托福閱讀：he Birth of Photography
    Perceptions of the visible world were greatly altered by the invention of photography in the middle of the nineteenth century. In particular, and quite logically, the art of painting was forever changed, though not always in the ways one might have expected. The realistic and naturalistic painters of the mid- and late-nineteenth century were all intently aware of photography—as a thing to use, to learn from, and react to.
    Unlike most major inventions, photography had been long and impatiently awaited. The images produced by the camera obscura, a boxlike device that used a pinhole or lens to throw an image onto a ground-glass screen or a piece of white paper, were already familiar—the device had been much employed by topographical artists like the Italian painter Canaletto in his detailed views of the city of Venice. What was lacking was a way of giving such images permanent form. This was finally achieved by Louis Daguerre (1787-1851), who perfected a way of fixing them on a silvered copper plate. His discovery, the "daguerreotype," was announced in 1839.
    A second and very different process was patented by the British inventor William Henry Talbot (1800-1877) in 1841. Talbot's "calotype" was the firstnegative-to-positive process and the direct ancestor of the modernphotograph. The calotype was revolutionary in its use of chemically treatedpaper in which areas hit by light became dark in tone, producing a negativeimage. This "negative," as Talbot called it, could then be used toprint multiple positive images on another piece of treated paper.
    The two processes produced very different results. The daguerreotype was a unique image that reproduced what was in front of the camera lens in minute, unselective detail and could not be duplicated. The calotype could be made in series, and was thus the equivalent of an etching or an engraving. Its general effect was soft edged and tonal.
    詞匯解析：
    perception n. 看法;感知
    alter v. 更改
    logical adj. 邏輯的;合乎邏輯的
    intent adj. 堅(jiān)決的;專注的
    react v. 作出反應(yīng);起不良反應(yīng);反抗
    impatient adj. 無(wú)耐心的
    topographical adj. 地形的
    permanent adj. 永久的;不斷發(fā)生的
    silver n. 銀;銀器
    patent n. & v. & adj. 專利;得到...專利;顯而易見(jiàn)的強(qiáng)調(diào)
    ancestor n. 祖先;物種原型
    multiple adj. & v. 多功能的;倍數(shù)
    reproduce v. 復(fù)制;重演
    duplicate v. & n. 復(fù)制;復(fù)制品
    etch v. 鑿刻;銘刻
    engrave v. 刻上
    tonal adj. 聲調(diào)的
    難句解析：
    The realistic and naturalistic painters of the mid- and late-nineteenth century were all intently aware of photography—as a thing to use, to learn from, and react to.
    十九世紀(jì)中期與后期的現(xiàn)實(shí)主義和自然主義畫家都高度關(guān)注攝影術(shù)，將其當(dāng)作一門可以使用、借鑒而且要適應(yīng)的技術(shù)。
    The images produced by the camera obscura, a boxlike device [that used a pinhole or lens to throw an image onto a ground-glass screen or a piece of white paper], were already familiar—the device had been much employed by topographical artists like the Italian painter Canaletto in his detailed views of the city of Venice.
    當(dāng)時(shí)針孔照相機(jī)已經(jīng)為大家所熟識(shí)，它是一種是用小孔或透鏡將攝影投射到毛玻璃屏或一張白紙上的盒狀設(shè)備，這種設(shè)備已經(jīng)為很多地貌風(fēng)景畫家所用，像意大利畫家卡納萊托就用它詳細(xì)記錄了威尼斯城。
    The calotype was revolutionary in its use of chemically treated paper in which areas hit by light became dark in tone, producing a negative image. This "negative," as Talbot called it, could then be used to print multiple positive images on another piece of treated paper.
    卡羅式攝影法革命性地使用了化學(xué)處理的紙片，紙片上受到光照射的區(qū)域的色調(diào)會(huì)變暗于是產(chǎn)生了負(fù)像。這種被塔爾博特稱為“負(fù)片”的東西隨后會(huì)被用于在另一張化學(xué)處理的紙片上洗印多張正像。
    The calotype could be made in series, and was thus the equivalent of an etching or an engraving. Its general effect was soft edged and tonal.
    而卡羅式攝影法可以洗出多張照片，因此相當(dāng)于蝕刻術(shù)或雕刻術(shù)。其整體的效果是輪廓和色調(diào)模糊。
    填空
    本篇文章介紹了兩種攝影技術(shù)_____和_____
    _____技術(shù)誕生于1839年;_____技術(shù)誕生于1841年;
    兩種攝影技術(shù)產(chǎn)生了不同的效果：
    _____得到一張影像;_____可以洗出多張照片
    Answers:
    Daguerreotype, calotype
    Daguerreotype, calotype
    Daguerreotype, calotype