A child develоps recurrent respirаtоry infectiоns beginning аt 6 months of аge. Laboratory testing shows absent mature B cells but normal T-cell numbers. Which molecular defect is most likely responsible?
DIRECTIONS: Chооse the best аnswer fоr eаch question. An Interview with Michаel Yamashita Q: Is it true that before becoming a photographer, you were an English teacher?[A] Yeah, I spent four years in Japan in the early '70s, and two of those years I was teaching. There was a huge demand in Japan for English. The Japanese studied English at school, but didn't speak much English, so as a native speaker I could help out. It was a great job. [B] I was in Japan at the time to get in touch with my roots, trying to see how Japanese I might be. Growing up in the States with a Japanese name and face, I really never felt 100 percent American because I didn't look like the American majority. We were the only Asian family in the town where I lived. So, after studying history in the States, I decided to go to Japan and have the experience of living there. Q: Did you know any Japanese before you went there? [C] No. I learned the hard way, which was ... working in a company where nobody spoke English. In the beginning, it was tough. The only things I knew were the names of food, since I grew up with Japanese food. Q: And it was in Japan that you bought your first camera. Is that right? [D] I did. Like every amateur, I bought a camera to essentially record what I was seeing and doing, to send pictures back to family and friends. I spent some time learning about it, and I just got really obsessed by the whole process. [E] The more I got into photography, the more I loved it. Every few months I left Japan to renew my visa, and so I went to a different country each time, taking pictures just to show friends and family. As my pictures got better, people told me I should show them to other photographers. Eventually, I met an agent and decided I wanted to be a professional. Q: As a professional photographer, what would you say makes a good photograph?[F] In the case of National Geographic magazine, I like to call them "page stoppers." They are pictures with such great visual impact that the viewer has to stop turning the pages. You're arrested by the framing, the light, the color, or the subject, and you stare at it. Then you're likely to read the captions 2 and be drawn into reading the whole story. For me, that is an ideal picture. Q: For photographing a project like Basho's Trail, how much planning is involved? [G] I prepare as much as I can. I read about six different translations of Basho's book, Narrow Road to the Deep North. I thought about what happened on each section of the route: where he talks about the banana leaf, and where on the Mogami River he wrote a poem about swift 1 water. [H] So, certain things I was looking for, but others were not so place-specific. Basho mentions the moon many times, so I knew I had to do a moon picture, which sounds easy. But the moon is only full once a month, and the sky may be cloudy. Or, if the moon is rising too early, or too late, I wouldn't be able to see it. But I try my best to be in the right place to get the right subject at the right time. Q: Were there other important moments you remember while doing that article?[I] Well, there's that frog photo. It was in summer the first week I was there. I was shooting some banana leaves under the roof of a Japanese temple. It was pouring rain, and it was beautiful. As I was walking back to the car, I looked down into this little pond and saw a frog sitting on a leaf. So, my job was to get a good picture of it. [J] I started out shooting from the land, but the shot wasn't quite right. Then I got into the water. I was up to my waist in this smelly temple pond, early in the morning, concentrating on a frog and thinking "Thank God the caretakers 3 of the temple haven't arrived yet!" I managed to anticipate the moment just before it was ready to jump, and that's when I took the photo. You'll see that the frog is just about to turn to its right, and in the next picture, it was flying. Q: Finally, what do you think it takes to become a great photographer?[K] Well, there is not that much economic motivation, considering the difficulty of selling pictures and getting in the door. What it takes is basically passion; you have to be really obsessed by your craft. Especially today, with the competition being what it is, to be a success you really have to eat and drink photography. It's passion that drives you forward. 1 If something is swift, it is quick and rapid. 2 A caption is an explanation written next to a photo. 3 A caretaker is a person who takes care of some property. In the third sentence of paragraph F, arrested means ____.
