WITH THE PHOTOGRAPHER: PART ONE, GLOSSARY, SUMMARY & QUESTION-ANSWERS

 

WITH THE PHOTOGRAPHER, By Stephen Leacock

GLOSSARY, SUMMARY & QUESTION-ANSWERS

Part One:

"With the Photographer," a classic satirical short story written by the famous Canadian humourist Stephen Leacock. Published in his 1913 collection Behind the Beyond and Other Contributions to Human Knowledge, it is a highly humorous yet critical look at human vanity, the mechanical coldness of technology, and the loss of authenticity.

* ‘Behind the Beyond’ means looking past the surface or literal reality to reveal the absurdity, hypocrisy, or hidden truth of a situation.

The Plot Summary

·       The Request: A 40-year-old narrator visits a commercial photo studio to get a simple portrait taken. He wants to leave a genuine likeness of himself for his friends to remember him by after his death.

·       The Waiting Room: The photographer, described as a "drooping man" with the cold, analytical eye of a scientist, makes him wait for an hour. The narrator reads outdated magazines from decades prior, feeling increasingly insecure about his natural features.

·       The Ordeal: Once inside the inner studio, the photographer ruthlessly criticizes the narrator’s face, calling it "quite wrong". He aggressively twists and manoeuvres the narrator’s head, ordering him to open his mouth, droop his ears, and expand his lungs. Frustrated but submissive, the narrator defends his face, stating he has lived with it for 40 years. The photographer takes the shot just as the narrator loses his temper.

·       The Shocking Proof: When the narrator returns a few days later to see the proof, he is horrified. The photographer has heavily "retouched" the negative using chemical processes. He removed the narrator's actual eyebrows, altered his eyes, adjusted the mouth, and proudly boasts that he plans to edit out the ears completely using an advanced technique.

·       The Climax: Seeing that the photograph looks like a total stranger, the narrator breaks into tears of anger and humiliation. He tells the photographer to keep the "worthless bauble" for himself, refuses to pay for it, and storms out of the studio.

Character Analysis

Character	Traits & Attributes	Role in the Narrative
The Narrator	Meek, self-conscious, passive, yet ultimately dignified.	Represents the ordinary human being who accepts his natural flaws and seeks genuine human connection.
The Photographer	Cold, clinical, arrogant, and obsessed with technical perfection.	Represents the rigid machine age and the superficial societal expectations of beauty.

Core Themes

• Appearance vs. Reality: Leacock highlights the vast disconnect between a person’s real, natural self and the artificial, idealized versions created by technology.
• Self-Acceptance: The narrator values his face because it is his "humble gift" from heaven. The story champions embracing one's natural imperfections rather than erasing them to satisfy societal norms.
• The Arrogance of Art & Technology: The photographer views the human face merely as raw material to be corrected by his machine. He completely ignores the emotional value the portrait was supposed to hold for the narrator's loved ones.

Modern Relevance

Though written in the early 20th century, "With the Photographer" is highly relevant today. The photographer's physical retouching of the film negative perfectly mirrors modern social media filters, AI enhancements, and Photoshop culture, where authenticity is routinely sacrificed for a flawless, superficial image.

*In the classic short story "With the Photographer" by Stephen Leacock, the literal meaning of "superficies" is the external or outer surface of something.

However, within the deeper thematic context of the story, the word carries a heavy layer of satire and deeper meaning.

Thematic Meaning in the Story

• Surface vs. Substance: The photographer is entirely obsessed with the superficies—the outermost, physical shell of the narrator's face. He looks at the face purely as a technical object to be re-arranged, edited, and chemically manipulated (such as through photo retouches like "sulphide" and "bromide") rather than a reflection of a real person.
• Artificial Beauty vs. Reality: By focusing only on the "superficies," the photographer completely ignores the narrator's inner identity, soul, and human feelings. He views human features as flaws that need to be wiped away to match unrealistic standards of perfection.
• The "Distorted Self": In the end, by changing every single physical surface area of the photo—the eyes, eyebrows, mouth, and skin—the photographer destroys the original reality. What is left is a "worthless bauble": a perfect outer surface (superficies) that holds zero actual resemblance to the real narrator.

• Glossary
  photograph taken – to have one’s picture clicked – tasveer khinchwana
  without enthusiasm – lacking interest or excitement – bina utsah ke
  drooping man – a man who looks tired or bent – jhuka hua ya thaka-sa aadmi
  dim eye – a dull, lifeless-looking eye – feeki aur sust nazar
  natural scientist – a person who studies nature scientifically – prakriti ka vaigyanik
  unwarrantable – not justified or unnecessary – anuchit ya gair-zaroori
  breaking in on – interrupting or intruding upon – beech mein dakhal dena
  privacy – personal seclusion or freedom from disturbance – niji jeevan / ekant
  scientific pursuits – serious academic or research work – vaigyanik gaveshna
  inner door – a door inside a building – andar ka darwaza
  severely – in a strict or harsh manner – kathorta ya rookhepan se
  studio – a room used for photography – tasveer lene ka kamra
  beam of sunlight – a narrow ray of sunlight – dhoop ki kiran
  filtered through – passing through something to soften light – chhan kar aana
  factory cotton – coarse cotton cloth used in factories – mill ka mota kapda
  frosted skylight – a roof window with blurred glass – dhundhla sheesha wali chhat ki khidki
  rolled a machine – pushed a machine on wheels – pahiyon wali machine ko dhakelna
  crawled into – entered slowly and awkwardly – reng kar andar jaana
  tearing at – pulling violently – zor se kheenchna
  window panes – flat pieces of glass in a window – khidki ke sheeshe
  hooked stick – a stick with a curved end – aankde wali chhadi
  apparently frantic – seeming very anxious or desperate – dekhne mein bahut ghabraya hua
  drew a little black cloth – covered himself with a black cloth – chhota kala kapda odh liya
  very grave – serious and solemn – gambhir aur sanjeeda
  shook his head – moved head to show disapproval – asahmati mein sir hilaana
  three-quarters full – turned partly to one side, not fully facing – teen-chauthaai kon par
  enthusiastically – with great interest or eagerness – utsah ke saath
  human side – a kind and understanding nature – maanviya pehlu
  apparently – as it seems – pratit hota hai
  boundless – limitless or endless – aseemit / be-inteha
  ceased to listen – stopped paying attention – sunna band kar diya
  twisted it sideways – turned it to one side – ek taraf moor diya
  sighted again – aimed and observed carefully – dhyaan se nishana lagaakar dekha
  droop them – let them hang down – latka dena
  roll them in under the lids – move the eyes partly under the eyelids – palakon ke neeche aankhen ghumana
  expand the lungs – take a deep breath – gehri saans lena
  hump the neck – bend the neck forward – gardan jhukaana
  contract the waist – pull in the waist – kamar ko andar kheenchna
  twist the hip – turn the hip sideways – kulhe ko moor lena
  a trifle – a very small amount – thoda sa / zara si
  swung myself round – turned around quickly – tezi se ghoom jaana
  stool – a small seat without arms – chhota baithne ka peedha

  Paraphrase in English

  The narrator begins by stating confidently that he wants to have his photograph taken. The photographer, however, shows no interest or excitement at this request. He appears tired, dull, and lifeless, resembling a serious scientist absorbed in experiments. The narrator remarks that there is no need to describe him further because photographers are commonly imagined in this way. The photographer curtly orders the narrator to sit and wait. The narrator waits for a whole hour, passing time by reading extremely old magazines meant for women, girls, and even infants. During this long wait, he begins to feel guilty and foolish, realizing that he has intruded upon the photographer’s serious professional work with his own unimportant face.
  After an hour, the photographer finally calls him inside the studio. He orders the narrator to sit down, placing him in a spot where sunlight enters through a cotton cloth hung beneath a frosted skylight, creating a controlled lighting effect. The photographer then wheels a camera into position and briefly looks at the narrator. Almost immediately, he becomes agitated, rushing to tear away the cotton cloth and open the window panes, desperately seeking more light and air.
  He then returns to the camera and covers himself with a black cloth, remaining silent and motionless for a long time. The narrator humorously imagines that the photographer is praying and therefore stays perfectly still. When the photographer finally emerges, he looks serious and disappointed, declaring that the narrator’s face is completely unsuitable. The narrator calmly agrees, saying he has always known this.
  The photographer suggests that the face might look better if turned at a three-quarters angle. The narrator eagerly agrees and even begins philosophizing about how many faces appear narrow and limited when seen straight on but become broad and impressive when viewed from an angle. However, the photographer ignores this speech and physically takes hold of the narrator’s head, twisting it to one side. For a moment, the narrator mistakenly thinks the photographer is about to kiss him and closes his eyes, but soon realizes the misunderstanding.
  After further inspection, the photographer criticizes different parts of the narrator’s appearance—the head, the ears, the mouth, the eyes, posture, breathing, neck, waist, and hips—issuing rapid, mechanical commands. Despite all these adjustments, he still remains dissatisfied, remarking that the face is slightly too full. At this point, the narrator, tired and uncomfortable, suddenly turns himself around on the stool, bringing the episode to an awkward pause.

  Paraphrase in Hindi (Roman Script)

  Kahani ka varnakarta kehta hai ki usne spasht aur vishwas ke saath kaha ki vah apni tasveer khinchwana chahta hai. Photographer ne is baat par bilkul bhi utsah nahi dikhaya. Vah thaka hua, udaas aur nirjeev sa lag raha tha, jaise koi vaigyanik jo apne prayogon mein dooba ho. Varnakarta kehta hai ki uska varnan karna bekaar hai, kyunki log aam taur par photographer ko isi tarah ka maante hain. Photographer rookhe swar mein use baithkar intezar karne ko kehta hai.
  Varnakarta ek ghanta intezar karta hai aur purani patrikayein padhta hai jo auraton, ladkiyon aur bachchon ke liye likhi gayi thi. Is dauraan use lagta hai ki usne photographer ke gambhir kaam mein bekaar ka hastakshep kiya hai aur apne chehre ko lekar use sharm mehsoos hoti hai.
  Ant mein photographer use andar bulata hai aur ek aisi jagah baithata hai jahan dhundhli roshni kapde aur sheeshe se chhan kar aa rahi hoti hai. Photographer camera ko beech mein laakar jaldi se dekhkar achanak ghabra jaata hai aur zyada roshni aur hawa ke liye khidki aur kapda hata deta hai.
  Phir vah camera ke andar ghuskar apne upar kala kapda daal leta hai aur bilkul shaant ho jaata hai. Varnakarta majak mein sochta hai ki vah prarthana kar raha hoga aur isliye hila-dula nahi karta. Bahar aakar photographer gambhir swar mein kehta hai ki chehra bilkul galat hai. Varnakarta shant swar mein is baat se sahmat ho jaata hai.
  Photographer salah deta hai ki chehra teen-chauthaai angle se behtar lagega. Varnakarta utsah se sahmati deta hai aur darshanik baat karne lagta hai, lekin photographer uski baat nahi sunta aur uska sir pakad kar ek taraf moor deta hai. Thodi der ke liye varnankar ko galatfehmi hoti hai, lekin turant sach samajh aa jaata hai.
  Photographer phir chehre ke alag-alag hisson par aapatti karta hai aur use saans lene, gardan jhukane, kamar andar kheenchne jaise kai aadesh deta hai. Fir bhi vah santusht nahi hota aur kehta hai ki chehra thoda zyada bhara hua hai. Is par varnankar thak kar kursi par ghoom jaata hai.

  Paraphrase in Hindi (Devanagari Script)

  कहानी का वर्णनकर्ता स्पष्ट रूप से कहता है कि वह अपनी तस्वीर खिंचवाना चाहता है। फ़ोटोग्राफ़र इस बात पर ज़रा भी उत्साह नहीं दिखाता। वह थका हुआ, उदास और निर्जीव-सा दिखाई देता है, जैसे कोई वैज्ञानिक अपने प्रयोगों में डूबा हो। वर्णनकर्ता कहता है कि उसका वर्णन करना व्यर्थ है, क्योंकि लोग आमतौर पर फ़ोटोग्राफ़र को ऐसा ही समझते हैं। फ़ोटोग्राफ़र कठोर स्वर में उसे बैठकर इंतज़ार करने को कहता है।
  वर्णनकर्ता एक घंटे तक प्रतीक्षा करता है और स्त्रियों, लड़कियों तथा बच्चों के लिए लिखी बहुत पुरानी पत्रिकाएँ पढ़ता है। इस दौरान उसे यह एहसास होता है कि उसने फ़ोटोग्राफ़र के गंभीर काम में अनावश्यक हस्तक्षेप किया है और अपने चेहरे को लेकर उसे शर्म महसूस होती है।
  अंत में फ़ोटोग्राफ़र उसे अंदर बुलाता है और ऐसी जगह बैठाता है जहाँ धुंधली रोशनी कपड़े और शीशे से छनकर आ रही होती है। फ़ोटोग्राफ़र कैमरे को बीच में लाकर एक नज़र देखकर अचानक घबरा जाता है और अधिक रोशनी तथा हवा के लिए खिड़की और कपड़ा हटा देता है।
  इसके बाद वह कैमरे के भीतर जाकर अपने ऊपर काला कपड़ा डाल लेता है और पूरी तरह शांत हो जाता है। वर्णनकर्ता मज़ाक में सोचता है कि वह प्रार्थना कर रहा होगा और इसलिए हिलता-डुलता नहीं है। बाहर आकर फ़ोटोग्राफ़र गंभीर स्वर में कहता है कि चेहरा बिल्कुल गलत है। वर्णनकर्ता शांति से इस बात से सहमत हो जाता है।
  फ़ोटोग्राफ़र सुझाव देता है कि चेहरा तीन-चौथाई कोण से बेहतर दिखाई देगा। वर्णनकर्ता उत्साह से सहमति देता है और दार्शनिक बातें करने लगता है, लेकिन फ़ोटोग्राफ़र उसकी बात नहीं सुनता और उसका सिर पकड़कर एक ओर मोड़ देता है। कुछ क्षणों के लिए वर्णनकर्ता को भ्रम होता है, पर तुरंत वास्तविकता समझ में आ जाती है।
  इसके बाद फ़ोटोग्राफ़र चेहरे के अलग-अलग अंगों की आलोचना करता है और साँस फैलाने, गर्दन झुकाने, कमर अंदर खींचने जैसे अनेक आदेश देता है। फिर भी वह संतुष्ट नहीं होता और कहता है कि चेहरा थोड़ा अधिक भरा हुआ है। इससे थककर वर्णनकर्ता स्टूल पर स्वयं को घुमा लेता है।

