Other ways of making photographic images on metal plates, such as fintypes and ferrotypes, were developed rapidly after the advent of the daguerreotype, They quickly eclipsed it in popu
Trang 1
10 The word feaise in the passage is
closest in meaning to
(A) explain
(B) provide
(C) avoid
(D) refuse
The Veneration of Trees
in The Golden Bough, his classic catalog of mythologies, Sir James George Frazer extensively documents the significance of trees in world religion His chapters on tree spirits roam from Northern Europe to the Fastern Seaboard of what is now the United States to the islands of the Pacific Despite the lack of contact among these regions, the veneration
of trees united them The woods that covered reas ot Europe and North America, particularly, were difficult to @ and dangerous
to cross, It was not a great mental leap for people to see the trees that populated them as embodiments of the natural forces that governed their lives
On the basis of Frazer's classification, one can derive three loose stages
of tree worship In the first, a society sees the tree as the physical body
of the spirit that inhabits it, much as the human body can be seen as
housing the mind It is known that both the Celtic and the Germanic tribes that inhabited ancient Northern Europe regarded certain trées as sacred, setting them apart by species (as the Druids worshipped oaks)
of by location (the way certain natural groves were regarded as natural temples or sacred spaces in what is now Germany) Early on, each of these trees was regarded as an animate being with both spirit and body
it had a distinct identity, like an individual person This suggests that it was believed to have the same impulses and reactions as the people who venerated it
Accordingly, ancient peoples had elaborate taboos designed fo avoid causing offense to trees These taboos were taken very seriously In some places, one could be punished Severely for injuring the bark of a tree
ot stealing its fruit Before a tree was felled for human use, woodcutters _ i many world cultures would offer it both apologies and thanks for the resources it was about to provide them This was necessary to avoid insulting the tree and inviting bad fortune It was also the case, however, that injuries were said to cause suffering to trees as they did to people
{n some societies, it was claimed that trees cry out in pain when struck
of cut into A tree’s spirit and body are considered inseparable in this first stage
A society makes a leap in sophistication and reaches Frazer's second stage when it begins to regard them as separate Thal is, the spirit exists independently of the physical tree, even if it chooses to dwell there most
of the time, The same spirit may thus take up residence in any tree of a
forest: it is not killed when an individual tree is cut down itis not EớU8đ,
Mĩ a singls tree but rather stands for a group The distinction may seem small, but it is a'significant first step toward symbolic thinking A forest, after all, is more than the sum of its parts It encompasses not only its trees bul also the animals and brush that flourish among them The dangers of the forest are hidden; a traveler may of may not encounter them on a given journey To think about a tree spirit identified with the forest as a whole, therefore, people had to think about phenomena that were removed from †hem in time and space—@#3 #6: § Such a tree spitit represented the potential and abstract rather than the concrete and immediate
That transition is completed in the third stage Liberated from each other, trees and their spirits can begin to be seen as symbols and embodiments
of other natural procasses of significance to primitive life: the power of weather and seasons to produce good or bad harvests, the mysteries
of childbirth and disease At that point, the veneration of trees reaches its stage of greatest complexity Societies in both Eastern Europe and the South Pacific nted ceremonial offerings to trees in the hopes
that they would §sRiS# rain and sunshine Women who hoped to bear
children might be instructed to embrace special treas thought to give fertility The appearance of these beliefs, in which the fruitfulness of trees suggests the fruitfulness of harvests and family-building, indicates that a society has made its first steps toward symbolic and abstract thinking
380 Mi CRACKING THE TOEFL
Trang 2
11 According to paragraph 5 of the
passage, ancient peoples saw
special meaning in
(A) the ability of trees to bear
fruit
(BỊ the three stages in the life
cycle of a tree
(C) trees that required little rain
and sun
(D) the raising of trees’ by
women
Paragraph 5 is marked with an arrow
[>|
The Venernilen of Tress
