Directions: The problem below contains three elements. These three elements may or may not have some relationship. The group of elements may fit into one of the diagrams (1), (2), (3) or (4). You have to choose the diagram that correctly indicates the relationship between the given elements.Girls, Doctors, Photographers, Boysa)b)c)d)Correct answer is option 'B'. Can you explain this answer?

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Directions: The problem below contains three elements. These three elements may or may not have some relationship. The group of elements may fit into one of the diagrams (1), (2), (3) or (4). You have to choose the diagram that correctly indicates the relationship between the given elements.

Girls, Doctors, Photographers, Boys

Correct answer is option 'B'. Can you explain this answer?

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Directions: The problem below contains three elements. These three elements may or may not have some relationship. The group of elements may fit into one of the diagrams (1), (2), (3) or (4). You have to choose the diagram that correctly indicates the relationship between the given elements.Professionals, Graduates, Athletes

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Directions: Study the following information carefully and answer the given question.There are a total of 11 containers such as K, L, M, N, O, P, Q, R, S, T and U which are kept on 11 different shelves. The topmost shelf is numbered eleventh and the bottom one is numbered one. Two containers are kept between container T and container L. Container P is kept immediately above container M and there are three containers between container M and container K. Only three containers are kept below container O. Only one container is kept between container T and container N. Neither container P nor container K is kept above container L. Container Q is kept immediately above container U and container R is kept on one of the shelves above container S. Container K is not kept on shelf numbered 3. No container is kept above container N.Four of the following five are alike in a certain way and thus form a group. Which of the following does not belong to the group?

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Read the passage carefully and answer within the context.Picture-taking is a technique both for annexing the objective world and for expressing the singular self. Photographs depict objective realities that already exist, though only the camera can disclose them. And they depict an individual photographer’s temperament, discovering itself through the camera’s cropping of reality. That is, photography has two antithetical ideals: in the first, photography is about the world and the photographer is a mere observe who counts for little; but in the second, photography is the instrument of intrepid, questing subjectivity and the photographer is all.These conflicting ideals arise from a fundamental uneasiness on the part of both photographers and viewers of photographs toward the aggressive component in “taking” a picture. Accordingly, the ideal of a photographer as observer is attractive because it implicitly denies that picture-taking is an aggressive act. The issue, of course, is not so clear-cut. What photographers do cannot be characterized as simply predatory or as simply, and essentially, benevolent. As a consequence, one ideal of picture-taking or the other is always being rediscovered and championed.An important result of the coexistence of these two ideals is a recurrent ambivalence toward photography’s means. Whatever the claims that photography might make to be a form of personal expression on a par with painting, its originality is inextricably linked to the powers of a machine. The steady growth of these powers has made possible the extraordinary informativeness and imaginative formal beauty of many photographs, like Harold Edgerton’s high-speed photographs of a bullet hitting its target or of the swirls and eddies of a tennis stroke. But as cameras become more sophisticated, more automated, some photographers are tempted to disarm themselves or to suggest that they are not really armed, preferring to submit themselves to the limits imposed by premodern camera technology because a cruder, less high-powered machine is thought to give more interesting or emotive results, to leave more room for creative accident. For example, it has been virtually a point of honor for many photographers, including Walker Evans and CartierBresson, to refuse to use modern equipment. These photographers have come to doubt the value of the camera as an instrument of “fast seeing.” Cartier-Bresson, in fact, claims that the modern camera may see too fast.This ambivalence toward photographic means determines trends in taste. The cult of the future (of faster and faster seeing) alternates over time with the wish to return to a purer past—when images had a handmade quality. This nostalgia for some pristine state of the photographic enterprise is currently widespread and underlies the present-day enthusiasm for daguerreotypes and the wok of forgotten nineteenth-century provincial photographers. Photographers and viewers of photographs, it seems, need periodically to resist their own knowingness.Q.The passage suggests that photographers such as Walker Evans prefer old-fashioned techniques and equipment because these photographers