• MCQ 1

  1. What does the narrator want at the beginning of the passage?
  A. To buy a camera
  B. To get his photograph taken
  C. To meet a scientist
  D. To read magazines
  Ans. B. To get his photograph taken

  2. How does the photographer initially react when the narrator asks for his photograph to be taken?
  A. With great enthusiasm
  B. Without enthusiasm
  C. With amusement
  D. With anger
  Ans. B. Without enthusiasm

  3. Which phrase best describes the photographer's appearance?
  A. A cheerful man in a black suit
  B. A drooping man in a gray suit
  C. A brisk man in a white coat
  D. A tall man in a colourful suit
  Ans. B. A drooping man in a gray suit

  4. The photographer is described as having the “dim eye of a natural scientist.” What does this comparison suggest?
  A. He was literally a scientist
  B. He had an analytical and detached look
  C. He had very poor eyesight
  D. He was studying science
  Ans. B. He had an analytical and detached look

  5. Why does the narrator say, “there is no need to describe him”?
  A. He cannot remember the photographer's appearance
  B. He thinks photographers are generally recognizable by their stereotypical appearance
  C. The photographer is invisible
  D. He dislikes describing people
  Ans. B. He thinks photographers are generally recognizable by their stereotypical appearance

  6. Who, according to the narrator, knows what a photographer is like?
  A. Only artists
  B. Only scientists
  C. The narrator alone
  D. Everybody
  Ans. D. Everybody

  7. What does the photographer first tell the narrator to do?
  A. Smile
  B. Stand up
  C. Sit there and wait
  D. Remove his coat
  Ans. C. Sit there and wait

  8. How long does the narrator wait?
  A. Ten minutes
  B. Half an hour
  C. An hour
  D. Two hours
  Ans. C. An hour

  9. Which magazine does the narrator read that belongs to 1912?
  A. Girls Magazine
  B. Infants Journal
  C. Ladies Companion
  D. Scientific Weekly
  Ans. C. Ladies Companion

  10. The Girls Magazine mentioned by the narrator belongs to which year?
  A. 1888
  B. 1902
  C. 1912
  D. 1920
  Ans. B. 1902

  11. The Infants Journal mentioned by the narrator belongs to which year?
  A. 1888
  B. 1902
  C. 1912
  D. 1920
  Ans. A. 1888

  12. What realization does the narrator have while waiting?
  A. Photography is an easy profession
  B. He has unwarrantably intruded on the photographer's scientific pursuits with a face like his
  C. He should buy a camera
  D. The photographer is going to leave
  Ans. B. He has unwarrantably intruded on the photographer's scientific pursuits with a face like his

  13. The word “unwarrantable” most nearly means:
  A. Justifiable
  B. Unnecessary but harmless
  C. Unjustifiable or improper
  D. Scientific
  Ans. C. Unjustifiable or improper

  14. Why is the narrator's description of his visit as an “unwarrantable” intrusion humorous?
  A. He has actually committed a serious crime
  B. He treats an ordinary request for a photograph as though he has invaded a scientist's private laboratory
  C. He has entered the studio without permission
  D. He has stolen the photographer's equipment
  Ans. B. He treats an ordinary request for a photograph as though he has invaded a scientist's private laboratory

  15. What does the photographer do after an hour?
  A. Leaves the studio
  B. Opens the inner door
  C. Falls asleep
  D. Talks politely
  Ans. B. Opens the inner door

  16. How does the photographer say “Come in”?
  A. Kindly
  B. Cheerfully
  C. Severely
  D. Nervously
  Ans. C. Severely

  17. Where does the narrator sit in the studio?
  A. In darkness
  B. Near a lamp
  C. In a beam of sunlight
  D. Beside the door
  Ans. C. In a beam of sunlight

  18. What filters the sunlight?
  A. A silk curtain
  B. A sheet of factory cotton
  C. A paper screen
  D. A wooden shutter
  Ans. B. A sheet of factory cotton

  19. What kind of skylight is mentioned?
  A. Clear
  B. Broken
  C. Open
  D. Frosted
  Ans. D. Frosted

  20. What does the photographer roll into the middle of the room?
  A. A chair
  B. A table
  C. A machine
  D. A lamp
  Ans. C. A machine

  21. From where does the photographer crawl into the machine?
  A. From the front
  B. From the side
  C. From above
  D. From behind
  Ans. D. From behind

  22. Why does the photographer come out of the machine and tear at the cotton sheet and window panes?
  A. He is angry with the narrator
  B. He apparently needs more light and air
  C. He is frightened
  D. The machine has broken down
  Ans. B. He apparently needs more light and air

  23. The word “frantic” most nearly means:
  A. Calm and relaxed
  B. Extremely agitated or desperate
  C. Careful and thoughtful
  D. Sleepy
  Ans. B. Extremely agitated or desperate

  24. What does the photographer draw over himself when he enters the machine again?
  A. A white sheet
  B. A coat
  C. A little black cloth
  D. A blanket
  Ans. C. A little black cloth

  25. What does the narrator believe the photographer is doing under the black cloth?
  A. Sleeping
  B. Singing
  C. Praying
  D. Reading
  Ans. C. Praying

  26. Why does the narrator keep still?
  A. He is afraid of the photographer
  B. He thinks the photographer is praying
  C. He has been ordered to remain silent
  D. He is sleepy
  Ans. B. He thinks the photographer is praying

  27. The narrator's belief that the photographer is “praying” is an example of:
  A. A serious religious observation
  B. A humorous inference
  C. A scientific conclusion
  D. A historical reference
  Ans. B. A humorous inference

  28. How does the photographer look when he finally comes out of the machine?
  A. Happy
  B. Grave
  C. Excited
  D. Amused
  Ans. B. Grave

  29. What does the photographer say about the narrator's face?
  A. It is perfect
  B. It is too small
  C. It is quite wrong
  D. It is too pale
  Ans. C. It is quite wrong

  30. How does the narrator respond to the photographer's criticism of his face?
  A. Angrily
  B. Rudely
  C. Quietly
  D. Loudly
  Ans. C. Quietly

  31. What does the narrator mean by saying, “I have always known it”?
  A. He has always known that the photographer was wrong
  B. He humorously accepts the photographer's criticism of his face
  C. He has studied photography
  D. He has previously met the photographer
  Ans. B. He humorously accepts the photographer's criticism of his face

  32. What does the photographer suggest about the narrator's face?
  A. It would be better in full view
  B. It would be better three-quarters full
  C. It should be completely turned away
  D. It should be photographed from above
  Ans. B. It would be better three-quarters full

  33. In the context of photography, “three-quarters full” most nearly means:
  A. A three-quarter view of the face
  B. A completely front-facing view
  C. A view from directly behind
  D. A downward view
  Ans. A. A three-quarter view of the face

  34. Why is the narrator glad when the photographer suggests the three-quarter view?
  A. He thinks the photograph will certainly be successful
  B. He is glad to discover that the photographer has a “human side”
  C. He wants to leave immediately
  D. He thinks the photographer has praised him
  Ans. B. He is glad to discover that the photographer has a “human side”

  35. What does the narrator humorously say immediately after agreeing with the photographer?
  A. “So would yours.”
  B. “So would mine.”
  C. “So would the photograph.”
  D. “So would the camera.”
  Ans. A. “So would yours.”

  36. The remark “So would yours” is mainly an example of:
  A. Playful banter
  B. Anger
  C. Fear
  D. Formal respect
  Ans. A. Playful banter

  37. The narrator's remark “So would yours” also subtly turns the photographer's criticism back on:
  A. The camera
  B. The narrator
  C. The photographer himself
  D. The studio
  Ans. C. The photographer himself

  38. The narrator begins to speak about faces that are “hard, narrow, limited” becoming “wide, large, almost boundless.” This mainly creates:
  A. A serious scientific explanation
  B. Comic exaggeration
  C. A tragic effect
  D. A romantic mood
  Ans. B. Comic exaggeration

  39. The expression “almost boundless” in the narrator's description is an example of:
  A. Hyperbole
  B. Simile
  C. Pun
  D. Alliteration
  Ans. A. Hyperbole

  40. Why does the narrator's philosophical comment about faces remain unfinished?
  A. He forgets the meaning of the sentence
  B. The photographer stops listening and physically intervenes
  C. The narrator becomes frightened
  D. The camera breaks
  Ans. B. The photographer stops listening and physically intervenes

  41. What does the photographer do to the narrator's head?
  A. Pushes it down
  B. Takes it in his hands and twists it sideways
  C. Pulls it backward
  D. Shakes it violently
  Ans. B. Takes it in his hands and twists it sideways

  42. What does the narrator mistakenly think the photographer intends to do?
  A. Scold him
  B. Push him away
  C. Kiss him
  D. Hit him
  Ans. C. Kiss him

  43. Why is the narrator's thought that the photographer meant to kiss him humorous?
  A. The photographer is behaving romantically
  B. The physical manipulation of his head leads to an absurd misunderstanding
  C. The photographer had actually promised to kiss him
  D. The narrator wants to be kissed
  Ans. B. The physical manipulation of his head leads to an absurd misunderstanding

  44. What does the photographer say about the narrator's head?
  A. It is perfect
  B. It is too small
  C. He does not like it
  D. It is well shaped
  Ans. C. He does not like it

  45. What instruction does the photographer first give concerning the mouth?
  A. Open it wide
  B. Smile
  C. Open it a little
  D. Keep it tightly closed
  Ans. C. Open it a little

  46. What does he immediately tell the narrator after that?
  A. Smile
  B. Close it
  C. Open it wider
  D. Turn it sideways
  Ans. B. Close it

  47. What does this rapid change of instruction chiefly reveal?
  A. The photographer's careful attention to minute details
  B. The narrator's disobedience
  C. The photographer's kindness
  D. The narrator's fear
  Ans. A. The photographer's careful attention to minute details

  48. Which facial feature does the photographer call “bad”?
  A. The nose
  B. The ears
  C. The eyes
  D. The chin
  Ans. B. The ears

  49. What does he ask the narrator to do with his ears?
  A. Raise them
  B. Cover them
  C. Droop them a little more
  D. Turn them forward
  Ans. C. Droop them a little more

  50. What does the photographer ask the narrator to do with his eyes?
  A. Close them
  B. Look straight ahead
  C. Roll them in under the lids
  D. Look upward
  Ans. C. Roll them in under the lids

  51. Where should the narrator put his hands?
  A. On the table
  B. On the stool
  C. On his knees
  D. Behind his back
  Ans. C. On his knees

  52. What position should the narrator's face take?
  A. Slightly upward
  B. Completely downward
  C. Completely sideways
  D. Straight toward the floor
  Ans. A. Slightly upward

  53. What does the photographer ask the narrator to do with his lungs?
  A. Hold his breath
  B. Expand them
  C. Relax them
  D. Empty them
  Ans. B. Expand them

  54. What does “hump the neck” mean in the context of the photographer's instructions?
  A. Straighten the neck
  B. Bend or curve the neck awkwardly
  C. Relax the neck
  D. Turn the neck completely around
  Ans. B. Bend or curve the neck awkwardly

  55. Which part of the body is the narrator asked to contract?
  A. Chest
  B. Waist
  C. Arms
  D. Legs
  Ans. B. Waist

  56. The series of instructions such as “droop them,” “roll them in,” “expand the lungs,” “hump the neck,” and “contract the waist” mainly creates:
  A. A realistic medical examination
  B. An exaggerated and comic description of photographic posing
  C. A romantic scene
  D. A frightening atmosphere
  Ans. B. An exaggerated and comic description of photographic posing

  57. Which statement best describes the photographer's approach to taking the photograph?
  A. Casual and relaxed
  B. Precise, technical and extremely demanding
  C. Friendly and conversational
  D. Careless and indifferent
  Ans. B. Precise, technical and extremely demanding

  58. Which statement best describes the narrator's attitude throughout the passage?
  A. Humorous, witty and self-deprecating
  B. Angry and resentful
  C. Fearful and nervous
  D. Solemn and reverent
  Ans. A. Humorous, witty and self-deprecating

  59. What is the main source of humour in the passage?
  A. The narrator's inability to understand English
  B. The contrast between the photographer's extreme seriousness and the narrator's humorous reactions
  C. The narrator's fear of the camera
  D. The photographer's inability to use his camera
  Ans. B. The contrast between the photographer's extreme seriousness and the narrator's humorous reactions

  60. What does the ending “I swung myself round on the stool” most effectively suggest?
  A. The narrator has left the studio
  B. The narrator has been photographed successfully
  C. The narrator reacts to the photographer's absurdly critical treatment, bringing the comic episode to a physical close
  D. The photographer has dismissed him
  Ans. C. The narrator reacts to the photographer's absurdly critical treatment, bringing the comic episode to a physical close

