22/EC/XVIII/II  1 

PART-II (Hkkx&II) BOOKLET CODE (Question-cum-Answer Booklet / iz'u&lg&mÙkj iqfLrdk) iqfLrdk dksM

Important: Please refer to your admit card while filling in details in this Question-cum-Answer Booklet. egRoiw.kZ% d`i;k vius izos'k i=k dks ns[kdj iz'u&lg&mÙkj iqfLrdk esa fooj.k HkjsaA

The written test structure is as given below / fyf[kr ijh{kk dh lajpuk uhps nh xbZ gS % Paper-I isij-I

Test Components ijh{k.k ?kVd

Question Nos.

iz'u&la[;k

No. of Questions dqy iz'u

Questions to be attempted

dqy iz'u gy djus gSa

Answers to be marked/written on

mÙkj fdl ij fy[kuk gS Part-1 Hkkx&1

Objective Type oLrqfu"B iz'u 1-50 50 50

OMR mÙkj i=kd

Part-2 Hkkx&2

Subjective Type vkRefu"B iz'u 1-8 8 5

Question-cum-Answer bookletiz'u&lg&mÙkj iqfLrdk

Please read instructions on the back cover carefully. fiNys doj ij fn, x, vuqns'kksa dks è;ku ls if

22/EC/XVIII/II  2 

22/EC/XVIII/II  3 

Directions (Questions 1-8) : Answer any five of the following eight questions. funsZ'k (iz'u 1-8) : fuEufyf[kr vkB esa ls fdUgha ikap iz'uksa ds mÙkj nsaA 1. (Marks/vad 5×2=10) A) In an outdoor landscape scene with bright daylight, consisting of Green folliage

(trees/plants/lawn etc.), and an approachable road to a bunglow with water fountain, describe in which lighting conditions it will look appealing from a photography point of view. Give reasons to support your statement.

d) ikuh dk iQOokjk yxs ,d caxys esa tgka rd ,d lM+d tkrh gS] gjs csy&cwVs (o`{k@ikS/s@ykWu vkfn) Hkh gSaA fnu dh pedhyh jks'kuh okys ,sls ckgj ds ySaMLdsi n`'; ds fy, o.kZu djsa fd iQksVksxzkiQh dh n`f"V ls fdl

izdkj dh izdk'k O;oLFkk esa ;g eksgd yxsxkA vius mÙkj ds leFkZu esa dkj.k crk,aA

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

22/EC/XVIII/II  4 

B) Draw a single sketch/drawing of the following scene/situation to visually explain the possible camera position and placement of visual elements in a Rectangle Compositional space given below.

Situation / Scene description : It is late evening. Near a riverside or lake, one human character is watching the sunset. In the background, sky and mountains are seen.

[k) uhps nh xbZ fLFkfr@n`'; fooj.k ds fy, ,d vk;rkdkj jpuk LFkku esa laHkkfor dSejk LFkku vkSj n`'; laca/h

rRoksa ds LFkku crkus okyk ,d vdsyk Ldsp@MªkWbax [khapsa tks bl n`';@fLFkfr dk n`f"Vxr fp=k.k djrh gksA

^^nsj 'kke dk oDr gSA ,d unh ;k >hy ds fudV ,d O;fDr lw;kZLr dks fugkj jgk gSA i`"BHkwfe

esa vkdk'k vkSj ioZr fn[k jgs gSaA**

Camera position / dSejk fLFkfr : …………………………………………………………………………...

……………………………………………………………………………………………………………

22/EC/XVIII/II  5 

2. (Marks/vad 5×2=10) A) In the picture/photo of a world famous monument : ‘‘Taj Mahal’’, what are the Architectural

aspects that you like most and why? d) fo'o izfl¼ Lekjd ^rktegy* ds fp=k@iQksVks esa okLrqdyk laca/h dkSu&ls igyw vkidks lcls vPNs yxrs

gSa vkSj D;ksa\

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

22/EC/XVIII/II  6 

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

22/EC/XVIII/II  7 

B) Describe the colour scheme used in any Indian film/TV programme you have liked and write about the psychological connection of colour with respect to the story.

[k) viuhs ilan dh fdlh Hkh Hkkjrh; fiQYe@Vh oh dk;ZØe esa iz;qDr fdlh fo'ks"k jax ;kstuk dk laf{kIr o.kZu djsaA dgkuh ds laca/ esa blds euksoSKkfud tqM+ko dh O;k[;k djsaA

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

22/EC/XVIII/II  8 

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

22/EC/XVIII/II  9 

(Marks/vad 10) 3. Imagine the following situation / scene and visualize it in five different compositions in terms of

sketches / drawings as per your perception to describe it visually along with text so as to tell a story.

Situation : A young boy drives his girlfriend in a car. The car stops at an isolated spot / place (like a deserted road, garden or a sea shore). He proposes her in style. She refuses his marriage proposal. He feels sad and offended. (Drawing / sketching skill is not important).

