AULA 14: Testando

Gabriel Jorge

12/11/2011

Leia o fragmento da matria abaixo e responda s perguntas que seguem.

How to photograph birds
Unfortunately, July and August are probably the worst months of the year for this task
because most species look their worst just now, and also vegetation and food supply is at its
best, so it is difficult enough just to see the birds, never mind pointing a lens at them.
However, a few helpful tips now should prepare you for the Autumn months when many
species are busily eating and hiding food ready for the long winter months ahead.
Perhaps if I take you through the various steps which I make when embarking on a typical
bird photographic outing:3. Equipment. I always take more than I need, but if you have made a long journey for that
special species there is nothing worse than to find youve run out of battery or memory and
havent got back up. It is also important to note that for bird photography, you inevitably
need to be very near AND have plenty of magnification. A blue tit at 20 metres looks very
small, even with an 800mm lens! Dont forget the tripod.
4. Once at the destination, cameras on tripod, pointing in direction of birds
remember about composing the shot. I always like to set out with an image in my mind,
and return with it in my camera. Dont get so excited at first glimpse of the species that you
forget to check those dials. Higher ISO makes it easier to choose higher film speed. I nearly
always choose Av priority, so I know what F stop I am on (for instance F5.6) and that should
give me a fast enough film speed to avoid blur from the birds movement. I will then compose
the bird in the viewfinder AND PAY ATTENTION TO BACKGROUND DETAIL. After capturing 20
images or so, I will then start to alter settings and orientation; this can often make the
difference between an ordinary keeper and an outstanding winner.
6. The eye has it. In 99% of wildlife images it is vital to get the eye in focus, wings can be
blurred, parts can be missed, but remember, keep the eye in focus nice and sharp.
7. Processing. I take virtually all my images in RAW format. This allows much more flexibility
when processing. In particular, white balance, ie temperature variation, of your shot can be
adjusted to get your colours dead right, and this is so important with wildlife photography.
Once you have cropped and carried out the various adjustments such as colour, levels,
curves, saturation and the rest to your image, the final task should be USM. I usually apply :
Amount 90%, Radius 0.3, Threshold 1. I repeat this four or five times until a small white halo
starts to appear around the subject, then back off once in the Photoshop history.
8. Library. It is all too easy to take literally thousands of images using digital, so remember
to have some type of system for storing and cataloguing your images, so that you can quickly
return to them as desired.
Finally, please remember that we are only visitors to this world, so when out enjoying wildlife
take only photographs and leave nothing but time.
Read more: http://www.digital-photography-school.com/photographing-birds

1. O 1 inicia com Unfortunately. Qual o impacto dessa palavra no leitor? _________

______________________________________________________________________.
2. Ainda sobre o item anterior, correto afirmar que, pela construo da frase, o tema
da matria definido logo na primeira sentena do 1? Argumente. ______________
_______________________________________________________________________
______________________________________________________________________.
3. Cite no texto uma conjuno com sentido de contradio. ______________________.
4. Quantas conjunes diferentes com sentido de concluso h no texto? Cite-a(s).
5. Por que importante levar mais equipamento do que o necessrio? _____________
_______________________________________________________________________
______________________________________________________________________.
6. No 2, h um outro linking term alm de and. Cite-o. ________________________.

AULA 14: Testando

Gabriel Jorge

12/11/2011

7. O verbo pointing (3, 1. L.) foi formado com o sufixo -ing. Porm, nesse caso,
sabendo-se que tanto substantivos quanto verbos podem receber tal sufixo,
classifique-o no contexto. ________________________________________________.
8. Como o autor defende sua escolha de Av priority (3, 5. L.)? __________________
_______________________________________________________________________
______________________________________________________________________.
9. Qual o sentido do modal can (3, 8. L.)? __________________________________.
10. Qual o sentido da conjuno then (3, 6. L.)? ______________________________.
11. Explique o item no. 6 com as suas palavras. __________________________________
_______________________________________________________________________
_______________________________________________________________________
______________________________________________________________________.
12. Qual a ideia por trs do item no. 8? _________________________________________
______________________________________________________________________.
13. Qual o sentido da conjuno so that (item no. 8, 2. L.)? ______________________.
14. Qual o sentido do modal can (item no. 8, 2. L.)? ____________________________.
15. Por que, na sua opinio, o tempo verbal predominante no texto o presente
simples? _______________________________________________________________
______________________________________________________________________.
16. Traduza o item no. 7. ________________________________________________
_______________________________________________________________________
_______________________________________________________________________
_______________________________________________________________________
________________________________________________________________.
Leia o fragmento abaixo e responda s perguntas que seguem.

Artistic relations: how family portraiture changed through

the ages
An exhibition exploring the portrayal of the family in British art provides
some surprising contrasts
Alice Maher's House of Thorns (1995) is an eye-catching conundrum. Beautifully made,
this small treasure arouses the desire to have and to hold. It is like something out of a
fairy tale, but to pick it up would be agony, as its roof and all four sides are lined with rose
thorns, which, as any gardener knows, are vicious. It offers a neat amalgam of pleasure
and pain. This miniature stronghold triggers awareness of the conflicting emotions that
can be aroused in the home. It is our knowledge that family life can veer between
extremes which makes Paula Rego's The Family(1988) so disturbing. In this picture two
women close in on the father, seated on the bed, in a caring but also sinister fashion,
watched by a child on the other side of the room. Nothing is explicit, but the situation
arouses a palpable unease. Rego and Maher are two artists in Family Matters whose
work alerts us to the fundamental ambivalence in our perception of family and home.
This exhibition boldly celebrates the image of the family in British life across 400 years.
Within its five thematic sections inheritance, childhood, parenting, couple and kinship,
and home it offers a range of perspectives. Even the most straightforward image
carries an agenda, ready to be unpacked as we examine pose, gesture, costume and
setting, all of which can signal class, wealth, profession, social status or the lack of it. In
this exhibition Mark Gertler's image of an impoverished and deracinated Jewish East End
family, painted in 1913, is as telling as Zoffany's 1694-95 portrait of the royal princes,