• MCQS: 2

• 1. The opening description of the photographer mainly creates an impression of a man who is:
  A. Energetic and enthusiastic
  B. Serious and somewhat lifeless
  C. Friendly and talkative
  D. Young and inexperienced
  Ans. B. Serious and somewhat lifeless
  2. Why is the photographer’s lack of enthusiasm significant at the beginning?
  A. It immediately creates a contrast with the narrator’s expectations
  B. It shows that he dislikes photography
  C. It proves that he is inexperienced
  D. It suggests that he wants to close his studio
  Ans. A. It immediately creates a contrast with the narrator’s expectations
  3. The narrator’s description of the photographer as a “drooping man” is primarily effective because it:
  A. Gives a precise physical measurement
  B. Creates a comic visual impression
  C. Establishes his physical strength
  D. Shows that he is ill
  Ans. B. Creates a comic visual impression
  4. The photographer’s manner when dealing with the narrator can best be described as:
  A. Highly emotional
  B. Businesslike and impersonal
  C. Affectionate and sympathetic
  D. Hesitant and uncertain
  Ans. B. Businesslike and impersonal
  5. What does the narrator’s willingness to wait for an hour reveal about him?
  A. He is determined to have the photograph taken despite the inconvenience
  B. He is afraid to leave the studio
  C. He has no other place to go
  D. He wants to become a photographer
  Ans. A. He is determined to have the photograph taken despite the inconvenience
  6. The old magazines mainly contribute to the passage by making the waiting period seem:
  A. Exciting and adventurous
  B. Unusually long and comic
  C. Dangerous and uncertain
  D. Educational and useful
  Ans. B. Unusually long and comic
  7. The dates of the magazines suggest that the photographer’s studio is presented as:
  A. Extremely modern
  B. Slightly old-fashioned
  C. Completely abandoned
  D. Recently established
  Ans. B. Slightly old-fashioned
  8. Why does the narrator's discovery about the magazines contribute to the humour?
  A. He finds them more interesting than the photographer
  B. Their age makes the waiting experience appear absurdly prolonged
  C. They contain photographs of the narrator
  D. They teach him how to use a camera
  Ans. B. Their age makes the waiting experience appear absurdly prolonged
  9. The narrator’s description of the photographer’s work as “scientific pursuits” is humorous because it:
  A. Suggests that photography is actually a branch of medicine
  B. Elevates an ordinary photographic session into something grand and scientific
  C. Shows that the narrator understands scientific photography
  D. Proves that the photographer is a scientist
  Ans. B. Elevates an ordinary photographic session into something grand and scientific
  10. The phrase “with a face like mine” reveals the narrator’s:
  A. Vanity
  B. Self-mocking humour
  C. Anger
  D. Fear
  Ans. B. Self-mocking humour
  11. The narrator’s treatment of his own physical appearance is best described as:
  A. Proud
  B. Self-deprecating
  C. Defensive
  D. Sentimental
  Ans. B. Self-deprecating
  12. What is ironic about the narrator’s attitude towards the photographer’s work?
  A. He treats the photographer as a serious scientific expert while quietly making fun of him
  B. He refuses to believe that the photographer knows anything
  C. He openly insults the photographer throughout
  D. He wishes to become his assistant
  Ans. A. He treats the photographer as a serious scientific expert while quietly making fun of him
  13. The photographer’s severe “Come in” is most effective because it:
  A. Makes the photographer appear like a strict authority figure
  B. Shows that he is frightened
  C. Makes the narrator feel welcome
  D. Indicates that the photographer is joking
  Ans. A. Makes the photographer appear like a strict authority figure
  14. The contrast between the narrator’s inner comments and the photographer’s commands mainly produces:
  A. Pathos
  B. Comedy
  C. Suspense
  D. Mystery
  Ans. B. Comedy
  15. Why is the arrangement of light in the studio important to the photographer?
  A. He is carefully controlling the conditions needed for the photograph
  B. He wants to decorate the studio
  C. He wants to keep the narrator warm
  D. He is preparing the studio for visitors
  Ans. A. He is carefully controlling the conditions needed for the photograph
  16. The photographer’s repeated movement into and out of the machine makes him appear:
  A. Relaxed and leisurely
  B. Intensely absorbed in his technical task
  C. Frightened of the narrator
  D. Confused about how the machine works
  Ans. B. Intensely absorbed in his technical task
  17. What does the photographer’s concern with light and air suggest about his working method?
  A. He works casually
  B. He pays close attention to technical conditions
  C. He is easily distracted
  D. He dislikes using equipment
  Ans. B. He pays close attention to technical conditions
  18. The photographer’s actions around the cotton sheet and window suggest that he is willing to:
  A. Alter the surroundings to obtain the desired photographic conditions
  B. Abandon the photograph
  C. Protect the studio from damage
  D. Make the narrator comfortable
  Ans. A. Alter the surroundings to obtain the desired photographic conditions
  19. The narrator’s interpretation of the photographer’s activity under the black cloth is an example of:
  A. Literal description
  B. Comic misinterpretation
  C. Historical narration
  D. Scientific observation
  Ans. B. Comic misinterpretation
  20. Why does the narrator keep still while the photographer is under the cloth?
  A. He interprets the photographer’s silence and posture in his own humorous way
  B. He has been asked to leave
  C. He is concentrating on the camera
  D. He is afraid of damaging the equipment
  Ans. A. He interprets the photographer’s silence and posture in his own humorous way
  21. The photographer’s grave expression after examining the narrator mainly suggests that he:
  A. Is deeply concerned with achieving the right photographic result
  B. Has become angry with the narrator
  C. Has discovered a serious illness
  D. Is about to leave
  Ans. A. Is deeply concerned with achieving the right photographic result
  22. The statement that the face is “quite wrong” is humorous primarily because:
  A. The photographer treats an ordinary face as though it were a technical problem to be corrected
  B. The narrator has changed his face
  C. The photographer cannot see the narrator
  D. The camera has stopped working
  Ans. A. The photographer treats an ordinary face as though it were a technical problem to be corrected
  23. The narrator’s response to the photographer’s criticism prevents the scene from becoming offensive because he:
  A. Responds with self-mocking acceptance
  B. Becomes angry
  C. Leaves immediately
  D. Compliments the photographer
  Ans. A. Responds with self-mocking acceptance
  24. The narrator’s humour depends largely on his ability to:
  A. Take himself less seriously than the photographer takes his work
  B. Explain photographic techniques
  C. Imitate the photographer
  D. Avoid speaking to the photographer
  Ans. A. Take himself less seriously than the photographer takes his work
  25. What does the narrator’s response to the criticism reveal about his personality?
  A. He is easily offended
  B. He possesses a lively sense of humour
  C. He is completely indifferent
  D. He is extremely proud of his appearance
  Ans. B. He possesses a lively sense of humour
  26. The phrase “human side” suggests that the narrator had previously regarded the photographer as:
  A. Almost mechanical or impersonal
  B. Friendly and sympathetic
  C. Weak and nervous
  D. Inexperienced
  Ans. A. Almost mechanical or impersonal
  27. Why does the narrator welcome the photographer’s suggestion about the three-quarter view?
  A. It gives him an opportunity for a humorous exchange
  B. It proves that the photographer dislikes him
  C. It means the photograph is finished
  D. It allows him to leave the studio
  Ans. A. It gives him an opportunity for a humorous exchange
  28. The narrator’s comment about other faces becoming “wide” and “large” serves mainly to:
  A. Turn the photographic discussion into comic observation
  B. Explain the science of lenses
  C. Praise the photographer
  D. Criticize old cameras
  Ans. A. Turn the photographic discussion into comic observation
  29. The narrator’s unfinished observation about faces is interrupted by:
  A. The photographer’s physical manipulation of him
  B. The narrator’s decision to leave
  C. The arrival of another customer
  D. A problem with the light
  Ans. A. The photographer’s physical manipulation of him
  30. The interruption of the narrator’s thought contributes to the comedy because:
  A. The photographer ignores the narrator’s philosophical reflection and concentrates on posing him
  B. The narrator suddenly forgets everything
  C. The photographer begins telling a joke
  D. The camera produces a strange sound
  Ans. A. The photographer ignores the narrator’s philosophical reflection and concentrates on posing him
  31. The photographer’s handling of the narrator’s head shows that he regards the sitter primarily as:
  A. A person with feelings
  B. An object whose position must be adjusted
  C. A fellow artist
  D. A scientific colleague
  Ans. B. An object whose position must be adjusted
  32. The narrator’s mistaken thought about being kissed is funny because it:
  A. Converts an awkward physical action into an absurdly different interpretation
  B. Reveals an actual romantic relationship
  C. Shows that the photographer is affectionate
  D. Indicates that the narrator wants to leave
  Ans. A. Converts an awkward physical action into an absurdly different interpretation
  33. The photographer’s rapid commands concerning the narrator’s mouth, ears and eyes create the impression of:
  A. A carefully controlled procedure
  B. A casual conversation
  C. A friendly social meeting
  D. A medical emergency
  Ans. A. A carefully controlled procedure
  34. What does the photographer’s attention to tiny facial details tell us about his professional attitude?
  A. He is indifferent to the final result
  B. He is perfectionistic about the image he wants to create
  C. He does not understand photography
  D. He is trying to entertain the narrator
  Ans. B. He is perfectionistic about the image he wants to create
  35. The photographer’s commands are often very short. This helps to emphasize his:
  A. Authority and efficiency
  B. Shyness and uncertainty
  C. Friendliness and warmth
  D. Lack of knowledge
  Ans. A. Authority and efficiency
  36. The use of imperative verbs in the photographer’s instructions mainly makes his speech sound:
  A. Commanding
  B. Apologetic
  C. Philosophical
  D. Emotional
  Ans. A. Commanding
  37. Which feature of the passage most strongly establishes the photographer as a comic character?
  A. His exaggerated seriousness about manipulating the narrator’s appearance
  B. His decision to close the studio
  C. His friendly conversation with the narrator
  D. His interest in old magazines
  Ans. A. His exaggerated seriousness about manipulating the narrator’s appearance
  38. Which feature most strongly establishes the narrator as a comic observer?
  A. His habit of turning uncomfortable situations into humorous reflections
  B. His refusal to speak
  C. His admiration for the equipment
  D. His technical knowledge of photography
  Ans. A. His habit of turning uncomfortable situations into humorous reflections
  39. The photographer’s behaviour and the narrator’s commentary create a contrast between:
  A. Technical seriousness and comic self-awareness
  B. Youth and old age
  C. Wealth and poverty
  D. Science and religion
  Ans. A. Technical seriousness and comic self-awareness
  40. The passage can best be understood as a humorous examination of:
  A. The difference between an ordinary customer’s expectations and a photographer’s technical obsession
  B. The history of photography
  C. The dangers of working in a studio
  D. The importance of buying expensive cameras
  Ans. A. The difference between an ordinary customer’s expectations and a photographer’s technical obsession
  41. The narrator’s self-deprecating comments make the reader more likely to:
  A. Sympathize with and enjoy his perspective
  B. Dislike the narrator
  C. Fear the photographer
  D. Take the photographer’s instructions literally
  Ans. A. Sympathize with and enjoy his perspective
  42. Which quality of the narrator is most important in maintaining the humorous tone?
  A. His ability to find amusement in his own awkwardness
  B. His physical strength
  C. His technical knowledge
  D. His impatience with the photographer
  Ans. A. His ability to find amusement in his own awkwardness
  43. The photographer’s technical obsession is exaggerated mainly to:
  A. Increase the comic effect of the encounter
  B. Explain the history of portrait photography
  C. Show that photography is easy
  D. Make the narrator appear foolish without purpose
  Ans. A. Increase the comic effect of the encounter
  44. The narrator’s comments can best be described as a form of:
  A. Comic commentary
  B. Formal criticism
  C. Scientific reporting
  D. Historical documentation
  Ans. A. Comic commentary
  45. Which statement best explains the role of exaggeration in the passage?
  A. It turns an ordinary photographic session into an amusingly dramatic experience
  B. It makes the passage historically inaccurate
  C. It creates a tragic atmosphere
  D. It explains how cameras work
  Ans. A. It turns an ordinary photographic session into an amusingly dramatic experience
  46. The photographer’s behaviour suggests that, in his view, a successful photograph depends heavily on:
  A. Careful control of the sitter’s appearance and position
  B. The sitter’s ability to smile naturally
  C. The age of the camera
  D. The number of magazines in the studio
  Ans. A. Careful control of the sitter’s appearance and position
  47. Which of the following best describes the relationship between the narrator and the photographer?
  A. A serious friendship
  B. A comic interaction between a self-aware sitter and a highly serious professional
  C. A conflict between two scientists
  D. A teacher-student relationship
  Ans. B. A comic interaction between a self-aware sitter and a highly serious professional
  48. Why does the passage remain humorous despite the photographer’s criticism of the narrator’s appearance?
  A. The narrator responds with wit rather than resentment
  B. The photographer apologizes immediately
  C. Another customer interrupts them
  D. The narrator leaves before the criticism continues
  Ans. A. The narrator responds with wit rather than resentment
  49. Which statement best captures the narrator’s attitude towards the entire experience?
  A. He treats the uncomfortable experience as an opportunity for humorous observation
  B. He regards it as a serious personal insult
  C. He considers it a complete failure
  D. He is frightened by the photographer’s equipment
  Ans. A. He treats the uncomfortable experience as an opportunity for humorous observation
  50. Which of the following best expresses the central comic effect of the passage?
  A. The narrator expects a simple photograph but finds himself subjected to an elaborate process of physical adjustment
  B. The photographer cannot find his camera
  C. The narrator spends money on old magazines
  D. The studio is closed when the narrator arrives

• Ans. A. The narrator expects a simple photograph but finds himself subjected to an elaborate process of physical adjustment 