,d dgkuh dgus dh n`f"V ls ikB ds lkFk n`f"Vxr :i ls o.kZu djus ds fy, vius cks/ ds vuqlkj Ldsp@M

ªkWbax ds laca/ esa ikap vyx&vyx jpukvksa esa fuEufyf[kr fLFkfr@n`'; dh dYiuk vkSj fp=k.k djsa (MªkWbax@Ldsfpax

esa n{krk egRoiw.kZ ugha gS) %

fLFkfr % ,d toku yM+dk viuh efgyk fe=k dks dkj esa ys tk jgk gSA dkj ,d lqulku LFkku@txg

(tSls fd ,d lqulku lM+d] cxhpk ;k leqnz rV) ij #drh gSA og iwjh vnk ds lkFk mls fookg izLrko

nsrk gSA yM+dh fookg dk izLrko Bqdjk nsrh gSA yM+dk nq[kh vkSj viekfur eglwl djrk gSA

(i)

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

22/EC/XVIII/II  10 

(ii)

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

(iii)

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

22/EC/XVIII/II  11 

(iv)

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

(v)

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

22/EC/XVIII/II  12 

4. Write about the following terms. (Marks/vad 2×5=10)

fuEufyf[kr inksa ('kCnksa) ds ckjs esa fVIi.kh fy[ksa %

1) Resolving Power of a lens / ,d ysUl dh foHksnd 'kfDr

2) Sensitivity of a sensor / ,d lsalj dh laosfnrk

3) f number and shutter speed / f la[;k vkSj 'kVj LihM (pky)

4) White Balance and Black Balance / 'osr larqyu vkSj ';ke larqyu

5) HMI lights / HMI ykbV

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

22/EC/XVIII/II  13 

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

22/EC/XVIII/II  14 

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

22/EC/XVIII/II  15 

5. (Marks/vad 5×2=10) A) Write about the term ‘‘Persistence of Vision’’ & its relationship with Moving Images. d) ̂ ^n`f"V dk lkrR;** vkSj pyk;eku Nfo;ksa (fp=kksa) ds lkFk bldk laca/ & bl fo"k; ij laf{kIr fVIi.kh

fy[ksaA

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

22/EC/XVIII/II  16 

B) During still photography of an exterior Night Scene of a Market Place, what will be your parameters for Exposure setting?

[k) fdlh cktkj esa jkr ds le; ckgj ds n`'; dh fLVy iQksVksxzkiQh ds nkSjku ,Dlikst+j (vukoj.k) lsfVax ds

fy, vkids ekud (iSjkehVj) D;k gksaxs\

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

22/EC/XVIII/II  17 

6. (Marks/vad 5×2=10) A) What is the impact of ‘‘Painting’’ on the art of photography. Give one example where such

influence is noticed by you. d) iQksVksxzkWiQh dh dyk ij ̂ isafVax* ds izHkko ds ckjs esa la{ksi esa o.kZu djsaA ,slk ,d mnkgj.k nsa tgka ,slk izHkko

vkius uksfVl fd;k gksA

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

22/EC/XVIII/II  18 

B) Write about the relationship of perception of the human eye and photography. [k) ekuo usrz ds vocks/u (míhiu) vkSj iQksVksxzkiQh ds laca/ esa la{ksi esa o.kZu djsaA

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

22/EC/XVIII/II  19 

7. (Marks/vad 5×2=10) A) What are the functions of a Telephoto lens and a Zoom lens in photography? d) iQksVksxzkiQh esa VsyhiQksVks ysUl vkSj T+kwe ysUl ds dk;ks± ds ckjs esa la{ksi esa o.kZu djsaA

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

22/EC/XVIII/II  20 

B) What is the difference between ‘‘Optical Zoom’’ and ‘‘Digital Zoom’’ in photography? [k) iQksVksxzkiQh esa ^vkWfIVdy T+kwe* vkSj ^fMftVy T+kwe* ds chp D;k varj gS\

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………………………

22/EC/XVIII/II  21 

8. Fill in the blanks (Answer any five) (Marks/vad 2×5=10)

fjDr LFkkuksa dks Hkjsa (fdUgha ikap ds mÙkj nsa) %

i) The visible contrast in a scene is the difference between ___________________________

and ______________________________________.

fdlh n`'; esa n`f"Vxkspj foi;kZl _____________________________________________ vkSj

____________________________________________ ds chp varj gksrk gSA

ii) Light travels in ________________________________________________ and it will get

__________________________________________ while entering into a different medium.

izdk'k ______________________________________ esa xeu djrk gS vkSj ,d fHkUu ekè;e esa izos'k

djrs le; ;g ________________________________________________ gks tk,xkA

iii) A still picture of an object taken with its reflection in a mirror or on water will create

___________________________________ and ___________________________________.

niZ.k ;k ikuh esa ijNkbZ ds lkFk yh xbZ fdlh oLrq dh fLVy iQksVks __________________________

vkSj __________________________________________________ cuk,xhA

iv) A wide angle lens will cover ___________________________________ and a telephoto

lens will cover ___________________________________________.