AULA 14: Testando

Gabriel Jorge

12/11/2011

George and Frederick, playing in the Queen's second drawing room at Buckingham
House (roughly where the Queen's Gallery now is), their poses pointedly echoing those
on the walls in portraits of their royal ancestors. Wherever and whenever the family is
found, it tells us much about our national and cultural identity through the ages.
Inevitably images of the family have changed greatly over time. The sudden
juxtapositions in this exhibition of the historical with the contemporary are used to good
effect. This shuttling to and fro across the centuries will encourage visitors, in their
looking, to travel beyond their comfort zones, whether their liking is for the contemporary
over the historical or vice versa.
One shift that quickly becomes evident is the way that, as patronage and commissioning
recede in importance, the artist becomes freer to pursue more personal and political
interests. The family becomes less obviously posed. We glimpse its goings on behind the
scenes, as it were; and the view can be alarmingly frank or unsettling. Sarah Jones's The
Dining Room (1997) is an enormous, openly contrived, affectless photograph in which
three well-groomed teenagers are posed so that they neither look at nor interact with
each other. One sits with her head on the table, her blonde hair falling across its polished
surface, itself one of the luxury ingredients in this impeccable upper-middle-class setting.
The narrative remains impenetrable, but attention is gripped by this high-resolution,
postmodern conversation piece.

1. Sabendo-se que conundrum (1, 1. L.) significa um tipo de enigma, traduza a

primeira frase do texto. _______________________________________________
________________________________________________________________.
2. O pronome demonstrativo this (1, 5. L.) refere-se a qu? _________________.
3. Maruqe todos os cognatos do 1.
4. Sabendo-se que a palavra trigger nomeia o gatilho de um revlver, explique o
sentido do verbo triggers (1, 5. L.) no contexto. ________________________
_________________________________________________________________.
5. Qual o sentido do verbo veer (1, 6. L.)? ______________________________.
6. Sabendo-se que a palavra bold usada no aplicativo Microsoft Word na funo de
negrito, explique tanto a a formao do termo boldly (2, 1. L.) quanto seu
sentido na frase. ___________________________________________________.
7. O pronome its (2, 2. L.) refere-se a qu? ______________________________.
8. Traduza e explique o termo range of perspectives (2, 3. L.) . _______________
________________________________________________________________.
9. Qual a conexo entre as artes de Mark Gertler e Zoffany? ____________________
_______________________________________________________________________
________________________________________________________________.
10. Entre as qualidades da exibio levantadas pelo autor do texto est uma que ele diz
que produz um timo efeito. Explique-a. ________________________________
_______________________________________________________________________
________________________________________________________________.
11. Explique o sintagma nominal straighforward image (2, 3. L.), traduzindo-o em
seguida.
__________________________________________________________
_________________________________________________________________.
12. A orao Wherever and whenever the family is found (2, 10a. L.) est na voz passiva
ou ativa? Seria possvel inverter essa voz? _________________________________
_________________________________________________________________.
3

AULA 14: Testando

Gabriel Jorge

12/11/2011

13. Explique por que o autor usa o tempo verbal have changed (3, 1. L.). ________
_________________________________________________________________.
14. Por que nenhum artigo usado nessa mesma frase (3, 1. L.)? ________________
_________________________________________________________________.
15. A segunda sentena do 3 possui vrios cognatos. Traduza-os adequadamente. ___
_______________________________________________________________________
_________________________________________________________________.
16. A quem o pronome their (3, 3. L.) se refere? ___________________________.
17. O pronome their (3, 4. L.) refere-se a mesma coisa que o pronome da questo
acima? ___________________________________________________________.
18. Traduza o pargrafo 3 completamente. ___________________________________
_______________________________________________________________________
_______________________________________________________________________
_______________________________________________________________________
_______________________________________________________________________
________________________________________________________________.
19. Sabendo-se que o verbo to recede significa retroceder, voltar atrs, por que, na
sua opinio, o autor do texto diz que o artista becomes freer (4, 2. L.)?
_______________________________________________________________________
_________________________________________________________________.
20. Qual o sentido da conjuno as (4, 1. L.)? ________________________________.
21. O termo affectless (4, 5. L.) foi formado pela adio de um sufixo. Qual? Qual o
sentido dele e como voc traduziria o termo? _______________________________
_________________________________________________________________.
22. Traduza todo o sintagma nominal em que o termo affectless aparece. __________
_______________________________________________________________________
__________________________________________________________________.
23. O termo falling (4, 7. L.) foi formado com a adio do sufixo ing. Neste caso, ele
um verbo ou um substantivo? ________________________________________. E o
termo setting, na linha imediatamente abaixo? ___________________________.
24. O termo one (4, 7. L.) um numeral nesse contexto? Explique. _____________
________________________________________________________________.
25. O termo one (4, 8. L.) equivale ao termo da pergunta anterior? Explique.
___________________________________________________________________.
26. Por que o autor usa o artigo the (4, 9. L.)? ______________________________
__________________________________________________________________.
27. Traduza a ltima sentena do pargrafo. __________________________________
_______________________________________________________________________
_________________________________________________________________.
28. Traduza, agora, o ttulo do artigo. _________________________________________
___________________________________________________________________.
29. Assim como o olho da matria. ___________________________________________
__________________________________________________________________.