• MCQ Set 3

  1. Select the option that shows the correct relationship between the two given statements:
  Statement I: The narrator waits patiently while the photographer remains occupied with his preparations.
  Statement II: The narrator gradually begins to view the photographic session as an unusually elaborate affair.
  (a) Statement I is the cause of Statement II.
  (b) Statement I is unrelated to Statement II.
  (c) Statement I contradicts Statement II.
  (d) Statement II is the cause of Statement I.
  Answer: (a) Statement I is the cause of Statement II.
  2. Which of the following best explains why the narrator's description of the photographer's work is comic?
  (a) He presents an ordinary photographic session as though it were a highly serious scientific investigation.
  (b) He believes photography is completely useless.
  (c) He is unable to understand what a camera is.
  (d) He wants to become a professional photographer.
  Answer: (a) He presents an ordinary photographic session as though it were a highly serious scientific investigation.
  3. The photographer's repeated adjustments of the narrator's appearance suggest that he believes a good portrait depends mainly on:
  (a) the sitter's natural expression
  (b) careful control of the sitter's physical position
  (c) the sitter's expensive clothing
  (d) the length of the photographic session
  Answer: (b) careful control of the sitter's physical position
  4. Which statement best explains the contrast between the narrator and the photographer?
  (a) The narrator is technically serious, while the photographer is humorous.
  (b) The narrator is self-conscious and witty, while the photographer is intensely serious and technical.
  (c) Both men are equally serious about photography.
  (d) Both men are uninterested in the photographic process.
  Answer: (b) The narrator is self-conscious and witty, while the photographer is intensely serious and technical.
  5. Why does the narrator's humorous attitude make the photographer appear even more serious?
  (a) The narrator's light-hearted observations contrast sharply with the photographer's solemn behaviour.
  (b) The narrator copies everything the photographer does.
  (c) The narrator refuses to speak to the photographer.
  (d) The photographer laughs at all the narrator's remarks.
  Answer: (a) The narrator's light-hearted observations contrast sharply with the photographer's solemn behaviour.
  6. Which of the following assertions is NOT true?
  (a) The photographer pays close attention to the narrator's physical appearance.
  (b) The narrator responds to the photographer's criticism with humour.
  (c) The photographer treats the photographic process casually.
  (d) The narrator finds the photographer's seriousness amusing.
  Answer: (c) The photographer treats the photographic process casually.
  7. What can be inferred from the photographer's repeated need to inspect the narrator before continuing?
  (a) He is uncertain whether the narrator has arrived.
  (b) He wants to achieve a particular visual effect before taking the picture.
  (c) He has forgotten how to operate the camera.
  (d) He does not intend to take the photograph.
  Answer: (b) He wants to achieve a particular visual effect before taking the picture.
  8. The narrator's humorous acceptance of criticism about his face shows that he:
  (a) lacks any awareness of his appearance
  (b) is capable of laughing at himself
  (c) is deeply offended by the photographer
  (d) wants to end the session immediately
  Answer: (b) is capable of laughing at himself.
  9. The photographer's instructions about the narrator's ears, eyes, neck and waist mainly have the effect of:
  (a) making the photographic session seem almost like a mechanical operation
  (b) making the narrator appear physically powerful
  (c) creating a romantic atmosphere
  (d) showing that the narrator understands photography
  Answer: (a) making the photographic session seem almost like a mechanical operation.
  10. Which option best explains the humour in the narrator's reaction to the photographer's physical handling of his head?
  (a) He interprets an ordinary photographic adjustment in an unexpectedly absurd way.
  (b) He believes the photographer is trying to injure him.
  (c) He has misunderstood the purpose of the camera.
  (d) He wants the photographer to stop working.
  Answer: (a) He interprets an ordinary photographic adjustment in an unexpectedly absurd way.
  11. The narrator's unfinished reflection about faces becoming “wide, large, almost boundless” mainly shows his tendency to:
  (a) turn an ordinary observation into an amusing imaginative comment
  (b) explain the technical principles of photography
  (c) criticize the photographer's education
  (d) describe the history of portraiture
  Answer: (a) turn an ordinary observation into an amusing imaginative comment.
  12. Which of the following best explains the irony in the photographic session?
  (a) A simple request for a photograph develops into an elaborate process in which almost every part of the narrator's body is adjusted.
  (b) The narrator never actually enters the studio.
  (c) The photographer refuses to use his camera.
  (d) The narrator knows more about photography than the photographer.
  Answer: (a) A simple request for a photograph develops into an elaborate process in which almost every part of the narrator's body is adjusted.
  13. If the narrator had reacted angrily to the photographer's criticism, the overall effect of the passage would most likely have become:
  (a) more comic
  (b) more humorous and playful
  (c) more serious and confrontational
  (d) more mysterious
  Answer: (c) more serious and confrontational.
  14. Which quality of the narrator is most responsible for turning an uncomfortable experience into comedy?
  (a) His technical knowledge
  (b) His self-awareness and wit
  (c) His physical strength
  (d) His impatience
  Answer: (b) His self-awareness and wit.
  15. What does the photographer's behaviour reveal about his attitude towards photographic composition?
  (a) He considers small physical details important.
  (b) He believes poses do not matter.
  (c) He allows the sitter complete freedom.
  (d) He depends entirely on chance.
  Answer: (a) He considers small physical details important.
  16. Which option best describes the narrator's use of self-deprecating humour?
  (a) He praises his own appearance throughout the session.
  (b) He makes himself the subject of the joke instead of simply attacking the photographer.
  (c) He refuses to discuss his appearance.
  (d) He blames the camera for every problem.
  Answer: (b) He makes himself the subject of the joke instead of simply attacking the photographer.
  17. Select the option that best explains the significance of the photographer's “human side” to the narrator.
  (a) The narrator discovers that the photographer is capable of making a suggestion with which he can humorously engage.
  (b) The narrator discovers that the photographer is actually a doctor.
  (c) The photographer suddenly becomes friendly and affectionate.
  (d) The photographer stops giving instructions.
  Answer: (a) The narrator discovers that the photographer is capable of making a suggestion with which he can humorously engage.
  18. The narrator's comments about the photographer's methods primarily encourage the reader to:
  (a) take the photographer's instructions literally
  (b) view the photographer's seriousness with amusement
  (c) distrust all photographers
  (d) regard the narrator as a professional photographer
  Answer: (b) view the photographer's seriousness with amusement.
  19. Which of the following best captures the author's technique in presenting the photographer?
  (a) Direct praise
  (b) Comic characterization through physical description and behaviour
  (c) Historical narration
  (d) Sentimental description
  Answer: (b) Comic characterization through physical description and behaviour.
  20. What is the most important effect of the narrator's first-person narration?
  (a) It allows the reader to experience the photographer only through the narrator's humorous perspective.
  (b) It gives the reader the photographer's private thoughts.
  (c) It makes the passage completely objective.
  (d) It prevents the narrator from commenting on events.
  Answer: (a) It allows the reader to experience the photographer only through the narrator's humorous perspective.
  21. Which of these situations would most closely resemble the humour of the passage?
  (a) A person expecting a simple haircut being subjected to an extremely elaborate series of instructions about posture and expression.
  (b) A scientist conducting a serious experiment in a laboratory.
  (c) A student carefully preparing for an examination.
  (d) A photographer taking an ordinary landscape photograph.
  Answer: (a) A person expecting a simple haircut being subjected to an extremely elaborate series of instructions about posture and expression.
  22. The narrator's response to the photographer's criticism can best be interpreted as an example of:
  (a) defensive pride
  (b) graceful self-mockery
  (c) open hostility
  (d) complete indifference
  Answer: (b) graceful self-mockery.
  23. Which statement best evaluates the photographer's method?
  (a) It is careless but friendly.
  (b) It is technically meticulous but insensitive to the sitter's comfort.
  (c) It is completely unprofessional.
  (d) It is relaxed and informal.
  Answer: (b) It is technically meticulous but insensitive to the sitter's comfort.
  24. Why is the photographer's seriousness an important part of the story's humour?
  (a) His extreme seriousness makes the narrator's ordinary photographic experience seem disproportionately important.
  (b) It prevents any description of the narrator.
  (c) It makes the narrator afraid of photography.
  (d) It turns the story into a scientific report.
  Answer: (a) His extreme seriousness makes the narrator's ordinary photographic experience seem disproportionately important.
  25. Which statement best expresses the overall comic contrast in the passage?
  (a) A technically obsessed photographer faces a narrator who views the experience with amused self-awareness.
  (b) Two photographers compete to take the best picture.
  (c) A narrator tries unsuccessfully to become a scientist.
  (d) A serious scientist tries to become a photographer.
  Answer: (a) A technically obsessed photographer faces a narrator who views the experience with amused self-awareness.

  26. What does the narrator do while waiting for the photographer?
  (a) He examines the photographic equipment.
  (b) He reads old magazines.
  (c) He talks to another customer.
  (d) He sleeps.
  Answer: (b) He reads old magazines.
  27. What does the narrator notice about the photographer's studio while waiting?
  (a) It contains very modern decorations.
  (b) It has an atmosphere connected with an older period.
  (c) It is crowded with customers.
  (d) It is completely empty of equipment.
  Answer: (b) It has an atmosphere connected with an older period.
  28. What does the photographer use to manipulate the light entering the studio?
  (a) A coloured lamp
  (b) A sheet of factory cotton
  (c) A wooden screen
  (d) A mirror
  Answer: (b) A sheet of factory cotton.
  29. What does the photographer use to reach or tear at the material around the window?
  (a) A knife
  (b) A hooked stick
  (c) A pair of scissors
  (d) A metal rod
  Answer: (b) A hooked stick.
  30. What does the photographer do repeatedly during the preparation of the photograph?
  (a) He moves between the machine and the narrator.
  (b) He leaves the studio.
  (c) He talks about his family.
  (d) He changes his clothes.
  Answer: (a) He moves between the machine and the narrator.
  31. What does the narrator observe about the photographer's examination of him?
  (a) It is quick and careless.
  (b) It is detailed and serious.
  (c) It is friendly and conversational.
  (d) It is completely absent.
  Answer: (b) It is detailed and serious.
  32. What does the photographer want the narrator to do with his eyes?
  (a) Keep them wide open
  (b) Roll them in under the lids
  (c) Look at the floor
  (d) Close them throughout
  Answer: (b) Roll them in under the lids.
  33. What does the photographer ask the narrator to do with his ears?
  (a) Raise them
  (b) Cover them
  (c) Droop them further
  (d) Turn them forward
  Answer: (c) Droop them further.
  34. What does the narrator have to do with his neck?
  (a) Straighten it completely
  (b) Hump it
  (c) Cover it
  (d) Lower it to his chest
  Answer: (b) Hump it.
  35. What does the photographer ask the narrator to do with his waist?
  (a) Contract it
  (b) Stretch it
  (c) Turn it sideways
  (d) Relax it
  Answer: (a) Contract it.
  36. The word “trifle” in the photographer's remark about the face most nearly means:
  (a) a very small amount
  (b) a serious defect
  (c) a complete failure
  (d) a beautiful feature
  Answer: (a) a very small amount.
  37. In the context of the passage, “scientific pursuits” refers humorously to the photographer's:
  (a) study of chemistry
  (b) highly methodical photographic work
  (c) medical research
  (d) study of human history
  Answer: (b) highly methodical photographic work.
  38. The word “severely” in the photographer's manner most nearly suggests that he speaks:
  (a) casually
  (b) sternly
  (c) affectionately
  (d) timidly
  Answer: (b) sternly.
  39. What does the photographer's final dissatisfaction with the narrator's face indicate?
  (a) He believes the work can still be improved.
  (b) He has decided not to take photographs.
  (c) He has become bored with the narrator.
  (d) He thinks the camera is broken.
  Answer: (a) He believes the work can still be improved.
  40. Which statement best describes the narrator's experience in the studio?
  (a) A simple visit becomes an unexpectedly elaborate and comic ordeal.
  (b) A short conversation turns into a scientific lesson.
  (c) A routine visit ends before the photographer begins working.
  (d) A disagreement develops into a serious argument.
  Answer: (a) A simple visit becomes an unexpectedly elaborate and comic ordeal.

• MCQ SET 4

  1. Choose the option that lists the sequence of events in the correct order.

  (i) The photographer asks the narrator to wait.
  (ii) The photographer calls the narrator into the studio.
  (iii) The photographer examines the narrator through the machine.
  (iv) The photographer tells the narrator that his face is quite wrong.

  (a) (i), (ii), (iii), (iv)
  (b) (ii), (i), (iv), (iii)
  (c) (iii), (ii), (i), (iv)
  (d) (iv), (iii), (ii), (i)

  Answer: (a) (i), (ii), (iii), (iv)

  2. Choose the option that gives the correct sequence of the photographer's actions.

  (i) He crawls into the machine.
  (ii) He tears at the cotton sheet and window panes.
  (iii) He crawls back into the machine and draws a black cloth over himself.
  (iv) He comes out looking grave and shakes his head.

  (a) (i), (iii), (ii), (iv)
  (b) (i), (ii), (iii), (iv)
  (c) (ii), (i), (iv), (iii)
  (d) (iii), (ii), (i), (iv)

  Answer: (b) (i), (ii), (iii), (iv)

  3. Choose the option that gives the correct sequence of the photographer's instructions.

  (i) “Open the mouth a little.”
  (ii) “The ears are bad.”
  (iii) “I don't like the head.”
  (iv) “Roll them in under the lids.”

  (a) (iii), (i), (ii), (iv)
  (b) (i), (iii), (iv), (ii)
  (c) (iii), (i), (iv), (ii)
  (d) (iv), (ii), (i), (iii)

  Answer: (c) (iii), (i), (iv), (ii)

  4. Choose the option that gives the correct sequence of the narrator's reactions.

  (i) He thinks that the photographer is praying.
  (ii) He closes his eyes when the photographer twists his head.
  (iii) He responds enthusiastically to the suggestion of a three-quarters-full face.
  (iv) He swings himself round on the stool.

  (a) (i), (iii), (ii), (iv)
  (b) (iii), (i), (ii), (iv)
  (c) (i), (ii), (iii), (iv)
  (d) (ii), (i), (iii), (iv)

  Answer: (c) (i), (ii), (iii), (iv)

  5. Choose the option that gives the correct sequence of events after the photographer says, “The face is quite wrong.”

  (i) The narrator says that he has always known it.
  (ii) The photographer suggests a three-quarters-full face.
  (iii) The narrator responds enthusiastically.
  (iv) The photographer takes the narrator's head in his hands.

  (a) (i), (ii), (iii), (iv)
  (b) (ii), (i), (iv), (iii)
  (c) (i), (iii), (ii), (iv)
  (d) (iv), (iii), (ii), (i)

  Answer: (a) (i), (ii), (iii), (iv)

  6. Choose the option that gives the correct order in which the photographer comments on the narrator's features.

  (i) Head
  (ii) Mouth
  (iii) Ears
  (iv) Eyes

  (a) (ii), (i), (iii), (iv)
  (b) (i), (ii), (iii), (iv)
  (c) (i), (iii), (ii), (iv)
  (d) (iv), (iii), (ii), (i)

  Answer: (b) (i), (ii), (iii), (iv)

  7. Choose the option that gives the correct sequence of events.

  (i) The narrator reads several old magazines.
  (ii) The photographer calls him into the inner room.
  (iii) The narrator sits in a beam of sunlight.
  (iv) The photographer rolls a machine into the middle of the room.

  (a) (i), (ii), (iii), (iv)
  (b) (ii), (i), (iv), (iii)
  (c) (i), (iii), (ii), (iv)
  (d) (iv), (iii), (ii), (i)

  Answer: (a) (i), (ii), (iii), (iv)

  8. Choose the option that gives the correct sequence of the photographer's final instructions.

  (i) Contract the waist.
  (ii) Twist the hip towards the elbow.
  (iii) Expand the lungs.
  (iv) Hump the neck.