(n| The Golden Bough, his classic catalpg of mythologies, Sir James
George Frazer extensively documents the significance of tress in world
religion, His chapters ari tree:spirits roam trom Northern Europe to the Eastern Seaboard ot what 1s now the Utiited ‘States to the islands af the Pacific Despite the lack of contact among these regions, the yeneralion
of trees united them: The woods thal covered: large areas of Europe and
North America, pafticularly, were difficult to 6#;
lọ crnsS It was not a.great mental leap for peopte to-see the trees [ha
poptllated them as embodiments of the natural forces that governed theif
lives:
On the basis of Frazer's classification, one.can derive three loase stages
of trep warship; In the first, @ society sees he tres as the physical body
of the spirit that inhabits if, muct as tie human body car be seen as
housing the mind It is known that both the Celtic andiflte Germanic
iribes that inhabited anclent Northern Europe regarded certain tiees:as
sacred, setling them apart by spevigs (as the Druids worshipped: cals)’
0f by location (the way certain natural groves: were Tegarded a natural femples‘or sacred spaces in what is now Gerinany).Eacly on, eact of
these treus was regarded as an animate belng with both snirit and body:
Irheda distinct identity, like an individual person, This suggests that it was helieved to have the same impulses and reactions as:(he peaple whip
venerated it
Accordingly, ancient peoples had elaborate taboos designed to avoid causing offense to trees: These tahons were taken vary seriously In same
places one could be punished ieaiieiy for injuring the bark of a trea
or Stealing lis Iruit: Before a tree was tailed for human use, weodcuters inj many.world cultures: would offer It both apologiescand thanks for the Tesaurces Il Was about to provide therm This was necessary to avoid insulting the hee and inviting had fortune Jt was also the case, huwever, That injuries were said to case suffering ta treasias they did (o people | SOMeé societies, itwas claimed that trees ory aut in pain when struck:or cut into A free's spirit and body are considased Insaparable in this first stage
A society makes 2 leap insophisticalion and reaches Frazer's sacond
Stage when it begins-to regard them as separate: Thats, the spirit exists
independently of the physical tres, even it it chooses to dwell there most
of the lime The same spirit may thus take up residance In any tree ofa
forest itis net killed when an individual tree is cut down It is rot Sega
i 2-single tree but rather stands for a group The distinction may seem small, but Il isa significant first step toward symbdfic thitking A.torest,
after all, is mora-than the: sum of its parts It'ercampasses prot-only its
trees but also the-animals:and brush that flourish among ihem The
dangers of ths forest are hidden, a traveler mayor may nat encounter
them on 4 given journey To (hink about a tree:spifil identified with the forestas a whole; therefore, people had to think about [I6femess lui
were removed: from them in time and spare—# ¿Ki Sucit 4 tree spici{ represented the potential and nan the concrete and immediate:
> That transition is completed In the third stage |Liberated fromeach
other, trees.and their epirits:can-bepin to be-seen as symbols and
ambadiments ot other natural processes of significance to primitive Site:
the power of weather and Seasons te protic good or bad harvests, the:
Thysterias of childbirth and disease At that point, the veneration of trees reaches ite'stage of greatest complexity Societies in both Eastem Europe
and the South Pacific presented ceremonial afferings te trees int the hopes
that thay would i rain and sunshine, Women who hoped to hear children might be instructed to embrace’special frees thought ta give
fertility, The appearance of these:baliets, inwhich tha truitfulness af trees
suggests the fruitiulness af harvests:and family-building, indicates that a
Society has made its first stans ‘toward Symbolig:and ahstract:thinking
THE PRINCETON REVIEW TOEFL iBT PRACTICE TEST ME 3817
Trang 3
12 Directions: An introductory sentence for a brief summary of the passage IS
provided below Completethe summary by selecting the THREE answer choices that express the most important ideas in the passage Some sentences do not belong in the summary because they express ideas that are not presented in the passage or are minor ideas in the passage This question is worth 2 points
Three basic levels of tree worship can be observed in The Golden Bough
Answer Choices
lt was forbidden to cut down certain trees
because they would be seriously offended at
being injured
Ancient Germans believed certain groves were sacred and used them as temples, but Druids venerated the oak tree in particular
