M: Well, It's developed by being all of those things that you mentioned really. People are looking for pictures that will record their families and their homes and so the photographic technology has got closer and closer to the home—more and more informal. So if you look at the early pictures in people's albums—those taken when grandmother was a girl—in everybody's albums you'll find these very stiff, posed portraits, some of them studio portraits, and then you look at contemporary pictures today, you know, you find the family at play, you find snapshots which show children laughing, you find the holiday pictures, so it's changed over the years, become more relaxed, less of an ordeal.
W: Gerald, is there a conflict, as there is in other artistic areas, between the low art of the domestic photographer and the high art of the professional？
M: No, there's no conflict. I, as a professional photographer, don't take any family snaps because my children would never pose for me as a photographer at all. And if it hadn't been for my wife with her instamatic camera taking pictures, I wouldn't have any record at all of their younger years. I detect a sort of use now more by women using very easy-to-use, throw-away cameras almost, and certainly in my family it seems to be the women who are taking the pictures rather than the men.
W: As you say, all the photographic companies, all the Kodak ads are directed at women. You know the kind of thing, even a woman can do this very simple photography. Taking pictures couldn't be easier these days. What about these ones then that you've got here？ You've actually brought pictures that your wife has taken.
M: Yes, these are not great photographs, but they are very important memories for me and they will be for my children—though they won't thank my wife for taking some of these poses. But it's interesting what you can do. The page here is a series of little cut-outs that my wife took. There are maybe twenty pictures here and they haven't all got great backgrounds. I mean, you were asking the difference between amateur and professional photography. Professional photography will have good backgrounds. Ruth would just go round and take pictures because they were good little fun moments and what she's done is cut out the best bits of it. She's got rid of, you know, the annoying chair in the background or whatever and just made one picture out of twenty bits of picture.
W: But they're all lovely, smiling, oh, not that you haven't got lovely, smiling children, but does the camera in a way tell us lies about ourselves？
M: You're right. People do play up to the camera and this is the greatest problem. Among this lot here, there aren't any pictures of children looking bad tempered. We do react to the camera. As soon as the camera comes out you sort of go into a pose, if you like. Probably that's their weakness really as family snaps.
W: Or is it weakness？ Isn't that just what they are？ I mean...
M: There's something missing. There's something missing from the family album. That is, anger, bad temper, you know the foul days, the sulks.
W: Thank you very much.
Questions:
11.According to the interview, what is the big difference between pictures of old days and contemporary pictures？
12.What is the subject Gerald never photographs？
13.According to the interview, what do photographic companies want people to think about taking photos？
14.According to the interview, which of the following statements is NOT true about pictures taken by amateur photographers？
15.What does the interviewee mean by sug

A. Contemporary pictures focus more on domestic issues.
B. These days, having one's photograph taken is more informal.
C. In the old days, people only took pictures of their grandmothers.
D. The photographic technology is more advanced nowadays.