  (a) (iii), (iv), (i), (ii)
  (b) (iv), (iii), (ii), (i)
  (c) (i), (iii), (iv), (ii)
  (d) (iii), (i), (iv), (ii)

  Answer: (a) (iii), (iv), (i), (ii)

  9. Why did the narrator begin to feel that he had done an “unwarrantable thing”?

  (a) He had damaged the photographer's machine.
  (b) He felt that he had interrupted the photographer's scientific pursuits.
  (c) He had entered the studio without permission.
  (d) He had refused to pose for the photograph.

  Answer: (b) He felt that he had interrupted the photographer's scientific pursuits.

  10. Why did the photographer tear at the cotton sheet and the window panes with a hooked stick?

  (a) He wanted to leave the studio.
  (b) He was apparently seeking more light and air.
  (c) He wanted to frighten the narrator.
  (d) He wanted to repair the machine.

  Answer: (b) He was apparently seeking more light and air.

  11. What happened immediately after the photographer crawled back into the machine and drew the black cloth over himself?

  (a) He began talking to the narrator.
  (b) He became very quiet, and the narrator thought he was praying.
  (c) He asked the narrator to leave.
  (d) He began tearing at the window panes again.

  Answer: (b) He became very quiet, and the narrator thought he was praying.

  12. Why did the narrator keep still while the photographer was under the black cloth?

  (a) He was afraid of the machine.
  (b) He thought that the photographer was praying.
  (c) He had been instructed to remain still.
  (d) He wanted to finish the photograph quickly.

  Answer: (b) He thought that the photographer was praying.

  13. Why did the narrator respond enthusiastically to the photographer's suggestion of a three-quarters-full face?

  (a) He was glad to find what he considered a human side to the photographer.
  (b) He wanted to end the photography session.
  (c) He thought the photographer was praising his face.
  (d) He wanted to change the photographer's technique.

  Answer: (a) He was glad to find what he considered a human side to the photographer.

  14. Why did the narrator close his eyes when the photographer took his head in his hands?

  (a) He was afraid of the camera.
  (b) He thought the photographer meant to kiss him.
  (c) He wanted to concentrate on posing.
  (d) He wanted to avoid looking at the photographer.

  Answer: (b) He thought the photographer meant to kiss him.

  15. What did the photographer do after saying, “I don't like the head”?

  (a) He asked the narrator to leave.
  (b) He went back to the machine and took another look.
  (c) He praised the narrator's eyes.
  (d) He stopped the photography session.

  Answer: (b) He went back to the machine and took another look.

  16. What immediately followed the photographer's statement, “I still don't quite like the face”?

  (a) The narrator laughed.
  (b) The narrator swung himself round on the stool.
  (c) The photographer left the room.
  (d) The narrator closed his eyes.

  Answer: (b) The narrator swung himself round on the stool.

  17. The photographer's repeated criticism of the narrator's features is followed by

  (a) increasingly detailed instructions about how the narrator should pose.
  (b) an apology from the photographer.
  (c) the narrator's immediate departure.
  (d) praise for the narrator's appearance.

  Answer: (a) increasingly detailed instructions about how the narrator should pose.

  18. What happened after the photographer told the narrator to open his mouth a little?

  (a) The narrator refused to obey.
  (b) The photographer immediately told him to close it.
  (c) The photographer asked him to smile.
  (d) The photographer left the machine.

  Answer: (b) The photographer immediately told him to close it.

  19. What did the photographer ask the narrator to do after saying, “The ears are bad”?

  (a) Cover his ears.
  (b) Droop them a little more.
  (c) Turn his head completely away.
  (d) Raise his ears.

  Answer: (b) Droop them a little more.

  20. Which event immediately follows the photographer's instruction to “twist the hip up towards the elbow”?

  (a) He asks the narrator to close his eyes.
  (b) He says, “I still don't quite like the face.”
  (c) He leaves the studio.
  (d) He praises the narrator's appearance.

  Answer: (b) He says, “I still don't quite like the face.”

  21. Select the option that shows the correct relationship between Statements I and II.

  Statement I: The narrator regarded the photographer's work as a scientific pursuit.
  Statement II: The narrator describes him as having “the dim eye of a natural scientist.”

  (a) Statement II supports Statement I.
  (b) Statement II contradicts Statement I.
  (c) Statement I causes Statement II.
  (d) The two statements are unrelated.

  Answer: (a) Statement II supports Statement I.

  22. Select the option that shows the correct relationship between Statements I and II.

  Statement I: The narrator felt that he had intruded upon the photographer.
  Statement II: He thought he had interrupted the man's “scientific pursuits”.

  (a) Statement II explains Statement I.
  (b) Statement II contradicts Statement I.
  (c) Statement I contradicts Statement II.
  (d) The two statements are unrelated.

  Answer: (a) Statement II explains Statement I.

  23. Select the correct relationship between the statements.

  Statement I: The narrator thought that the photographer was praying.
  Statement II: The photographer had drawn a little black cloth over himself.

  (a) Statement II provides the basis for Statement I.
  (b) Statement I contradicts Statement II.
  (c) Statement II was caused by Statement I.
  (d) The two statements are unrelated.

  Answer: (a) Statement II provides the basis for Statement I.

  24. Select the correct relationship between the statements.

  Statement I: The narrator responded enthusiastically to the three-quarters-full suggestion.
  Statement II: He was glad to find what he considered a human side to the photographer.

  (a) Statement II explains Statement I.
  (b) Statement I contradicts Statement II.
  (c) Statement I causes Statement II.
  (d) The two statements are unrelated.

  Answer: (a) Statement II explains Statement I.

  25. Select the correct relationship between the statements.

  Statement I: The narrator closed his eyes.
  Statement II: He thought the photographer meant to kiss him.

  (a) Statement II explains why Statement I occurred.
  (b) Statement I explains why Statement II occurred.
  (c) Statement II contradicts Statement I.
  (d) The statements are unrelated.

  Answer: (a) Statement II explains why Statement I occurred.

  26. Select the correct relationship between the statements.

  Statement I: The narrator believed that the photographer had a “human side”.
  Statement II: The photographer ceased to listen to the narrator's explanation.

  (a) Statement II immediately contrasts with the narrator's positive impression.
  (b) Statement II proves that the narrator's statement was factually true.
  (c) Statement I causes Statement II.
  (d) The two statements express the same idea.

  Answer: (a) Statement II immediately contrasts with the narrator's positive impression.

  27. Select the correct relationship between the statements.

  Statement I: The photographer was dissatisfied with the narrator's appearance.
  Statement II: He repeatedly instructed the narrator to alter different parts of his body.

  (a) Statement II supports Statement I.
  (b) Statement II contradicts Statement I.
  (c) Statement I is an example of Statement II.
  (d) The statements are unrelated.

  Answer: (a) Statement II supports Statement I.

  28. Select the correct relationship between the statements.

  Statement I: The narrator initially cooperated with the photographer.
  Statement II: He attempted to follow the photographer's instructions about his mouth, eyes, hands and posture.

  (a) Statement II supports Statement I.
  (b) Statement II contradicts Statement I.
  (c) Statement I contradicts Statement II.
  (d) The statements are unrelated.

  Answer: (a) Statement II supports Statement I.

  29. Select the correct relationship between the statements.

  Statement I: The photographer's behaviour is presented in a humorous manner.
  Statement II: He gives exaggeratedly precise instructions about the narrator's physical features.

  (a) Statement II contributes to the humorous presentation.
  (b) Statement II contradicts Statement I.
  (c) Statement I causes Statement II.
  (d) The two statements are unrelated.

  Answer: (a) Statement II contributes to the humorous presentation.

  30. Select the correct relationship between the statements.

  Statement I: The photographer repeatedly examines the narrator's face.
  Statement II: He repeatedly changes or adds to his instructions regarding the narrator's appearance.

  (a) Statement II follows from the photographer's continued examination.
  (b) Statement I is caused by Statement II.
  (c) Statement II contradicts Statement I.
  (d) The two statements are unrelated.

  Answer: (a) Statement II follows from the photographer's continued examination.

  31. Which of the following statements are true about the photographer?

  1. He was wearing a grey suit.
  2. He looked at the narrator with enthusiasm.
  3. He had the dim eye of a natural scientist.
  4. He was described as a “drooping man”.

  (a) 1, 2 and 3
  (b) 1, 3 and 4
  (c) 2, 3 and 4
  (d) 1, 2 and 4

  Answer: (b) 1, 3 and 4

  32. Which of the following statements are true about the narrator's waiting period?

  1. He waited for an hour.
  2. He read several old magazines.
  3. He began to feel that he had interrupted the photographer's scientific pursuits.
  4. He left before the photographer called him.

  (a) 1, 2 and 3
  (b) 1 and 4
  (c) 2 and 4
  (d) 1, 3 and 4

  Answer: (a) 1, 2 and 3

  33. Which of the following actions did the photographer perform?

  1. He crawled into the machine.
  2. He tore at the cotton sheet.
  3. He drew a black cloth over himself.
  4. He asked the narrator to leave.

  (a) 1, 2 and 3
  (b) 1 and 4
  (c) 2, 3 and 4
  (d) 1, 2 and 4

  Answer: (a) 1, 2 and 3

  34. Which of the following statements correctly describe the narrator's reactions?

  1. He thought the photographer was praying.
  2. He responded enthusiastically to the three-quarters-full suggestion.
  3. He closed his eyes when he thought the photographer meant to kiss him.
  4. He immediately refused to follow all the photographer's instructions.

  (a) 1 and 2
  (b) 2, 3 and 4
  (c) 1, 2 and 3
  (d) 1, 3 and 4

  Answer: (c) 1, 2 and 3

  35. Which of the following instructions were given by the photographer?

  1. Open the mouth a little.
  2. Roll the eyes in under the lids.
  3. Droop the ears a little more.
  4. Smile broadly.

  (a) 1, 2 and 3
  (b) 1 and 4
  (c) 2, 3 and 4
  (d) 1, 2 and 4

  Answer: (a) 1, 2 and 3

  36. Which of the following parts of the narrator's body does the photographer comment upon or ask him to adjust?

  1. Head
  2. Ears
  3. Eyes
  4. Hair

  (a) 1, 2 and 3
  (b) 1, 2 and 4
  (c) 2, 3 and 4
  (d) 1, 3 and 4

  Answer: (a) 1, 2 and 3

  37. Which of the following statements correctly describe the studio setting?

  1. The narrator sat in a beam of sunlight.
  2. The sunlight was filtered through factory cotton.
  3. The cotton was hung against a frosted skylight.
  4. The photographer worked outside the studio.

  (a) 1, 2 and 3
  (b) 1 and 4
  (c) 2, 3 and 4
  (d) 1, 2 and 4

  Answer: (a) 1, 2 and 3

  38. Which of the following statements are supported by the passage?

  1. The photographer repeatedly found fault with the narrator's appearance.
  2. The narrator initially cooperated with him.
  3. The photographer gave detailed instructions about the narrator's pose.
  4. The photographer was satisfied with the narrator's face from the beginning.

  (a) 1 and 2
  (b) 1, 2 and 3
  (c) 2, 3 and 4
  (d) 1, 3 and 4

  Answer: (b) 1, 2 and 3

  39. Which of the following is NOT true about the photographer?

  (a) He wore a grey suit.
  (b) He had the dim eye of a natural scientist.
  (c) He looked at the narrator with enthusiasm.
  (d) He was described as a drooping man.

  Answer: (c) He looked at the narrator with enthusiasm.

  40. Which of the following did the narrator NOT do while waiting?

  (a) He waited for an hour.
  (b) He read old magazines.
  (c) He began to think that he had interrupted the photographer's scientific pursuits.
  (d) He immediately left the photographer's place.

  Answer: (d) He immediately left the photographer's place.

  41. Which of the following is NOT a magazine mentioned by the narrator?

  (a) The Ladies Companion
  (b) The Girls Magazine
  (c) The Infants Journal
  (d) The Photographers' Weekly

  Answer: (d) The Photographers' Weekly

  42. Which of the following did the photographer NOT do during his first examination through the machine?

  (a) He crawled into the machine.
  (b) He tore at the cotton sheet.
  (c) He tore at the window panes with a hooked stick.
  (d) He drew the black cloth over himself.

  Answer: (d) He drew the black cloth over himself.

  43. Which of the following is NOT true about the narrator's response to the three-quarters-full suggestion?

  (a) He agreed enthusiastically.
  (b) He was glad to find a human side to the photographer.
  (c) He began to talk about how faces could look different when seen three-quarters full.
  (d) He immediately became angry with the photographer.

  Answer: (d) He immediately became angry with the photographer.

  44. Which of the following was NOT an instruction given by the photographer?

  (a) Open the mouth a little.
  (b) Roll the eyes in under the lids.
  (c) Put the hands on the knees.
  (d) Close the eyes completely.

  Answer: (d) Close the eyes completely.

  45. Which of the following is NOT a feature that the photographer criticises or asks the narrator to adjust?

  (a) Head
  (b) Ears
  (c) Eyes
  (d) Hair

  Answer: (d) Hair

  46. Which of the following is NOT true about the narrator's reactions?

  (a) He initially followed the photographer's instructions.
  (b) He thought that the photographer was praying.
  (c) He thought the photographer meant to kiss him.
  (d) He remained completely unaffected by the photographer's comments.

  Answer: (d) He remained completely unaffected by the photographer's comments.

  47. Which of the following was NOT something the photographer asked the narrator to do?

  (a) Expand the lungs.
  (b) Hump the neck.
  (c) Contract the waist.
  (d) Raise both arms above the head.

  Answer: (d) Raise both arms above the head.

  48. Which of the following statements is NOT supported by the passage?

  (a) The photographer repeatedly found fault with the narrator's appearance.
  (b) The narrator initially tried to cooperate with the photographer.
  (c) The photographer gave the narrator numerous instructions about his physical position.
  (d) The photographer was satisfied with the narrator's face from the beginning.

  Answer: (d) The photographer was satisfied with the narrator's face from the beginning.

• Who Said? To Whom?

  1. Who said, “I want my photograph taken”? To whom was it said?
  Ans. The narrator said this to the photographer.

  2. Who said, “Sit there,” and “wait”? To whom was it said?
  Ans. The photographer said this to the narrator.

  3. Who said, “Come in”? To whom was it said?
  Ans. The photographer said this to the narrator.

  4. Who said, “Sit down”? To whom was it said?
  Ans. The photographer said this to the narrator.

  5. Who said, “The face is quite wrong”? To whom was it said?
  Ans. The photographer said this to the narrator.

  6. Who said, “I know; I have always known it”? To whom was it said?
  Ans. The narrator said this to the photographer.

  7. Who said, “I think the face would be better three-quarters full”? To whom was it said?
  Ans. The photographer said this to the narrator.