,d okbM ,saxy ysUl _______________________________ dks doj djsxh vkSj ,d VsyhiQksVks ysUl

_______________________________________________ dks doj djsxhA

v) A zoom lens movement during its operation will change __________________________

and _____________________________________________.

vius izpkyu ds nkSjku ,d twe ysUl lapyu __________________________________________

vkSj ___________________________________________ dks cnysxkA

vi) A Movie camera's physical movement will change ______________________________

along with _______________________________________.

fdlh ewoh (pyfp=k) dSejk dk izR;{k lapyu _________________________________________

ds lkFk __________________________________________ dks ifjofrZr djsxkA

22/EC/XVIII/II  22 

Space for Rough Work

22/EC/XVIII/II  23 

Space for Rough Work

22/EC/XVIII/II  24 

INSTRUCTIONS TO CANDIDATE / ijh{kkFkhZ ds fy, vuqns'k 1. Please do not open this Question-cum-Answer Booklet until asked to do so. 2. Fill up the necessary information in the space provided on the cover of Question-cum-Answer Booklet

before commencement of the test. 3. The duration of the complete test (Part-I & Part-II) is 180 minutes. 4. Please check for completeness of the Question-cum-Answer Booklet immediately after opening.

5. There are 5 subjective type questions to be attempted. Answers are to be written in the space provided. All questions are to be attempted in only one language, i.e., either in English or in Hindi.

6. In case of any ambiguity in translation, the English version will be deemed authentic. 7. Use only Ball Point Pen to write the answers. 8. Rough work, if any, is to be done on the Question-cum-Answer Booklet only. No separate sheet will be

provided/used for Rough Work. 9. Calculator, Mobile, etc., are not permitted inside the examination hall. 10. Candidates seeking, receiving and/or giving assistance during the test will be disqualified. 11. Appropriate civil/criminal proceedings will be instituted against the candidate taking or attempting to take

this Question-cum-Answer Booklet or part of it outside the examination hall. 12. The right to exclude any question(s) from final evaluation rests with the testing authority. 13. Do not seek clarification on any item in the question-cum-Answer booklet from the test invigilator. Use

your best judgment. 1. tc rd dgk u tk;s bl iz'u&lg mÙkj iqfLrdk dks u [kksysaA

2. ijh{kk 'kq: gksus ls igys iz'u&lg mÙkj iqfLrdk ds vkoj.k ij fn;s x;s LFkku ij vko';d lwpuk HkjsaA

3. ijh{kk dk dqy le; (Hkkx-I vkSj Hkkx-II ds fy,) 180 feuV gSA

4. iz'u&iqfLrdk [kksyus ds rqjUr ckn tkap dj ysa fd iz'u&lg mÙkj iqfLrdk iwjh gSA

5. dqy 5 vkRefu"B iz'u gy djus gSaA mÙkj fn;s x;s mÙkj&i=kd ij djsaA lHkh iz'uksa ds mÙkj dsoy ,d gh Hkk"kk esa nsus gSa ;kfu vaxzsth ;k fgUnh esaA

6. ;fn vuqokn esa dksbZ vLi"Vrk gks] rks vaxzsth ikB lgh ekuk tk,xkA

7. mÙkj nsus ds fy, dsoy cky ikWbaV isu dk iz;ksx djsaA

8. ;fn dksbZ dPpk dke djuk gS rks og dsoy iz'u&lg&mÙkj iqfLrdk ij gh djsaA dPps dke ds fy, dksbZ vyx ls 'khV ugha nh tk,xh@iz;ksx esa ugha yk;h tk,xhA

9. dSYdqysVj] eksckby vkfn ijh{kk gkWy ds vUnj ys tkus dh vuqefr ugha gSA

10. vuqfpr lk/uksa dk iz;ksx djus okys ijh{kkFkhZ dks v;ksX; Bgjk fn;k tk,xkA

11. bl iz'u&lg mÙkj iqfLrdk ;k blds fdlh Hkkx dks ijh{kk gkWy ls ckgj ys tkus ;k ys tkus dh dksf'k'k djus okys ijh{kkFkhZ dh ijh{kkFkhZ&ik=krk dks jn~n djus ds vykok mlds fo:¼ leqfpr nhokuh@iQkStnkjh dk;Zokgh dh tk,xhA

12. vafre ewY;kadu ls fdlh iz'u dks fudky nsus dk vf/dkj ijh{kk izkf/dkjh ds gkFk esa gSA

13. iz'u&lg mÙkj iqfLrdk esa fdlh Hkh oLrq ij tkap vUoh{kd ls Li"Vhdj.k u ekaxsA vius foosd dk iz;ksx djsaA

This Question-cum-Answer Booklet is to be returned on completion of the test.

ijh{kk iwjh gksus ij ;g iz'u&lg&mÙkj iqfLrdk ykSVk nsaA