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But is there another cost, a deeper cost, to documenting a life experience instead of simply enjoying it？ "You hear that you shouldn&39;t take all these photos and interrupt the experience, and it&39;s bad for you, and we&39;re not living in the present moment," says Kristin Diehl, associate professor of marketing at the University of Southern California Marshall School of Business.
Diehl and her fellow researchers wanted to find out if that was true, so they embarked on a series of nine experiments in the lab and in the field testing people&39;s enjoyment in the presence or absence of a camera. The results, published in the Journal of Personality and Social Psychology, surprised them. Taking photos actually makes people enjoy what they&39;re doing more, not less.
"What we find is you actually look at the world slightly differently, because you&39;re looking for things you want to capture, that you may want to hang onto," Diehl explains. "That gets people more engaged in the experience, and they tend to enjoy it more."
Take sightseeing. In one experiment, nearly 200 participants boarded a double-decker bus for a tour of Philadelphia. Both bus tours forbade the use of cell phones but one tour provided digital cameras and encouraged people to take photos. The people who took photos enjoyed the experience significantly more, and said they were more engaged, than those who didn&39;t.
Snapping a photo directs attention, which heightens the pleasure you get from whatever you&39;re looking at, Diehl says. It works for things as boring as archaeological(考古的)museums, where people were given eye-tracking glasses and instructed either to take photos or not. "People look longer at things they want to photograph," Diehl says. They report liking the exhibits more, too.
To the relief of Instagrammers(Instagram用户)everywhere, it can even makes meals more enjoyable. When people were encouraged to take at least three photos while they ate lunch, they were more immersed in their meals than those who weren&39;t told to take photos.
Was it the satisfying click of the camera？ The physical act of the snap？ No, they found; just the act of planning to take a photo—and not actually taking it—had the same joy-boosting effect. "If you want to take mental photos, that works the same way," Diehl says. "Thinking about what you would want to photograph also gets you more engaged."
What does the author say about photo-taking in the past？
A.It was a painstaking effort for recording life’s major events.
B.It was a luxury that only a few wealthy people could enjoy.
C.It was a good way to preserve one’s precious images.
D.It was a skill that required lots of practice to master.
Kristin Diehl conducted a series of experiments on photo-taking to find out __________.A.what kind of pleasure it would actually bring to photo-takers
B.whether people enjoyed it when they did sightseeing
C.how it could help to enrich people’s life experiences
D.Whether it prevented people enjoying what they were doing
What do the results of Diehl’s experiments show that people taking photos？A.They are distracted from what they are doing.
B.They can better remember what they see or do.
C.They are more absorbed in what catches their eye.
D.They can have a better understanding of the world.
What is found about museum visitors with the aid of eye-tracking glasses？A.They come out with better photographs of the exhibits.
B.They focus more on the exhibits when taking pictures.
C.They have a better view of what are on display.
D.They follow the historical events more easily.
What do we learn from the last paragraph？A.It is better to make plans before taking photos.
B.Mental photos can be as beautiful as snapshots.
C.Photographers can derive great joy from the click of the camera.
D.Even the very thought of taking a photo can have a positive effect.
请帮忙给出每个问题的正确答案和分析，谢谢！
更多“Photography was once an expensive, laborious ordeal reserved for life&39;s greatest milest”相关的问题
第1题
Though photography makes up a small slice of Dine's vast oeuvre, the exhibit is a true retrospective of his career. Dine mostly photographs his own artwork or the subjects that he has portrayed in sculpture, painting and prints including Venus de Milo, ravens and owls, hearts and skulls. There are still pictures of well-used tools in his Connecticut workshop, delightful digital self-portraits and intimate portraits of his sleeping wife, the American photographer Diana Michener. Most revealing and novel are Dine's shots of his poetry, scribbled in charcoal on walls like graffiti. To take in this show is to wander through Dine's life: his childhood obsessions, his loves, his dreams. It is a poignant and powerful exhibit that rightly celebrates one of modern art's most intriguing--and least hyped--talents.
When he arrived on the scene in the early 1960s, Dine was seen as a pioneer in the pop-art movement. But he didn't last long; once pop stagnated, Dine moved on. "Pop art had 1o do with the exterior world," he says. He was more interested, he adds, in "what was going on inside me." He explored his own personality, and from there developed themes. His love for handcrafting grew into a series of artworks incorporating hammers and saws. His obsession with owls and ravens came from a dream he once had. His childhood toy Pinocchio, worn and chipped, appears in some self-portraits as a red and yellow blur flying through the air.
Dine first dabbled in photography in the late 1970s, when Polaroid invited him to try out a new large-format camera at its head-quarters in Cambridge, Massachusetts. He produced a series of colorful, out-of-focus self-portraits, and when he was done, he packed them away. A half dozen of these images in per feet condition--are on display in Paris for the first time. Though masterful, they feel flat when compared with his later pictures.