  8. Who said, “I’m sure it would”? To whom was it said?
  Ans. The narrator said this to the photographer.

  9. Who said, “So would yours”? To whom was it said?
  Ans. The narrator said this to the photographer.

  10. Who said, “How many faces one sees that are apparently hard, narrow, limited…”? To whom was it said?
  Ans. The narrator said this to the photographer.

  11. Who said, “I don’t like the head”? To whom was it said?
  Ans. The photographer said this to the narrator.

  12. Who said, “Open the mouth a little”? To whom was it said?
  Ans. The photographer said this to the narrator.

  13. Who said, “Close it”? To whom was it said?
  Ans. The photographer said this to the narrator.

  14. Who said, “The ears are bad”? To whom was it said?
  Ans. The photographer said this to the narrator.

  15. Who said, “Droop them a little more”? To whom was it said?
  Ans. The photographer said this to the narrator.

  16. Who said, “Thank you”? To whom was it said?
  Ans. The photographer said this to the narrator.

  17. Who said, “Now the eyes”? To whom was it said?
  Ans. The photographer said this to the narrator.

  18. Who said, “Roll them in under the lids”? To whom was it said?
  Ans. The photographer said this to the narrator.

  19. Who said, “Put the hands on the knees, please”? To whom was it said?
  Ans. The photographer said this to the narrator.

  20. Who said, “Turn the face just a little upward”? To whom was it said?
  Ans. The photographer said this to the narrator.

  21. Who said, “Yes, that’s better”? To whom was it said?
  Ans. The photographer said this to the narrator.

  22. Who said, “Now just expand the lungs!”? To whom was it said?
  Ans. The photographer said this to the narrator.

  23. Who said, “So!”? To whom was it said?
  Ans. The photographer said this to the narrator.

  24. Who said, “And hump the neck—that’s it”? To whom was it said?
  Ans. The photographer said this to the narrator.

  25. Who said, “And just contract the waist—ha!”? To whom was it said?
  Ans. The photographer said this to the narrator.

  26. Who said, “And twist the hip up towards the elbow—now!”? To whom was it said?
  Ans. The photographer said this to the narrator.

  27. Who said, “I still don’t quite like the face”? To whom was it said?
  Ans. The photographer said this to the narrator.

  28. Who said, “I have always known it”? To whom was it said?
  Ans. The narrator said this to the photographer.

  29. Who said, “I’m sure it would”? To whom was it said?
  Ans. The narrator said this to the photographer.

  30. Who said, “So would yours”? To whom was it said?
  

  Ans. The narrator said this to the photographer.One-Mark questions

  1.     What does the narrator want at the beginning of the passage?
  Ans. He wants his photograph taken.

  2.     How does the photographer look at the narrator?
  Ans. He looks at him without enthusiasm.

  3.     What kind of suit does the photographer wear?
  Ans. A gray suit.

  4.     With whose eye is the photographer’s eye compared?
  Ans. The eye of a natural scientist.

  5.     What is the first instruction given by the photographer?
  Ans. “Sit there, and wait.”

  6.     How long does the narrator wait?
  Ans. One hour.

  7.     Name one magazine read by the narrator while waiting.
  Ans. The Ladies Companion for 1912.

  8.     Give another magazine the narrator reads.
  Ans. The Girls Magazine for 1902.

  9.     Give the third magazine the narrator reads.
  Ans. The Infants Journal for 1888.

  10.  What feeling makes the narrator think he acted unwarrantably?
  Ans. Guilt or self-consciousness about intruding with his face.

  11.  Which door does the photographer open after an hour?
  Ans. The inner door.

  12.  How does the photographer say “Come in”?
  Ans. Severely.

  13.  Where in the studio does the narrator sit?
  Ans. In a beam of sunlight.

  14.  What filters the sunlight in the studio?
  Ans. A sheet of factory cotton.

  15.  What kind of skylight is mentioned?
  Ans. A frosted skylight.

  16.  What does the photographer roll into the middle of the room?
  Ans. His photographic machine (camera).

  17.  From which side does the photographer crawl into the machine?
  Ans. From behind.

  18.  What does the photographer tear at with a hooked stick?
  Ans. The cotton sheet and the window panes.

  19.  Why does he tear at the sheet and panes?
  Ans. Because he is frantic for light and air.

  20.  What does the photographer draw over himself in the machine?
  Ans. A little black cloth.

  21.  Why does the narrator keep still while the photographer is under the cloth?
  Ans. He thinks the photographer is praying.

  22.  How does the photographer look when he comes out?
  Ans. Very grave; he shakes his head.

  23.  What does the photographer say is “quite wrong”?
  Ans. The narrator’s face.

  24.  How does the narrator reply when told his face is wrong?
  Ans. “I know; I have always known it.” (He answers quietly.)

  25.  What pose does the photographer suggest for the face?
  Ans. Three-quarters full (three-quarter view).

  26.  How does the narrator respond to the three-quarters suggestion?
  Ans. He agrees enthusiastically.

  27.  What remark does the narrator make about faces becoming “wide, large, almost boundless”?
  Ans. He says faces that seem hard or limited look much larger in three-quarters view.

  28.  Who stops listening while the narrator is speaking?
  Ans. The photographer.

  29.  What physical action does the photographer take with the narrator’s head?
  Ans. He takes it in his hands and twists it sideways.

  30.  What mistaken thought does the narrator have when his head is taken?
  Ans. He thinks the photographer means to kiss him.

  31.  What does the photographer say when he has twisted the narrator’s face?
  Ans. “I don’t like the head.”

  32.  What does the photographer ask the narrator to do with his mouth?
  Ans. Open it a little, then close it.

  33.  Which feature does the photographer call “bad”?
  Ans. The ears.

  34.  How does the photographer direct the narrator to change his ears?
  Ans. Droop them a little more.

  35.  What instruction does the photographer give about the eyes?
  Ans. “Roll them in under the lids.”

  36.  Where does the photographer ask the narrator to put his hands?
  Ans. On the knees.

  37.  How should the narrator turn his face, according to the photographer?
  Ans. Just a little upward.

  38.  Which short phrase shows the photographer’s approval after adjustments?
  Ans. “Yes, that’s better.”

  39.  What breathing instruction does the photographer give?
  Ans. “Now just expand the lungs!”

  40.  Which neck posture does the photographer request?
  Ans. “Hump the neck.”

  41.  What does the photographer tell the narrator to do with his waist?
  Ans. Contract the waist.

  42.  What additional twisting instruction is given for the body?
  Ans. Twist the hip up towards the elbow.

  43.  After many adjustments the photographer still finds the face:
  Ans. A trifle too full.

  44.  What final action by the narrator ends the passage?
  Ans. He swung himself round on the stool.

  45.  How does the narrator describe the photographer’s eye?
  Ans. As a dim eye (suggesting a detached, scientific gaze).

  46.  What adjective describes the photographer’s general posture or bearing?
  Ans. Drooping.

  47.  What phrase indicates the magazines are old or dated?
  Ans. The years cited (1912, 1902, 1888).

  48.  What does the narrator imply about describing the photographer?
  Ans. “There is no need to describe him,” implying the typicality of a photographer’s appearance.

  49.  What tool does the photographer use to tear the sheet and panes?
  Ans. A hooked stick.

  50.  How long is the photographer in the machine on his first quick look?
  Ans. Only a second.

  51.  What does the narrator hear or infer while the photographer is quiet under the cloth?
  Ans. That he is praying or concentrating.

  52.  Which sentence conveys that the narrator is amused to find a “human side” in the photographer?
  Ans. “I’m sure it would,” I said enthusiastically, for I was glad to find that the man had such a human side to him.

  53.  Which phrase shows the narrator’s self-deprecating humor about his face?
  Ans. “With a face like mine.”

  54.  The narrator’s overall tone in describing the episode can best be called:
  Ans. Lightly comic and self-aware.

  55.  What does the repeated motion “I swung myself round on the stool” suggest about the narrator?
  Ans. Restlessness or impatience; a return to his original movement.

  56.  The narrator’s act of reading old magazines mainly serves to show:
  Ans. He is waiting and bored.

  57.  The photographer’s detailed posture commands suggest he values:
  Ans. Technical control and precise composition.

  58.  Which word in the passage signals the narrator’s polite compliance to instructions (e.g., placing hands)?
  Ans. “Please” in “Put the hands on the knees, please.”

  59.  The narrator’s thought that he had “broken in on the privacy of this man’s scientific pursuits” implies the photographer treats his work as:
  Ans. A scientific, private practice.

  60.  The scene primarily illustrates the relationship between:
  Ans. A meticulous, controlling photographer and a self-aware, amused sitter (the narrator).

• Two-Mark Questions

  1.     Describe the photographer’s appearance and what it suggests about his personality.
  Ans. The photographer is described as “a drooping man in a gray suit, with the dim eye of a natural scientist.” This suggests a dull, passive bearing and an analytical, detached gaze. The image implies he treats photography as a clinical or scientific task rather than a warm, social art. (Text: “drooping…gray suit…dim eye of a natural scientist.”)

  2.     Why does the narrator feel that he has done an “unwarrantable thing”?
  Ans. The narrator feels he intruded on the photographer’s private, serious work by arriving with “a face like mine.” He becomes self‑conscious after waiting and seeing the man’s scientific manner. The phrase shows guilt and awkwardness at imposing on someone absorbed in their craft.

  3.     How does the long waiting period contribute to humour in the passage?
  Ans. The hour‑long wait is exaggerated by the narrator reading absurdly old magazines, which emphasizes boredom and the photographer’s indifference. The contrast between the narrator’s expectation and the tedious reality produces comic irony. The slow pacing and trivial details make the situation amusing rather than tragic.

  4.     Describe the lighting arrangement in the studio.
  Ans. The narrator sits “in a beam of sunlight filtered through a sheet of factory cotton hung against a frosted skylight.” This artificial filtering shows the photographer’s obsession with controlling light. The contraption is both practical and slightly ridiculous, highlighting the studio’s technical, scientific atmosphere.

  5.     Why does the photographer rush out of the machine tearing at the cotton and panes?
  Ans. After a quick look, the photographer becomes “apparently frantic for light and air,” so he tears at the sheet and window panes to increase illumination. This dramatic reaction exaggerates his fixation on perfect lighting. The frenzy is comic and reveals how much he values technical conditions.

  6.     Why does the narrator think the photographer is praying inside the machine?
  Ans. When the photographer draws “a little black cloth over himself” and becomes very quiet, the narrator interprets the silence as prayerful concentration. The image is humorous because it treats a technical act as a solemn ritual. It underlines the photographer’s reverence for his craft.

  7.     What is the significance of the remark “The face is quite wrong”?
  Ans. The blunt statement shows the photographer’s frank professionalism and lack of tact. It also exposes the narrator’s insecurity and self‑deprecating humour when he calmly admits he has “always known it.” The line shifts the scene from passive waiting to corrective action.

  8.     Explain the meaning of “three‑quarters full” in the context.
  Ans. “Three‑quarters full” refers to the three‑quarter view in portraiture, where the face is slightly turned, which photographers often prefer. Practically, it’s a flattering angle; figuratively, it suggests opening up a face to reveal more character. The phrase shows the photographer’s technical thinking.

  9.     How does the narrator react to the photographer’s criticism of his face?
  Ans. The narrator replies calmly, “I know; I have always known it,” showing self‑awareness and acceptance. Rather than getting offended, he uses humour to deflect embarrassment. His reaction keeps the tone light and shows resilience.

  10.  What misunderstanding occurs when the photographer twists the narrator’s head?
  Ans. The narrator thinks the photographer might kiss him when the man takes his head in his hands and twists it sideways. This mistaken impression creates comic awkwardness and underscores the intimacy of the physical adjustments. It also highlights the narrator’s momentary vulnerability.

  11.  What do the repeated instructions about the body posture reveal about the photographer?
  Ans. The numerous precise commands (ears, eyes, lungs, waist) reveal his controlling, perfectionist nature. He treats the sitter like a set of mechanical parts to be adjusted. This mechanistic approach is comic and exposes a lack of sensitivity to human comfort.

  12.  How is humour created through the photographer’s technical language?
  Ans. The photographer’s clinical imperatives (e.g., “expand the lungs,” “hump the neck”) are absurdly applied to a living person. The mismatch between technical language and human awkwardness produces comic effect. It also satirizes the seriousness with which practitioners treat trivialities.

  13.  What does the narrator’s silence during instructions suggest about his character?
  Ans. His silence and compliance show patience, politeness, and a tolerant temperament. He prefers to accommodate the professional rather than argue or rebel. This restraint highlights his wry, self‑effacing nature and supports the comic tone.

  14.  Why does the photographer remain dissatisfied even at the end?
  Ans. The photographer’s remark that the face is “a trifle too full” shows his impossible standards and attention to minute imperfections. No amount of adjustment satisfies him, suggesting perpetual artistic dissatisfaction. It illustrates the theme that absolute perfection is unattainable.

  15.  What is the effect of ending the passage with the narrator swinging on the stool?
  Ans. The closing action returns the scene to the narrator’s earlier restlessness and suggests impatience or a desire to escape the ordeal. It provides a comic, physical punctuation to the episode and implies the narrator’s tolerance has limits. The motion also creates a circular structure.

  16.  Why does the narrator read magazines dating from different years while waiting?
  Ans. Reading old magazines is a way to kill time and shows how long the wait lasts. The antiquated dates (1912, 1902, 1888) emphasize absurdity and the studio’s stagnant atmosphere. The detail also adds comic colour by highlighting the mismatch between expectation and reality.

  17.  How does the simile “the dim eye of a natural scientist” shape our view of the photographer?
  Ans. The simile characterizes the man as analytical and detached, observing subjects as specimens rather than people. “Dim” suggests a subdued or unemotional gaze, not lively engagement. This shapes the reader’s expectation of clinical professionalism over warmth.

  18.  Explain the effect of the narrator’s line “But there is no need to describe him.”
  Ans. The line creates understated irony and invites the reader to share a cultural stereotype of photographers. It short‑circuits description by implying the type is instantly recognizable. The phrase is wry and humorous, downplaying detail while conveying character.