Certain peoples came to believe that tree
spirits were independent of individual trees
and instead represented a whole forest
Some societies believed each tree had an
individual spirit, the way a human being has
a distinct mind
More is known about the ceremonies of Europe
than about the ceremonies of North America
and the South Pacific A basis for abstract thinking was achieved
when tree spirits were believed to control natural forces such as crops and human fertility
382 Mi CRACKING THE TOEFL
Trang 4
Daguerreotypes Only a small number of professional photographers ever had any practical experience
as daguerreotypists, those technicians who made photographs through the aguerreniyne process
By strictest definition, th juerreotype process
mid-1800s Other ways of making photographic images on metal plates, such as fintypes and
ferrotypes, were developed rapidly after the advent of the daguerreotype, They quickly eclipsed it in popularity Today, the surviving photographs produced by these.methods are
often referred to as daguerreotypes,, but that designation is incorrect
lt is not surprising that photography enthusiasts began looking for alternatives to the-
daguerreotype almost immediately The materials
it required were both expensive—the plates contained silver and one of the devsloping solutions Contained gold—and extremely risk Strict adherence to §
was necessary in order to avoid poisoning by noxious gases
The steps involved in preparing and exposing a daguerreotype were as laborious and frustrating
as they were hazardous, Images were recorded
on copper plates to which several thin coats of
silver had been applied After being fastened
to wooden blocks, the plates were scoured with alcohol and squares of soft flannel Since even one speck of dust could easily create a
deep enough groove to render the final image
worthless, they had to be perfectly buffed The plates were then bathed in solutions of bromine
and iodine The thin layer of bromo-iodine that
formed on them made them sensitive to light at which point they were reacly for exposure
After exposure, the plates were dipped alternately
in heated mercury and freezing-cold water The
meroury vapors helped i the images to the plates
THE PRINCETON REVIEW TOEFL iBT PRACTICE TEST MM 383
Trang 5
and developed them The chilled water kept the plates from breaking up during
The daguerreotypists next applied hydrosulfate soda to the plate surfaces to dissolve any bromo- iodine that had not been exposed to light and brushed them with a solution of gold and chlorine
to brighten the images and sharpen their black- white contrast
There were difficulties for thie daguerreotypists’
customers too The expense of materials and - labor was passed on to them in the form of very high prices Only the rich could easily afford to sit for a daguerreotype portrait For those of |
a daguerreotype was a once-in-a- lifetime treat Additionally, daguerreotype plates required long exposures, from 8 to 20 minutes,
in order to yield high-quality images Chairs and tables with special support were designed to help those posing for portraits to remain absolutely still throughout the exposure time If they did not, the resulting image would be blurred Not even the cleverest such design, of course, could compensate for the need of the human eye to blink periodically
For all the disadvantages involved in making daguerreotypes, no one could argue with the finished product when things went well The process recorded textural detail with a realism that still seems shocking The sheen of satin and the dull, heavy nap of flannel are easily distinguished Those posing for daguerreotypes tired after trying to maintain the same facial expression for minutes at a time; the result was that their features often relaxed into an attractive thoughtfulness
The incentive to develop a photographic process that retained the advantages of the daguerreotype without the disadvantages was thus powerful The substitute with the most lasting popularity was the ferrotype or tintype, which
384 MH CRACKING THE TOEFL
Trang 6
used ari enarriel-coaied jron plate, Ferrotypes became popular with photographers who
set up Sialls at street fairs.and inexpensive resorts because Hey could be exposed and
developed very quickly lron plates were also much less expensive than copper plates, and
ihe resulting photographs were less fragilé than
dagquerreotypes On the other hand, iron, unlike
copper, could rust if not properly stored Many
old ferratypes were destroyed by long-term
display in hot and moist environments
THE PRINCETON REVIEW TOEFL iT PRACTICE TEST MM 385
Trang 7
13 Which of the following can be
inferred from paragraph 1 of the
passage?
