Soru

Passage A
In the mid-nineteenth century, the invention of photography was heralded primarily as a triumph of objective science. For early champions of the medium, the camera was a purely mechanical instrument capable of producing an unvarnished, perfectly accurate record of physical reality. Unlike traditional painting or sketching—processes in which the artist's subjective biases, emotional states, and physical limitations inevitably filtered the depiction of the world—the camera was believed to capture exactly what was placed before its lens. This perceived mechanical neutrality was its most celebrated virtue. Proponents argued that a photograph was a pristine slice of truth, free from human interpretation, making it an invaluable tool for scientific documentation and historical archiving.

Passage B
The enduring myth of the photograph as a purely objective recording of the world fails to account for the fundamental nature of the photographic process. It is a mistake to view the camera as a neutral, passive observer. In reality, a photograph is profoundly shaped by the subjective choices of the person operating the equipment. Every image is the result of deliberate decisions regarding framing, focus, lighting, angle, and timing. By choosing what to include within the frame—and, just as importantly, what to exclude—the photographer imposes a specific narrative and interpretation onto the subject. Therefore, far from being a mechanical replica of reality, a photograph is a constructed representation, deeply infused with the artistic and interpretive bias of its creator.

Based on the principles outlined in the passages, how would the author of Passage B most likely respond to the assertion made in Passage A that the camera captures an "unvarnished, perfectly accurate record of physical reality" that is "free from human interpretation"?