  19.  What role does the hooked stick play in the scene beyond a practical tool?
  Ans. The hooked stick functions as a comic prop, emphasizing the photographer’s almost desperate physical efforts to control light. It makes his actions theatrical and slightly ridiculous. The image adds physical humour to what is otherwise a technical procedure.

  20.  How does the writer use short clauses and punctuation when listing the photographer’s commands, and what is the effect?
  Ans. The clipped clauses and punctuation create a rapid, breathless rhythm that mirrors the photographer’s brisk, imperative manner. This staccato style conveys urgency and mechanical precision. It intensifies the comic pressure on the sitter and punctuates the passage’s tempo.

  21.  What does the narrator’s phrase “with a face like mine” reveal about his attitude?
  Ans. The phrase reveals self‑deprecation and modesty; he downplays his own looks with wry humour. It shows he expects criticism and can laugh at himself. This attitude makes him a sympathetic and witty narrator.

  22.  Why is the photographer described as “very quiet” under the black cloth, and how does that advance the scene?
  Ans. “Very quiet” signals intense concentration or ritualistic focus while the photographer views the sitter through the camera. The silence heightens tension and leads the narrator to imagine prayer, adding comic interpretation. It creates a brief pause before the photographer’s verdict.

  23.  How does the narrator’s brief philosophical remark about faces becoming “boundless” function in the passage?
  Ans. The remark introduces a lyrical, reflective contrast to the mechanical directions, revealing the narrator’s tendency toward poetic observation. It suggests that a simple change of angle can alter perception, offering a philosophical aside amid comedic action. The unfinished flourish also adds charm and character.

  24.  What does the repeated use of direct speech contribute to the passage?
  Ans. Direct speech creates immediacy, shows personalities through dialogue, and provides comic timing. It allows the photographer’s brusque commands and the narrator’s wry replies to play off each other. The technique makes the scene vivid and dramatic for the reader.

  25.  How does the photographer’s critique (“the face is quite wrong”) serve as a turning point in the scene?
  Ans. The blunt critique changes the situation from waiting to active correction, prompting the series of manipulative adjustments. It marks the start of the physical comedy where the narrator becomes an object of scrutiny. The remark initiates the main action of the passage.

  26.  In what way is the narrator both a participant and an observer in the studio?
  Ans. He is a participant physically, taking directions and posing, while also narrating events with ironic distance for the reader. This dual role allows him to report actions and comment on them humorously. It creates a layered perspective that enhances the comedic effect.

  27.  Explain why the photographer’s suggestion “three‑quarters full” holds both practical and symbolic meaning.
  Ans. Practically, it’s a standard portrait pose that often flatters the sitter by turning the face slightly. Symbolically, it implies partial revelation—showing that a slight change in perspective can make a face seem broader or more expressive. The suggestion merges technical advice with a metaphor about perception.

  28.  How does the author use contrast between the photographer’s seriousness and the narrator’s humour to shape tone?
  Ans. The stark contrast makes the scene comic: the photographer’s solemn, precise manner heightens the narrator’s witty self‑mockery. This interplay keeps the mood light while exposing the absurdity of over‑serious professionalism. The tone becomes gently satirical rather than bitter.

  29.  Why might the narrator describe the magazines by their publication years rather than their content?
  Ans. Mentioning the years highlights their obsolescence and the long wait, producing comic effect. It suggests the studio is behind the times and that the narrator’s boredom is profound. The dates function as small but telling details of setting and mood.

  30.  What does the final unresolved phrase “almost boundless in –––” suggest about the narrator’s voice or style?
  Ans. The trailing dash indicates a playful digression and an unfinished rhetorical flourish, showing the narrator’s spontaneous, somewhat poetic voice. It creates intimacy with the reader and a comic sense of being cut off. The ellipsis enhances the light, conversational tone.

  31.  Why does the narrator emphasize the photographer’s crawl into the machine “from behind”?
  Ans. The detail stresses the mechanical and ritualistic nature of the process, as the photographer literally disappears into his apparatus. It underscores his focus on equipment over human interaction. The small stage direction also adds visual comedy.

  32.  What does the narrator mean by saying “Everybody knows what a photographer is like”?
  Ans. He implies a stereotype of photographers as dour, technical, and somewhat eccentric professionals. The remark is ironic and invites shared assumptions with the reader. It also minimizes description while conveying character efficiently.

  33.  How does the narrator’s admission “I have always known it” function in terms of character development?
  Ans. The admission reveals long‑standing self‑awareness and resignation about his appearance. It makes him sympathetic and humorously self‑effacing rather than insecure. The line deepens his voice as witty and realistic.

  34.  Explain the significance of the photographer’s sigh when he says the face would be better three‑quarters full.
  Ans. The sigh humanizes the photographer, showing a fleeting softness amid his clinical detachment. It registers a small emotional response, which surprises the narrator and momentarily bridges their distance. This detail adds nuance to the photographer’s character.

  35.  What does the narrator’s detailed imitation of the photographer’s commands reveal about narrative technique?
  Ans. The exact reproduction of commands creates immediacy and comic effect, while also showcasing the photographer’s obsessive focus. It lets readers visualize the scene and hear the voice of the controlling figure. The technique heightens realism and satire.

  36.  Why does the narrator note the photographer’s “grave” look and head shake after emerging from the machine?
  Ans. The grave look and head shake signal disapproval and seriousness, preparing the reader for critical judgment. It emphasizes the weight the photographer places on technical perfection. The gesture heightens the narrator’s apprehension and the scene’s tension.

  37.  What is the function of the repeated short directives (e.g., “Open the mouth a little”, “Close it”) in developing comic rhythm?
  Ans. The alternation of tiny, contradictory directives produces a comic back‑and‑forth and suggests the photographer’s fastidiousness. The micro‑adjustments accumulate into absurdity, increasing the reader’s amusement. The rhythm mirrors the practical choreography of a portrait session.

  38.  How does the narrator’s description make the photographer’s studio feel like an experiment?
  Ans. Words such as “machine,” “scientist,” and detailed manipulations of light and body make the studio seem laboratory‑like. The photographer’s actions resemble experimental procedures rather than social interaction. This framing intensifies the clinical, controlled atmosphere.

  39.  Why is the narrator’s compliance important to the comedic outcome of the scene?
  Ans. His willing submission allows the photographer’s eccentricities to dominate, creating comedy through contrast rather than conflict. If the narrator resisted, the scene would shift tone; his compliance sustains the gentle satire. It also showcases the narrator’s tolerant, amused temperament.

  40.  How does the passage use physical detail to create vivid imagery?
  Ans. Specific actions—tearing sheets, twisting the head, drawing a black cloth—give concrete, visual moments that bring the studio alive. These tactile details help readers picture the awkward intimacy of portraiture. The sensory images enhance humour and realism. (Text: multiple physical details throughout.)

  41.  What does the phrase “just time enough for one look at me” imply about the photographer’s method?
  Ans. It suggests the photographer is efficient and decisive, preferring quick inspection to prolonged conversation. The phrase shows he gauges the sitter rapidly before making technical adjustments. It indicates a practiced, methodical approach.

  42.  How does the narrator’s casual wit affect the reader’s sympathy toward him?
  Ans. His self‑mocking remarks and humorous observations invite empathy rather than pity. The wit keeps the tone light and makes him an engaging, resilient narrator. Readers are more likely to sympathize with someone who can laugh at himself.

  43.  Explain how the passage satirizes professional obsession.
  Ans. The photographer’s extreme focus on minor details and lighting, plus his ritualistic behaviour, exaggerates professional seriousness into absurdity. The satire comes from treating trivial stylistic choices as matters of high ritual and science. The narrator’s bemused tone exposes the folly.

  44.  What does the narrator’s attention to minute chronology (the magazine years) suggest about his narrative style?
  Ans. The precise dates show an eye for small, telling details and a taste for comic specificity. They give authenticity and anchor the scene in a slightly antiquated world. The detail also underscores his observational, slightly ironic voice.

  45.  How does the interplay of action and dialogue maintain pace in the passage?
  Ans. Short bursts of dialogue alternate with quick physical actions, creating a brisk, cinematic rhythm. This keeps the scene moving while allowing comic beats to land effectively. The reader experiences the tempo of the session through the text’s structure.

• Three-Mark Questions

  1.     Why does the photographer appear indifferent when the narrator first speaks to him?
  Ans. The photographer “looked at me without enthusiasm,” which immediately signals detachment and boredom. His “drooping” posture and “dim eye of a natural scientist” further suggest an analytical, impersonal attitude. He treats the sitter as a specimen to be examined rather than as a social equal, so his response is clinical rather than cordial.

  2.     How does the narrator’s long wait in the studio add to the theme of humour?
  Ans. The narrator waits an hour and amuses himself by reading comically outdated magazines (1912, 1902, 1888), exaggerating the tedium. The contrast between his expectation of a quick portrait and the reality of prolonged delay creates situational irony. This mismatch, together with his self‑conscious reflections, produces a gently comic tone.

  3.     Explain how light is treated as an important element in the passage.
  Ans. Light is manipulated deliberately—sunlight is “filtered through a sheet of factory cotton hung against a frosted skylight”—showing careful technical control. The photographer’s frantic tearing at the sheet and panes for “light and air” reveals his obsessive concern with illumination as central to making the perfect portrait. Thus, light functions both practically (for exposure) and symbolically (as the photographer’s object of professional devotion).

  4.     What does the narrator’s response to “The face is quite wrong” reveal about his character?
  Ans. The narrator answers quietly, “I know; I have always known it,” showing self‑knowledge and acceptance rather than anger. His calm, wry/sardonic: mocking, scornful or derisive reply demonstrates humour and emotional resilience—he can laugh at himself. This reaction makes him a sympathetic, composed narrator rather than a defensive or embittered character.

  5.     How does the photographer’s handling of the narrator create comedy?
  Ans. The photographer’s physical manipulation—taking the head in his hands, twisting it, and issuing precise commands—turns a human being into an object of mechanical adjustment. The absurd specificity of directions (expand the lungs, hump the neck, contract the waist) heightens awkwardness and makes the scene farcical. The comedy arises from the collision of clinical technique with bodily embarrassment.

  6.     Discuss the significance of the “three‑quarters full” face.
  Ans. Practically, a three‑quarter view is a standard flattering pose in portraiture; the photographer recommends it for technical reasons. Figuratively, the narrator uses it to suggest that a slight turn can reveal unexpected breadth or warmth—faces that seem narrow can become “wide, large, almost boundless.” The phrase thus operates on two levels: photographic technique and a modest philosophical point about perception.

  7.     Why does the narrator swing himself round on the stool at the end?
  Ans. The final swing signals impatience, fatigue, and a return to restless movement after prolonged manipulation. It functions as a comic punctuation—he literally resumes the motion from the story’s opening, suggesting cyclical annoyance and mild rebellion. The action closes the scene on a humorous, physical note that emphasizes the narrator’s tolerance has reached its limit.

  8.     How does the narrator finally protest against the photographer’s criticism and interference?
  Ans. After bearing many insults about his face, the narrator eventually asks the photographer to stop criticizing and “leave the face alone.” He asserts that the face is his own and not the photographer’s property to reshape. This protest shows a turning point where he defends his dignity and identity.

  9.     Describe the narrator’s reaction when he first sees the finished photograph.
  Ans. When the narrator returns and sees the developed photograph, he is stunned because it hardly resembles him. The features have been altered so heavily that he feels the image is of someone else, not of his “only” face. This bewilderment quickly turns into disappointment and anger at losing his true likeness.

  10.  What changes has the photographer made to the narrator’s face in the final photograph, and why is this significant?
  Ans. The photographer has retouched the picture by altering the eyebrows and mouth, and even removing facial hair, using various chemical processes. These changes create an idealized but false version of the narrator. The significance lies in how the process erases individuality in the name of “improvement,” which the narrator strongly resents.

  11.  How does the use of chemicals like “Delphide” and “Sulphide” contribute to the story’s satire?
  Ans. The mention of mysterious chemicals such as Delphide and Sulphide comically exaggerates the scientific aura around a simple portrait. It satirizes the photographer’s faith in technical processes to “perfect” a face, as if beauty were a lab experiment. This undercuts his authority and exposes the absurdity of treating art as pure chemistry.

  12.  In what way does the story explore the conflict between authenticity and artificial perfection?
  Ans. The narrator comes for a picture that looks like his real self, but the photographer wants to “improve” him by changing every feature. The final photograph is technically “better” yet no longer true to the narrator’s identity. This conflict illustrates the tension between natural authenticity and artificial, standardized beauty.

  13.  How is the photographer’s attitude towards his own work different from the narrator’s expectations?
  Ans. The narrator expects a simple, respectful service that produces a faithful likeness for personal use. In contrast, the photographer treats the portrait as his own artistic–scientific product, to be perfected according to his standards, not the sitter’s wishes. This difference in attitude causes much of the misunderstanding and humour in the story.

  14.  What does the narrator mean when he insists that the face is “mine, not yours” (or similar words) in the later part of the story?
  Ans. He means that his face represents his personal identity and cannot rightly be redesigned by someone else’s taste. By stressing ownership, he rejects the photographer’s claim to decide what his features should look like. This line sums up the story’s defence of individuality against impersonal standards of perfection.

  15.  How does the ending of the complete story reinforce its main theme?
  Ans. At the end, the narrator leaves the studio upset because the “improved” photograph has taken away the truth of his appearance. His emotional reaction emphasizes that technical perfection without resemblance is meaningless to him. The ending therefore reinforces the theme that authenticity matters more than flattering but false images.

  Four‑Mark Questions

  1.     Discuss how Stephen Leacock uses humour to criticize artificial standards of beauty in “With the Photographer.”
  Ans. Leacock shows how the photographer is obsessed with “improving” the narrator’s face instead of accepting it as it is. He makes the photographer twist the narrator’s head, droop his ears, roll his eyes, and later chemically retouch the eyebrows, mouth, and facial hair. These exaggerated “corrections” are humorous, but they also mock the idea that a natural face must always be modified to fit some artificial ideal. In the end, the “perfected” photograph is unrecognizable, proving that such standards destroy individuality rather than enhance it.