(A) Some photographs are
called daguerreotypes inaccurately
(B) Daguerreotypes were
popular for most of the 1800s
(C) Not all daguerreotypes were
made by technicians
(D) Tintypes and ferrotypes
were the first kinds of photographs
Paragraph 1 is marked with an arrow
[>|
Daguerraotypes
=} Only a small number of professional photographers ever had any practical experience as daquerreotypists, those leona who made photographs through the daguerreotype proce trictest definition, the daguerreotype process was common for
mid-1800s Other ways of making photographic images on metal plates, such as tintypes and ferrotypes, were developed rapidly after the advent
of the daguerreotype, They quickly eclipsed it in popularity Today, the surviving photographs produced by these methods are often referred to as daquerreotypes, but that designation is incorrect
tis not surprising that photography enthusiasts began looking for alternatives to the daguerreotype almost immediately, The materiais it required were both expensive—the plates contained silver and one.of _ the developing soluti niained gold—and extremely risky Strict
poisoning by noxious gases
The steps involved in preparing and exposing a daguerreotype were as laborious and frustrating as they were hazardous images were recorded
on copper plates to which several thin coats of silver had been applied
Aiter being fastened to wooden blocks, the plates were scoured with alcohol and squares of soft flannel Since even one speck of dust could easily create a deep enough groove to render the final image worthless, they had to be perfectly buffed The plates were then bathed in solutions of bromine and iodine: The thin layer of bromo-iodine that formed on them made them sensitive to tight, al which point they were ready for exposure
After exposure, the plates were dipped alternately in heated mercury and freezing-cold water The mercury vapors helped fix the images to the plates and developed them, The chilled water kept the plates from breaking
i Sử The daguerreotypists next applied hydrosulfate soda to the plate surfaces to dissolve any bromo-iodine that had not been exposed to light and brushed them with a solution of gold and chiorine to brighten the images and sharpen their black-white contrast
There were difficulties for the daquerreotypists’ customers too The expense of materials and labor was passed on to them in the form of very high prices Only the rich could easily afford to sit fora daguerreotype
in-a-lifetime treat, Additionally, daguerreotype plates required long exposures, from 8 to 20 minutes, in order to yield high-quality images
Chairs and tables with special: support were designed to help those posing for portraits to remain absolutely stil! throughout the exposure time If they did not, the resulting image would be blurred Not even the cleverest such design, of course, could compensate for the need of the human eye
to blink periodically
For all the disadvantages invotved in making daguerreotypes, fo one could argue with the finished product when things went well The process recorded textural detail with a realism that stilf seems shocking The sheen
of satin‘and the dull, heavy nap of flannel are easily distinguished Those posing for daguerreotypes tired after trying to maintain the same facial expression for minutes ala time; the result was that their features often relaxed into an attractive thoughtfulness
The incentive to develop a photographic process that retained the advantages of the daguerreotype without the disadvantages was thus powerful, The substitute with the most lasting popularity was the ferrotype or tintype, which used an enamel-coated iron plate Ferrotypes became popular with photographers who set upstalls at street fairs and inexpensive resorts because ffi could be exposed and developed very quickly iron plates were also much less expensive than copper plates, and the resulting photographs were less fragile than daquerreotypes,
On the other hand, iron, unlike copper, could rust if not properly stored
Many old ferrotypes were destroyed by long-term display in hot and moist
environments,
386 ME CRACKING THE TOEFL
Trang 8
14, The =
passage is Closest in meaning to
(A) at first
(B) additionally
(C) at most
(D) historically
Daguerrentypes
tụt 2 stall number of professiovial photographers evar had:any practical experience as: daquerreolypists, thase technicians who made eakarate ‘through the daguerreotype process, By iia ein the daguerreotype process was common fr 20 years inthe mid-1800s, Other wayssot making photographic images.on metal plates, Such as tintypes and férrotypes, were developed rapidly after the advent
ofthe daguerrastype They quickly eclipsed! It in popularity, Today, the
surviving photographs produced by these methods/are often referred to as:
daguereatyies; but hat designation is incorect
Cis: Rot surprising that photography: enthusiasts began leaking tor aliernafives ta the daguentsotype-almost immediately, The materials it required were botn expensive—the plates contained silver and oneof the developing at ii—and exiremely risky Striot
adherence to | ate was necessaly in order to-avoid
poisaning by noxious gases
The staps involved in preparing and exposing 4 daguerreotype were:as laborious and frustrating as they were-hazardous, Images were tecorded
an copper plates to: which several thin ceats-of silver had bean applied
After being fastened to wooden blocks, the plates were:scoured with alcohol and squares of soft flannel Since even one Speck of dust could easily creates deep enough gredveto render the tinal image worthless, they had fo be perfestly:butfed The plates were-then bathed in-salutions at
bromine and iodine The Hin layer of bromo-iodine thal formed on them
made [hem Sensitive to light, al which point they were ready fon exposure
After exposure; the plates were dipped alternately in heated mercuryand
freezing-cold water, The mercury vapors helped fi the images.to the
plates and developed them The chilled water kept the plates fram hreaking
i Te: daguerreolypists-next applied hydrosulfate- soda ta the plate surfaces Io dissalye any bromo-lodine that had not been exposed to light and brushed them with a sclulion of gold and chlorine ta brighten the images and shamen their black-white contrast,
