947, Einstein began working for the cause of disarmament. But, Einstein's name still continues to be linked with the bomb. Man's fluctuating thoughts, changing opinions, varying opportunities keep the mind in a state of flux. Hence, the paradox of life: it's certain t hat nothing is certain in life.

 Alfred eastablished the Nobel Prizes to ______.

• remind people of his achievements.

• ease his guilt and promote work for the betterment of mankind

• use his wealth for hard working people

• use his wealth for hard working people