  2.     How does the story present the conflict between the narrator’s desire for a natural portrait and the photographer’s idea of a ‘perfect’ photograph?
  Ans. The narrator simply wants a picture that looks like himself, a straightforward record of his “only” face. The photographer, however, keeps saying the “face is quite wrong” and insists on changing angles, posture, and later even the features in the darkroom. When the finished photograph comes, it is heavily retouched and does not resemble the narrator at all. This conflict shows how the professional’s idea of perfection clashes with the client’s wish for natural truth.

  3.     Examine the character of the photographer as an example of professional arrogance.
  Ans. The photographer appears indifferent from the start, looking at the narrator “without enthusiasm” and commanding him to “sit there and wait.” In the studio, he issues clipped orders, criticizes the face, ears, and head, and never really listens to the narrator’s feelings. Later, he freely alters the photograph with chemicals, assuming he knows better what the narrator should look like. His arrogance lies in treating the client as an object and the face as his property, instead of respecting the person behind it.

  4.     In what ways does the story highlight the loss of individuality through modern photographic practices?
  Ans. The narrator goes in as a unique individual with a face he has “always known.” By the end, the photographer has changed the eyebrows, mouth, and other features until the picture becomes a generic, “improved” face that could belong to almost anyone. The narrator and even his friends find it hard to recognize him in the final print. This shows how certain photographic practices, obsessed with retouching and perfection, can erase personal identity in favour of a standardised, artificial look.

  5.     Analyse how the first‑person narration contributes to the humour and impact of the story.
  Ans. The narrator tells the story in the first person, mixing description with his own witty comments and self‑mockery. He jokes about his “face like mine,” imagines the photographer praying, and even thinks for a moment he is about to be kissed. This personal, slightly exaggerated perspective makes the humiliation feel funny rather than tragic, because he himself is laughing at the situation. The first‑person voice also helps us share his frustration and sympathise with his desire to be seen as he really is.

  6.     How does Leacock use exaggeration and contrast to create satire in “With the Photographer”?
  Ans. Leacock exaggerates both the photographer’s scientific seriousness and the trivial nature of the job. An ordinary portrait session is treated as if it were a complex laboratory experiment with mysterious chemicals like Delphide and Sulphide and endless micro‑adjustments of pose. He contrasts the narrator’s simple wish for a decent likeness with the photographer’s inflated sense of artistic and scientific importance. This exaggeration and contrast combine to satirize professionals who turn simple services into occasions for ego and over‑technical display.

  7.     Comment on the theme of power imbalance between the professional (photographer) and the client (narrator).
  Ans. The photographer controls the space, the camera, the light, and even the narrator’s body, giving him clear power inside the studio. He speaks in commands, while the narrator waits, obeys, and stays mostly silent, even when he feels uncomfortable. The final photograph is produced according to the photographer’s choices, not the client’s preferences, showing who truly decides the outcome. The story thus exposes how professionals can misuse their authority and ignore the wishes of ordinary clients.

  8.     How does the later part of the story (retouching and final photograph) deepen the themes introduced in the posing scene?
  Ans. In the posing scene, the photographer already tries to reshape the narrator through posture and angle; in the later part he goes further by chemically reshaping the photograph itself. The same attitude— “the face is wrong; let me fix it”—now moves from physical manipulation to complete visual transformation. This deepens the themes of artificial beauty and loss of identity, as the narrator finally sees that even his image is not safe from “improvement.” The ending reinforces the earlier humour but adds a slightly sharper criticism of such tampering.

  9.     Discuss the story as a commentary on how modern technology and ‘expertise’ affect our sense of self.
  Ans. The photographer represents expert knowledge of cameras, lighting, and chemical processes, while the narrator represents the ordinary person who trusts that expertise. However, the expert uses his skills to change the narrator’s appearance according to abstract standards, not according to the narrator’s self‑image. The finished photograph makes the narrator doubt and question his own face, as he no longer sees himself in it. Leacock suggests that technology and so‑called expertise, if misused, can distance us from our own natural sense of who we are.

  10.  “With the Photographer” is humorous, but it also carries a serious message. Do you agree? Give reasons.
  

  Ans. The story is full of humour: exaggerated waiting, comic instructions, the narrator’s misunderstandings, and the absurdly retouched photograph all make us laugh. Yet beneath the comedy, Leacock warns against professional arrogance, false standards of beauty, and the loss of individuality. The narrator’s anger and disappointment at the end show that something important has been taken from him—his truthful likeness. So, the humour makes the story enjoyable, while the serious message makes it meaningful and memorable.

• Reference to context – Set 1

  “I WANT my photograph taken,” I said. The photographer looked at me without enthusiasm. He was a drooping man in a gray suit, with the dim eye of a natural scientist. But there is no need to describe him. Everybody knows what a photographer is like.

  (i) Why has the narrator come to the studio? What does his request show about his mood or expectation at the start?

  Ans. The narrator has come to the studio to have his photograph taken. His direct and confident request suggests that he expects the process to be simple, ordinary, and free from complications. At this stage, he has no idea that the experience will become frustrating and absurd.

  (ii) How is the photographer described in this extract, and what does this suggest about his personality?

  Ans. The photographer is described as “a drooping man in a gray suit, with the dim eye of a natural scientist.” This suggests that he is dull, serious, and analytical rather than warm or friendly. His scientific gaze implies that he studies people objectively, almost as specimens, foreshadowing the detached manner in which he later treats the narrator.

  (iii) Explain the meaning and effect of the line: “But there is no need to describe him. Everybody knows what a photographer is like.”

  Ans. This line suggests that photographers are such a familiar type that no further description is needed. The statement is humorous and ironic because the narrator has already provided a memorable description before claiming that description is unnecessary. It also encourages readers to recognise the stereotype of photographers as serious and highly professional individuals, helping to establish the comic tone of the story.

  (iv) How does this opening extract prepare the reader for the later conflict between the narrator and the photographer?

  Ans. The extract introduces a contrast between the narrator’s simple wish and the photographer’s lifeless, scientific manner. The narrator is open and hopeful, while the photographer seems indifferent and unemotional. This contrast foreshadows the later clash, when the photographer’s detached professionalism will collide with the narrator’s desire for a natural, personal likeness.

  (v) In what way does this extract already hint at the themes of identity and professional arrogance that appear later in the story?

  Ans. The extract introduces the theme of identity through the narrator's simple desire to obtain a photograph of himself. However, the photographer's detached, scientific manner suggests that he will view the narrator not as an individual but as a subject to be examined and altered. This foreshadows the theme of professional arrogance, as the photographer later assumes the authority to criticise and "improve" the narrator's appearance according to his own standards. Thus, the extract hints at the conflict between personal identity and professional judgment that drives the story.

  Reference to context – Set 2

  He was only in it a second, – just time enough for one look at me, – and then he was out again, tearing at the cotton sheet and the window panes with a hooked stick, apparently frantic for light and air. Then he crawled back into the machine again and drew a little black cloth over himself. This time he was very quiet in there. I knew that he was praying and I kept still. When the photographer came out at last, he looked very grave and shook his head. “The face is quite wrong,” he said.

  (i) Why does the narrator describe the camera as a “machine”? What humorous impression does the photographer create while using it?

  Ans. The narrator humorously refers to the camera as a “machine” to emphasise its strange and mysterious appearance. The photographer creates a comic impression by repeatedly disappearing under the black cloth, emerging suddenly, and frantically adjusting the light and curtains. His exaggerated seriousness makes him appear more like a scientist conducting an experiment than a photographer taking a simple portrait.

  (ii) Why does the photographer remain inside the machine just for a second? What does it suggest about the photographer?

  Ans. The photographer remains inside the camera for only a moment because he needs a quick look at the narrator before making adjustments. His brief inspection suggests that he is highly critical and immediately begins judging the sitter's appearance. It also shows his professional habit of viewing people as subjects to be examined rather than individuals to be understood.

  (iii) When the photographer entered the machine for the second time, why does he remain there for a longer time than before? Why does the narrator think he is praying?

  Ans. During his second visit under the black cloth, the photographer remains there longer because he is carefully studying the narrator and preparing the photograph. The narrator humorously imagines that he is praying because of the photographer's complete stillness and silence. This comic misunderstanding turns an ordinary photographic procedure into something resembling a solemn religious ritual.

  (iv) Why does the photographer look grave? What does he say after this extract about the narrator? How does the narrator react?

  Ans. The photographer looks grave because he has judged the face as unsatisfactory and is critical of the narrator’s appearance. After this extract, he says, “The face is quite wrong.” The narrator reacts with humour and self-deprecation, replying, “I know; I have always known it,” instead of feeling offended or angry.

  (v) What do you think about the photographer from his activities in this extract? Give a reason to support your answer.

  Ans. From his actions in this extract, the photographer appears highly professional but excessively critical and insensitive. He focuses entirely on technical details such as light and appearance while paying little attention to the narrator's feelings. His grave expression and blunt declaration that the face is “quite wrong” reveal his perfectionist attitude and professional arrogance. Through this character, Leacock humorously satirises experts who become so absorbed in their work that they forget basic human courtesy.

  Reference to context – Set 3

  “I think” he said, “the face would be better three-quarters full.”
  “I’m sure it would,” I said enthusiastically, for I was glad to find that the man had such a human side to him. “So would yours. In fact,” I continued, “how many faces one sees that are apparently hard, narrow, limited, but the minute you get them three-quarters full, they get wide, large, almost boundless in –––”
  But the photographer had ceased to listen. He came over and took my head in his hands and twisted it sideways. I thought he meant to kiss me, and I closed my eyes. But I was wrong. He twisted my face as far as it would go and then stood looking at it.
  He sighted again. “I don’t like the head,” he said.

  (i) What suggestion does the photographer give about the face? Why does the narrator agree enthusiastically?

  Ans. The photographer suggests that the face would be better “three-quarters full,” meaning in a three-quarter view pose. The narrator agrees enthusiastically because he feels the photographer is showing a “human side” and is willing to discuss his appearance rather than just criticize it. This agreement also reflects the narrator’s habit of humour and self-deprecation.

  (ii) How does the narrator generalise the idea of “three-quarters full” in his speech?

  Ans. The narrator extends the photographic angle to a general observation about human faces. He says that faces which seem hard, narrow, and limited become “wide, large, almost boundless” when seen three-quarters full. This turns a technical suggestion into a philosophical remark about how a slight change of perspective can reveal hidden depth in people.

  (iii) What misunderstanding occurs when the photographer twists the narrator’s head? Why does this moment create comedy?

  Ans. When the photographer takes the narrator’s head in his hands and twists it sideways, the narrator mistakenly thinks he is about to be kissed. This creates comedy because the narrator’s romantic expectation is sharply contrasted with the photographer’s cold, mechanical adjustment. The absurd mismatch between emotion and technique makes the scene humorous and awkward.

  (iv) Why does the photographer remain dissatisfied even after twisting the narrator’s head and making other adjustments?

  Ans. Even after adjusting the narrator's pose, the photographer remains dissatisfied and declares, “I don't like the head.” This reveals his excessively critical and perfectionist nature. The remark is humorous because the narrator's actual head cannot be changed, yet the photographer behaves as though it were a defective object that could be improved through technical adjustments.

  (v) How does this extract illustrate the contrast between the narrator’s imaginative, philosophical attitude and the photographer’s practical, mechanical attitude?

  Ans. In this extract, the narrator turns the photographer’s simple technical suggestion (“three-quarters full”) into a philosophical remark about how faces can become “wide, large, almost boundless.” This shows his imaginative, reflective, and slightly humorous way of thinking. In contrast, the photographer stops listening and immediately begins to manipulate the narrator’s head physically, treating him as an object to be adjusted. His focus is on technique and appearance, not on ideas or feelings. This contrast highlights the main conflict in the story: the narrator values identity and personal meaning, while the photographer values control and artificial perfection. The narrator’s speech is interrupted by the photographer’s cold action, showing how professional arrogance overrides human conversation and imagination.

  Reference to context – Set 4

  “The ears are bad,” he said; “droop them a little more. Thank you. Now the eyes. Roll them in under the lids. Put the hands on the knees, please, and turn the face just a little upward. Yes, that’s better. Now just expand the lungs! So! And hump the neck–that’s it – and just contract the waist –ha!–and twist the hip up towards the elbow–now! I still don’t quite like the face, it’s just a trifle too full, but ––––” I swung myself round on the stool.

  (i) What kind of instructions does the photographer give in this extract? What do they reveal about his attitude towards the narrator?

  Ans. The photographer gives a long series of precise, mechanical commands about the ears, eyes, hands, face, lungs, neck, waist and hip. These instructions show that he treats the narrator as an object to be adjusted, not as a person with feelings. His attitude is controlling and obsessed with perfection, revealing professional arrogance and lack of empathy.

  (ii) How is humour created through the photographer’s technical language in this extract?

  Ans. Humour is created through the photographer's absurdly technical instructions, such as “expand the lungs,” “hump the neck,” and “contract the waist.” These commands make the narrator seem like a machine or a piece of clay being shaped rather than a human being. The exaggerated seriousness with which the photographer gives these impossible directions creates a highly comic effect.

  (iii) Why does the photographer remain dissatisfied even after all these adjustments?

  Ans. Despite making numerous adjustments to the narrator's ears, eyes, posture, neck, waist, and hips, the photographer still complains that the face is “a trifle too full.” His continued dissatisfaction reveals his excessively critical and perfectionist nature. The humour lies in the fact that, after altering almost every feature and pose, he still finds fault with something that cannot realistically be changed.

  (iv) What does the narrator’s action of swinging himself round on the stool suggest about his feelings at the end of this scene?

  Ans. The narrator's action of swinging himself round on the stool suggests that he has become tired, annoyed, and impatient with the photographer's endless instructions. After being subjected to repeated adjustments and criticisms, he can no longer remain completely passive. The action reflects his growing frustration with the absurd situation.

  (v) How does this extract illustrate the theme of power imbalance between the professional (photographer) and the client (narrator) in the story?

  Ans. This extract clearly shows the imbalance of power between the photographer and the narrator. The photographer issues a constant stream of commands and treats the narrator as an object to be posed and corrected. The narrator obediently follows these instructions, despite their absurdity, placing him in a subordinate position. Through this exaggerated relationship, Leacock humorously satirises professionals who become so absorbed in their expertise that they ignore the individuality and dignity of the people they serve.