There were difficullias for the daquerrentypisis’ customers too The
expense ol materials and Jabor was passed on lo them in the torm of very
high patices Only the ich could easily afford to sit tor ¢ daguerreotype
fa daquerrealype was @ once
ly
exposures, fram 8 t-20 minutes, in order ta yield hiigh- quality i images
Chairs and tables with special support were designed to help thase pesing tor portraits to remain absolutely still throughout the exposure time If they did frat, the resulting image would be-blurred Noi ever the cleverest such design, of course, could compensate for the:need of fhe human eve
to blink perioditally:
Forall the tisadvantages (nvolved in making daguerteotypes, no one
could argue with the finished product wher things went well The process recorded textural detail with a realism that still seems shacking, The sheen
of satin and the:dull, heavy nap of flannel are easily distinguished Those posing far daguerreatypes tired ater trying to maintain the-sametacial
expression for minutes at a'time; the resull was that their features often relaxed ints an altractive thoughtfulness
The incentive ta develop a photographic process: thal retained (fie
advantages of the: daguerreotype withaut the disadvantages was thus powerful The-substitute with the most lasting- popularity was the
farrolype-dr tintype, whieh used an enamel-coaied iron plate Ferrotypes
became popular.witty photographers who set up’stalls at street fairs and
inexpensive resorts because (ey could be exposed and developed very
quickly, [ron plates were also much less expensive than copper plates,
and the resuiting photographs were less fragile than daguerreotypes:
On the other hand, iron, unlike copper, could rust if not properly stored
Many old ferrotypes were destroyed by long-term display In hat and moist environments;
THE PRINCETON REVIEW TOEFL i87 PRACTICE TEST Mi 387
Trang 9
15 Why does the author mention
(A) To contrast daguerreotypists
with true scientists (B) To argue that daguerreotypists
influenced other fields (C) To give an example of an
expensive material (D) To indicate how dangerous
daguerreotype making was
Daguerreotypss Only a smail number of professional photographers ever had any practical experience as daguerreotypists, those technicians who made photographs through the daguerreotype process By strictest definition, the daguerreotype process was common for i 2 mid-1800s Other ways of making photographi
such as tintypes and ferrotypes, were developed rapidly after the advent
of the daguerreotype They quickly eclipsed it in popularity Today, the surviving photographs produced by these methods are often referred to as daquerreotypes, but that designation is incorrect
Itis nol surprising that photography enthusiasts began looking for alternatives to the daguerteatype almost immediately The materials it required were both expensive—the plates contained silver and one of - the developing solutions contained gold—and extremely risky, Strict adherence to § was necessary in order to avoid poisoning by no
The steps involved in preparing and exposing a daguerreotype were as laborious’and frustrating as they were hazardous Images were recorded
on copper plates to which several thin coats of silver had been apptied
After being fastened to wooden blocks, the plates were scoured with alcohol and squares of soft flannel Since even one speck of dust could easily create a deep enough groove to render the final image worthless, they had to be perfectly buffed The plates were then bathed in solutions of bromine and iodine The thin layer of bromo-iodine that formed on them made them:sensitive to light, at which point they were ready for exposure
After exposure, the plates were dipped altemately in heated mercury and
freezing-cold water The mercury vapors helped ff the images to the
plates and develo d them The chilled water kept the plates from breaking
up during & The daguerfeotypists next applied hydrosulfate soda to the plate surfaces to dissolve any bromo-iodine that had not been exposed fo light and brushed them with a solution of gold and chlorine to brighten the images and sharpen their black-white contrast
There were difficulties for the daguerreotypists' customers too The expense of materials and labor was passed on to them in the form of very high prices Only the tịch could ily afford to sit for a daguerreotype
š, ä daguerreotype was a once- in-a-lifetime treat Additionally, daguerreotype plates required long expasures, from 8 to 20 minutes, in order to yield high-quality images
Chairs and tables with special support were designed to help those posing for portraits to remain absolutely still throughout the exposure time If they did not; the resulting image would be blurred Not even the cleverest such design, of course, could compensate tor the need of the human eye
to blink periodically
For all the disadvantages involved in making daquerreotypes, no one could argue with the finished product when things went well, The process recorded textural detail with a realism that still seems shocking The sheen
of satin and the dull, heavy nap of flannel are easily distinguished Those posing for daguerreotypes tired after trying to maintain the same facial expression for minutes at a time; the result was that their features often relaxed into an attractive thoughtfulness
The incentive to develop a photographic process that retained the advantages of the daguerreotype without the disadvantages was thus powerful The substitute with the most lasting popularity was the ferrotype or tintype, which used an enamel-coated iron plate Ferrotypes became popular with photographers who set up stalls at street lairs and inexpensive resorts because fie could be exposed and developed very quickly, iron plates were also much less expensive than copper plates, and the resulting photographs were less fragile than daguerreotypes
On the other hand, iron, unlike copper, could rust if not properly stored
Many old ferrotypes were destroyed by tong-term display in hot and moist environments
388 ME CRACKING THE TOEFL
Trang 10
16 According to paragraph 3, why did
daguerreotype plates need to be
buffed carefully before exposure?