DIRECTIONS: Chооse the best аnswer fоr eаch question. My Journey in Photogrаphsby Annie Griffiths [A] I got my first real job at age 12, as a waitress. I am convinced that I learned more as a waitress than I ever did in a classroom. When I went on to college, it also paid for tuition and housing and - eventually - a camera. But best of all, being a waitress taught me to quickly assess and understand all kinds of people. I learned how to make small talk and how to quickly put people at ease - great training for a journalist. Waiting tables also taught me teamwork and service and humor. [B] From the moment I picked up a camera, I was hooked. I lost interest in other studies, and all I wanted to do was take pictures for the university newspaper, the Minnesota Daily. In six months, I was able to get a lot of great experience. The week I finished college, I was contacted by the Worthington Daily Globe, a regional daily newspaper in southern Minnesota with a history of excellence in photography. By some miracle I was hired, and the two-year experience that followed was like a master class in photojournalism. [C] Jim Vance was the top-notch publisher of the Globe. He had very high expectations of all the staff. With little or no instruction from him, writers and photographers were expected to fill the paper with stories that were important to our readers. I didn't know it at the time, but this independent reporting was perfect training for my future career. [D] Among the most important things I learned at the Globe was that if you can make friends with a shy Norwegian farmer and be invited to his kitchen table, you can probably do well in any culture on Earth. I worked with a wonderful writer named Paul Gruchow. Together we would search the farming communities for stories. Paul had grown up on a farm himself and lived through personal tragedy, so he was able to project warmth and understanding to anyone he met. Farmers would invite us into their homes and willingly share their personal thoughts with us. From Paul I learned how to be a patient listener, as well as the importance of giving each subject time and sincere attention. [E] It was while I was working at the Globe that I happened to answer the phone one morning. A man's voice asked, "You a photographer?" When I replied that indeed I was, the voice responded, "This is Bob Gilka. National Geographic. I need a hail 1 damage picture. You guys get a big hailstorm last night?" I overcame my nervousness and said, "Yes, sir." When he asked if I could take the picture for him, I again said, "Yes, sir." [F] My little picture of hail damage in southern Minnesota was well received, and a year later, I was working for Bob - National Geographic's legendary director of photography. Thus began one of the most important relationships of my life. Lessons on the Road[G] I was the youngest photographer working for National Geographic when I arrived in 1978, and I spent at least a decade just trying not to make mistakes. With each new assignment came the fear that this was going to be the one where they figured out that I couldn't do the job. [H] On many assignments, the most challenging part turned out to be the transportation. Over the years, I traveled by horse, car, train, truck, and all sorts of old vehicles. I traveled by mule 2 in Mexico, by ship along the Indian Ocean, by fishing boat in the Sea of Galilee, by moped 3 in Bermuda, by sailboat in Sydney. I flew in helicopters chasing bears in the Arctic. Twice, while flying in light planes, pilots have had to make emergency landings far from any airport. But there were also wonderful experiences. In Africa I traveled by balloon, ultralight aircraft, and elephant. In a rubber raft off the west coast of Mexico, I was suddenly lifted out of the water on the back of a friendly whale. [I] Wherever I traveled in the world, taking beautiful pictures was always my goal. However, later in my career, I also wanted my pictures to make a real difference in people's lives. That is why each spring I tour two or three developing countries, shooting portraits of people whose lives are better because of the dedicated workers who care about them. The photos are used in a variety of fund-raising products. The other issue that stole my heart was the environment. With support from the National Geographic Expeditions Council, I have traveled all over the United States to photograph the last one percent of wilderness left here. [J] I am deeply grateful for my life in photography and the amazing lessons it has taught me. I have learned that women really do hold up half the sky; that language isn't always necessary, but touch usually is; that all people are not alike, but they do mostly have the same hopes and fears; that judging others does great harm, but listening to them enriches; and that it is impossible to hate a group of people once you get to know one of them as an individual. 1 Hail is small balls of ice that fall from the sky like rain. 2 A mule is a hybrid between a horse and a donkey. 3 A moped is a type of lightweight motorcycle. Which of the following was true about Bob Gilka?