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Read the passage carefully and answer within the context.Picture-taking is a technique both for annexing the objective world and for expressing the singular self. Photographs depict objective realities that already exist, though only the camera can disclose them. And they depict an individual photographer’s temperament, discovering itself through the camera’s cropping of reality. That is, photography has two antithetical ideals: in the first, photography is about the world and the photographer is a mere observe who counts for little; but in the second, photography is the instrument of intrepid, questing subjectivity and the photographer is all.These conflicting ideals arise from a fundamental uneasiness on the part of both photographers and viewers of photographs toward the aggressive component in “taking” a picture. Accordingly, the ideal of a photographer as observer is attractive because it implicitly denies that picture-taking is an aggressive act. The issue, of course, is not so clear-cut. What photographers do cannot be characterized as simply predatory or as simply, and essentially, benevolent. As a consequence, one ideal of picture-taking or the other is always being rediscovered and championed.An important result of the coexistence of these two ideals is a recurrent ambivalence toward photography’s means. Whatever the claims that photography might make to be a form of personal expression on a par with painting, its originality is inextricably linked to the powers of a machine. The steady growth of these powers has made possible the extraordinary informativeness and imaginative formal beauty of many photographs, like Harold Edgerton’s high-speed photographs of a bullet hitting its target or of the swirls and eddies of a tennis stroke. But as cameras become more sophisticated, more automated, some photographers are tempted to disarm themselves or to suggest that they are not really armed, preferring to submit themselves to the limits imposed by premodern camera technology because a cruder, less high-powered machine is thought to give more interesting or emotive results, to leave more room for creative accident. For example, it has been virtually a point of honor for many photographers, including Walker Evans and CartierBresson, to refuse to use modern equipment. These photographers have come to doubt the value of the camera as an instrument of “fast seeing.” Cartier-Bresson, in fact, claims that the modern camera may see too fast.This ambivalence toward photographic means determines trends in taste. The cult of the future (of faster and faster seeing) alternates over time with the wish to return to a purer past—when images had a handmade quality. This nostalgia for some pristine state of the photographic enterprise is currently widespread and underlies the present-day enthusiasm for daguerreotypes and the wok of forgotten nineteenth-century provincial photographers. Photographers and viewers of photographs, it seems, need periodically to resist their own knowingness.Q.According to the passage, interest among photographers in each of photography’s two ideals can be described as

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Directions: The problem below contains three elements. These three elements may or may not have some relationship. The group of elements may fit into one of the diagrams (1), (2), (3) or (4). You have to choose the diagram that correctly indicates the relationship between the given elements.Girls, Doctors, Photographers, Boysa)b)c)d)Correct answer is option 'B'. Can you explain this answer?

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Directions: The problem below contains three elements. These three elements may or may not have some relationship. The group of elements may fit into one of the diagrams (1), (2), (3) or (4). You have to choose the diagram that correctly indicates the relationship between the given elements.Girls, Doctors, Photographers, Boysa)b)c)d)Correct answer is option 'B'. Can you explain this answer? for CAT 2025 is part of CAT preparation. The Question and answers have been prepared according to the CAT exam syllabus. Information about Directions: The problem below contains three elements. These three elements may or may not have some relationship. The group of elements may fit into one of the diagrams (1), (2), (3) or (4). You have to choose the diagram that correctly indicates the relationship between the given elements.Girls, Doctors, Photographers, Boysa)b)c)d)Correct answer is option 'B'. Can you explain this answer? covers all topics & solutions for CAT 2025 Exam. Find important definitions, questions, meanings, examples, exercises and tests below for Directions: The problem below contains three elements. These three elements may or may not have some relationship. The group of elements may fit into one of the diagrams (1), (2), (3) or (4). You have to choose the diagram that correctly indicates the relationship between the given elements.Girls, Doctors, Photographers, Boysa)b)c)d)Correct answer is option 'B'. Can you explain this answer?.

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