(A) Dust could harm the plate
surfaces
(B) People preferred highly
polished daguerreotypes
(C) Buffing made the chemicals
stick to the copper surface
(DỊ Asmosth surface was more
sensitive to light
Paragraph 3 is marked with an arrow
[>]
‘could aque with the finished product when things wentwell The process
Dagti9rropiypss Only.a sinall number af professional photographers ever Had any practical experience-as: daguerreolypists, thase technicians who made
ptiotographs througty the daguerreotype process By: siriclast definition,
the daguerréotype process: was common tor fay ;
mid=7800s Other ways of making photographic images on metal plaies,
such.as tintypes:and ferrotypes, were tleveloped zapidly alter the advent
of the: daguerreotype They quickly eclipsed itin papularity Today, the surviving photographs produced by these methods are often referred ta as
dagquerteotypas, bul that designation Is incorrect,
itis nat surprising that photography enthusiasts began looking for
alternatives to the daguerreotype alinjost immediately The materials it required were both expensive—the plates contained silver and one nf
the developing solutions contained goltt—and extremiely-risky Strict adherence to ‘was necessary in order taavoid
pðl$nning by noXi0tis gases
>>ïhe sfeps iftvolvof ìïI prepáring ad exp05ing 4 daguerreotype were.as
laborious and frustrating as they were hazardous Images were reaorded
On copper plates towhich several thin coats of silver had been applied
Ajter being fastened to.wenden blocks, the plates were scoured with
alechol and squares ot’satt flannel, Since even one speck ot dusticould easily create a deep enough groove to render the final image worthless,
they had to'be perfectly buffed, The plates were thert bathed ih solutions of
bromine atid iodine The-thin layerot bromo-iodine thal farmed on them ƒ made them Sensitive fo light, at which point they were ready for exposure [ After exposure, the plates were dipped alternately in heated mercury and freezing-cald water The mercury vapors helped fix the images to
the plates-and develop Thechilted water kept the plates trom
breaking up during i ñ, The daguerreotypists néxd applied
hydrosulfate soda lo the plate surfaces te dissolve-any bromo-indine (hat had-not been expased.to light and brushed them with a solution of gold and chloring'to brighten the images-and starpen their black-white
contrast
There were difticuities for the daquerreciypists cusiomers loo The expense: oF materials and labor was passed on to them tn the fon af very high prices Onty the tịch: could easily alford 10 sit for a daguerreotype
0rirait For Jhosenf E8: Ì á d200arieolype was 2 once-
in-a-lifetime treat: Additionally, daquerreatype plates required long exposures, {rom 6'to20 minutes, inorder to-yield high-quality images
Chairs and tables with special support were designed to help those
posing for portraits tir remain absolutely still throughout thie exposure
time, lf they did not, the resulting image would be blurred Not even the cleverest such design, of Course, could compensate for the need of the human eye-ta blink periodically:
Focal the-disactventages involved (ff making daquareotypes; no one
retorded textural detail with-a realism that still seems shocking: The sheen af 'Satin and the:dul, heavy nap‘of flannel ate easily distinguished
Those posing for daquerreotypes tired: atter trying to maintain the same
facial expressiun for minutes-al a tine; the result was thal their features often relaxed into:anialtractive thoughtfulness:
The incentive'te developa photographic process that refained the: a advantages of te daquerreotype wilhoul the disadvantages was thus of powerful, The substitute with the most lasting popularity wes the
fertotype or tintype,-which used.an enamel-coated iran plate Femotypes
becamepapular with pholographers:who set up stalls at street fairs and inexpensive resorts beacause fai could be exposed and developed very quickly Iron plales were'aiso: much (ass expensive thari copper plates, and Ihe resulting photographs were less fragile then daquerreatypes, _
On the othar hand, iron, uniike-copper, could rst if not properiy stored,
Many old ferrotypes were destroyed by long-term display in hotand moist environmerits
THE PRINCETON REVIEW TOEFL iBT PRACTICE TEST MI 289