Dine didn't shoot again until he went to Berlin in the mid '90s to teach. By then he was ready to embrace photography completely. Michener was his guide: "She opened my eyes to what was possible," he says. "Her approach is so natural and classic. I listened." When it came time to print what he had photo graphed, Dine chose heliogravure, the old style. of printing favored by Alfred Stieglitz, Edward Curtis and Paul Strand, which gives photographs a warm tone and an almost hand drawn loop like Dine's etchings. He later tried out the traditional black-and-white silver-gelatin process, then digital photography and jetink printing, which he adores.
About the same time, Dine immersed himself into Jungian psychoanalysis. That, in conjunction with his new artistic tack, proved cathartic. "The access photography gives you to your subconscious is so fantastic," he says. "I've learned how to bring these images out like a stream of consciousness--something that's not possible in the same way in drawing or painting because technique always gets in your way." This is evident in the way he works: when Dine shoots, he leaves things alone.
Eventually, Dine turned the camera on himself. His self-portraits are disturbingly personal; he opens himself physically and emotionally before the lens. He says such pictures are an attempt to examine himself as well as "record the march
A．the latter requires more insight.
B．the former needs more patience.
C．the latter arouses great passions in him.
D．the former involves more indoor work.
第2题
Though photography makes up a small slice of Dine's vast oeuvre, the exhibit is a true retrospective of his career. Dine mostly photographs his own artwork or the subjects that he has portrayed in sculpture, painting and prints including Venus de Milo, ravens and owls, hearts and skulls. There are still pictures of well-used tools in his Connecticut workshop, delightful digital self-portraits and intimate portraits of his sleeping wife, the American photographer Diana Miehener. Most revealing and novel are Dine's shots of his poetry, scribbled in charcoal on walls like graffiti. To take in this show is to wander through Dine's life:his childhood obsessions, his loves, his dreams. It is a poignant and powerful exhibit that rightly celebrates one of modern art's most intriguing--and least hyped-talents.
When he arrived on the scene in the early 1960s, Dine was seen as a pioneer in the pop-art movement. But he didn't last long; once pop stagnated, Dine moved on. "Pop art had to do with the exterior world, "he says. He was more interested, he adds, in "what was going on inside me. "He explored his own personality, and from there developed themes. His love for handcrafting grew into a series of artworks incorporating hammers and saws. His Obsession with owls and ravens came from a dream he once had. His childhood toy Pinocchio, worn and chipped, appears in some self-portraits as a red and yellow blur flying through the air.
Dine first dabbled in photography in the late 1970s, when Polaroid invited him to try out a new large-format camera at its head-quarters in Cambridge, Massachusetts. He produced a series of colorful, out-of-focus self-portraits, and when he was done, he packed them away. A half dozen of these images-in perfect condition-are on display in Paris for the first time. Though masterful, they feel flat when compared with his later pictures.
Dine didn't shoot again until he went to Berlin in the mi&'90s to teach. By then he was ready to erabrace photography completely. Miehener was his guide: "She opened ray eyes to what was possible, "he says." Her approach is so natural and classic. I listened." When it came time to print what he had photographed, Dine chose heliogravure, the old style. of printing favored, by Alfred Stieglitz, Edward Curtis and Paul Strand, which gives photographs a warm tone and an almost hand-drawn look--like Dine's etchings. He later tried out the traditional black-and-white silver-gelatin process, then digital photography and jet-ink printing, which he adores.
About the same time, Dine immersed himself into Jungian psychoanalysis. That, in conjunction with his new artistic tack, proved cathartic. "The access photography that gives you to your subconscious is so fantastic, " he says. "I've learned how to bring these images out like a stream of consciousness--something that's not possible in the same way in drawing or painting because technique always gets in your way. "This is evident in the way he works: when Dine shoots, he leaves things alone.
Eventually, Dine turned the camera on himself. His self-portraits are disturbingly personal; he opens himself physically and emotionally before the lens. He says such pictures are an attempt to examine himself as well as" record the march of time
A．the latter requires more insight.
B．the former needs more patience.
C．the latter arouses great passions in him.
D．the former involves more indoor work.
第3题
Though photography makes up a small slice of Dine's vast oeuvre, the exhibit is a true retrospective, of his career. Dine mostly photographs his own artwork or the subjects that he has portrayed in sculpture, painting and prints including Venus de Milo, ravens and owls, hearts and skulls. There are still pictures of well-used tools in his Connecticut workshop, delightful digital self-portraits and intimate portraits of his sleeping wife, the American photographer Diana Michener. Most revealing and novel are Dine's shots of his poetry, scribbled in charcoal on walls like graffiti. To take in this show is to wander through Dine's life: his childhood obsessions, his loves, his dreams. It is a poignant and powerful exhibit that rightly celebrates one of modern art's most intriguing—and least hyped-talents.
