As industrialisation came to define Western life in the 19th century, industry employed photography to portray its successes and strengths. For example, in 1857 British photographer Robert Howlett took pictures of the British steamship Great Eastern, the largest vessel of its day, and of its designer and engineer, Isambard Kingdom Brunel. He depicted both ship and man as heroic exemplars of the age. In addition to recording the construction of railroads, ships, buildings, and bridges, photography proved useful to medicine and the fledgling social sciences, such as ethnology, psychology, and sociology. Doctors wanted before-and-after pictures of wounded Civil War soldiers to study the effects of surgery. Psychologists studied photographs of mental patients in an attempt to visually discern their disorders. Fields as dissimilar as biology and astronomy demanded whole catalogues of new photographs to record and classify a rapidly expanding body of knowledge. American photographer Edward S. Curtis produced a 20-volume ethnographic survey of the native peoples of North America. Like much early scientific photography, Curtis’s work suffered from his own cultural biases in this case, an overly romantic view of how Native Americans should look. He supplied his subjects with props and costumes that were not always authentic, and his photographs are no longer considered accurate as documentation. The development of faster cameras n the 1870s spurred scientists and others to use photography in the systematic study of human and animal movement. In 1878 Muybridge used a series of photographs of a galloping horse to demonstrate to an amazed world that the animal lifts all four feet off the ground at once. His work inspired Philadelphia painter Thomas Eakins to take up the camera so he could more accurately depict motion in his paintings. French physiologist Etienne-Jules Marey also followed Muybridge’s example and devised a special camera to record sequential photographs on a single plate. Marey used this method to develop insights into the flight of birds, human movement, and the workings of the human eye. His experiments helped prepare the way for airplane flight, motion pictures, and modern athletic training. In the last quarter of the 19th century the camera helped record the plight of the dispossessed, displaced, and overlooked. One of the earliest attempts to document urban poverty was made by Scottish photographer Thomas Annan, who aimed his camera at the empty, unsanitary alleyways of Glasgow in 1868. City officials commissioned Annan’s documentation to justify replacement of Glasgow’s unsavory slums with new development. John Thomson went a step further with candid photographs of poor people themselves, published in a series called Street Life in London (1877). In the United States, Danish-born journalist Jacob Riis saw the virtue of photographs as well as words in his campaign to improve the lot of poor city dwellers in New York City. He first hired photographers to accompany him into the slums, and later began taking pictures himself. Riis illuminated dark, airless interiors with bright bursts of light that he produced by igniting magnesium flash powder. He showed the pictures at public lectures and later published them in a book entitled How the Other Half Lives (1890). Riis’s tireless advocacy helped bring about better conditions for some slum dwellers, and initiated the use of photography as a powerful tool in the fight against poverty. Which of the following best reflects the comment of the author on Curtis’s photographic work