DIRECTIONS: Chооse the best аnswer fоr eаch question. The Visuаl Village [A] Before the age of the smartphone, aspiring photographers had to learn how to use high-tech cameras and photographic techniques. Not everyone had cameras, and it took skill and a good eye to capture and create a great photograph. Today, with the huge range of camera apps on our smartphones, we are all amateur photographers. And pretty good ones, too: The quality of smartphone images now nearly equals that of digital cameras. [B] The new ease of photography has given us a tremendous appetite for capturing the magical and the ordinary. We are obsessed with documenting everyday moments, whether it's a shot of our breakfast, our cat - or the cat's breakfast. And rather than collect pictures in scrapbooks, we share, like, and comment on them with friends and strangers around the globe. [C] Even photojournalists are experimenting with cell phones because their near invisibility makes it easier to capture unguarded moments. 1 The Internet also allows photojournalists to avoid traditional media.They can now act as their own publishers - reaching huge audiences via social media sites such as Instagram. A photograph taken in New York can get a response from someone in Lagos within a second of being uploaded. [D] In the past, magazines published unforgettable photos of important people and global events that captured our imaginations. These photos had the power to change public opinion - even the course of history. But if there are fewer memorable images today, it's not because there are fewer good images: It's because there are so many. No one image gets to be special for long. [E] Cameras are everywhere - a situation that is transforming the way we experience dramatic events. When there are major political events or natural disasters, it is ordinary citizens with cell phones - not photojournalists - who often provide the first news images. Quality still matters, but it's less important than what's instantly shared. [F] As people everywhere embrace photography and the media make use of citizen journalists, professional standards appear to be shifting. In the past, most people trusted photojournalists to accurately represent reality. Today, however, digital images can be altered in ways the naked eye might never notice. Any image can be altered to create an "improved" picture of reality. The average viewer is left with no way to assess the accuracy of an image except through trust in a news organization or photographer. [G] The question of the accuracy of images gets even trickier when photojournalists start experimenting with camera apps - like Flickr or Instagram - which encourage the use of filters. Images can be colored, brightened, faded, and scratched to make photographs more artistic, or to give them an antique look. Photojournalists using camera apps to cover wars and conflicts have created powerful images - but also controversy. Critics worry that antique-looking photographs romanticize war, while distancing us from those who fight in them. [H] Yet, photography has always been more subjective than we assume. Each picture is a result of a series of decisions - where to stand, what lens 2 to use, and what to leave in or out of the frame. Does altering photographs with camera app filters make them less true? [I] There's something powerful and exciting about the experiment that the digital age has forced upon us. These new tools make it easier to tell our own stories, and they give others the power to do the same. Many members of the media get stuck on the same stories, focusing on elections, governments, wars, and disasters. In the process, they miss out on the less dramatic images of daily life that can be just as revealing and relevant. [J] The increase in the number of photographs and photographers might even be good for democracy itself. Hundreds of millions of potential citizen journalists make the world smaller and help keep leaders honest. People can now show what they are up against, making it increasingly difficult for governments to hide their actions. If everyone has a camera, Big Brother 3 isn't the only one watching. [K] Who knows? Our obsession with documentation and constantly being connected could lead to a radical change in our way of being. Perhaps we are witnessing the development of a universal visual language. It's one that could change the way we relate to each other and the world. Of course, as with any language, there will be those who produce poetry and those who make shopping lists. [L] It's not clear whether this flowering of image-making will lead to a public that better appreciates and understands images. Or will it simply numb 4 us to the profound effects a well-made image can have? Regardless, the change is irreversible. Let's hope the millions of new photographs made today help us see what we all have in common, rather than what sets us apart. 1 Something done in an unguarded moment is done when you think no one is watching. 2 A lens is a thin, curved piece of glass or plastic used in things such as cameras. 3 Big Brother refers to a person or organization exercising total control over people's lives; the phrase originates from George Orwell's novel 1984. 4 If an event or experience numbs you, you are not able to feel any emotions or think clearly. What does produce in the last sentence of paragraph K mean?