When he arrived on the scene in the early 1960s, Dine was seen as a pioneer in the pop-art movement. But he didn't last long; once pop stagnated, Dine moved on. "Pop art had to do with the exterior world, " he says. He was more interested, he adds, in "what was going on inside me". He explored his own personality, and from there developed themes. His love for handcrafting grew into a series of artworks incorporating hammers and saws. His obsession with owls and ravens came from a dream he once had. His childhood toy Pinocchio, worn and chipped, appears in some self-portraits as a red and yellow blur flying through the air.
Dine first dabbled in photography in the late 1970s, when Polaroid invited him to try out a new large-format camera at its head-quarters in Cambridge, Massachusetts. He produced a series of colorful, out-of-focus self-portraits, and when he was done, he packed them away. A half dozen of these images—in perfect condition—are on display in Paris for the first time. Though masterful, they feel flat when compared with his later pictures.
Dine didn't shoot again until he went to Berlin in the mid-90s to teach. By then he was ready to embrace photography completely. Michener was his guide: "She opened my eyes to what was possible," he says. "Her approach is so natural and classic. I listened. " When it came time to print what he had photographed, Dine chose heliogravure, the old style. of printing favored by Alfred Stieglitz, Edward Curtis and Paul Strand, which gives photographs a warm tone and an almost hand drawn look—like Dine's etchings. He later tried out the traditional black-and-white silver-gelatin process, then digital photography and jet-ink printing, which he adores.
At the same time, Dine immersed himself into Jungian psychoanalysis. That, in conjunction with his new artistic tack, proved cathartic. "The access photography that gives you to your subconscious is so fantastic," he says. "I've learned how to bring these images out like a stream of consciousness—something that's not possible in the same way in drawing or painting because technique always gets in your way. " This is evident in the way he works: when Dine shoots, he leaves things alone.
Eventually, Dine turned the camera on himself. His self-portraits are disturbingly personal; he opens himself physically and emotionally before the lens. He says such pictures are an attempt to examine himsel
A．the latter requires more insight.
B．the former needs more patience.
C．the latter arouses great passions in him.
D．the former involves more indoor work.
第4题
A and when I‘m shooting (拍照) something like tomatoes， I always carry water to spray them with dew just before I shoot.” Shooting food outdoors has special problems. “I‘m always worrying about flies or worms crawling up a glass，” Webber explains， “my worry is that someday a dog will come up from behind and run off with the food.” Once Webber was shooting a piece of cheese outdoors and needed something to make its color beautiful.
Finally he found it： a weed with lovely blue flowers. When the shot appeared， several people were horrified-the weed was deadly nightshade!
Just before being photographed， some meats and vegetables are _______.
A.fanned
B.dyed
C.frozen
D.made wet
Webber is afraid dogs might _______.A.bark while he is shooting
B.get into his picture
C.steal the food
D.upset his camera
The second paragraph deals mostly with the ________.A.differences between indoor and outdoor photography
B.problems of outdoor food photography
C.ways of keeping food fresh outdoors
D.combinations of colors outdoors
From the article we can conclude that deadly night-shade is probably a kind of plant that is _______.A.colorful
B.poisonous
C.ugly
D.Both A and B
请帮忙给出每个问题的正确答案和分析，谢谢！
第5题
The trick in food photography is to show the food looking fresh， so many dishes have
stand-ins， just as movie stars do. “When I get my lights and cameras set up， I remove the
stand-in and put in the real thing，” explains Ray Webber， who photographs food for magazine
advertisements. “Sometimes I have to brush the meat with its juices because it may have dried out
a bit. A and when I‘m shooting (拍照) something like tomatoes， I always carry water to spray them with dew just before I shoot.”
Shooting food outdoors has special problems. “I‘m always worrying about flies or worms crawling up
a glass，” Webber explains， “my worry is that someday a dog will come up from behind and run off
with the food.” Once Webber was shooting a piece of cheese outdoors and needed something to make
its color beautiful. Finally he found it： a weed with lovely blue flowers. When the shot appeared，
several people were horrified-the weed was deadly nightshade!
Just before being photographed， some meats and vegetables are _______.
A. fanned
B. dyed
C. frozen
D. made wet
第8题
A．swimming or drawing
B．drawing or photography
C．singing or photography
D．swimming or photography
第10题
How did the nineteenth-century defenders of photography stress the photography？
A．They stressed photography was a means of making people happy.
B．It was art for recording the world.
C．It was a device for observing the world impartially.
D．It was an art comparable to painting.
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