Problem: Background: John Brian "George" Statham, CBE (17 June 1930 - 10 June 2000) was one of the leading English fast bowlers in 20th century English cricket. Initially a bowler of a brisk fast-medium pace, Statham was able to remodel his action to generate enough speed to become genuinely fast. This, together with unflagging accuracy and the ability to make the ball - new or old - break back, made Statham a consistent force both for Lancashire in the County Championship and in Test cricket, where his strikepower helped give England perhaps its strongest attack of the 20th century during the 1950s and early 1960s. He overtook Alec Bedser's record of 236 Test wickets in the Fourth Test at the Adelaide Oval in 1962-63.
Context: Despite a record benefit against the Australians and a few wonderful performances in 1961 (notably 8 for 47 against Hampshire), decline set in for the previously incomparable bowler. His haul of wickets fell from 97 at 10.91 to 78 at 17.93 and Lancashire became a weak county for the first time in Championship history. In 1962, though he was as good as ever in the Tests against Pakistan, with little support for him and Higgs, Statham fell further and only just reached 100 wickets, with Lancashire only just escaping finishing last. When Fred Trueman and Statham toured Australia for the 1962-63 Ashes series they had 216 and 229 wickets respectively were poised to overtake the record of 236 Test wickets set by the assistant-manager Alec Bedser. The Australian captain Richie Benaud was another contender with 219 wickets, but it was Statham who broke the record in the Fourth Test at Adelaide. Trueman caught Barry Shepherd in the gully to give him his record 237th wicket. Despite the record Statham rarely shined on the tour, taking 13 wickets (44.61), and was used as a steady stock bowler. Statham took his record to 242 wickets, but returned to England while Trueman continued to New Zealand, where he broke Statham's record after only two months. In 1963, whilst his county form on overgrassed pitches was back to something close to his best, on the less grassy surfaces in the First Test against the West Indies his bowling lacked its old venom, and he was surprisingly replaced by the veteran Derek Shackleton for the rest of the series - a move criticised heavily in the press because it was known fast bowlers would do well at Lord's. A highlight that year came when Statham took five wickets in the first-ever Gillette Cup match against Leicestershire. In 1964, Statham, despite the arrival of Sonny Ramadhin to provide help, was disappointing and out of contention for the Ashes Tests. He did take 15 for 108 against a weak Leicestershire side and 7 for 50 against Warwickshire at Coventry, but had more bad matches than in any other season of his career.
Question: What were some of the things that caused his decline?
Answer: His haul of wickets fell from 97 at 10.91 to 78 at 17.93

Problem: Background: Thomas Cowperthwait Eakins (July 25, 1844 - June 25, 1916) was an American realist painter, photographer, sculptor, and fine arts educator. He is widely acknowledged to be one of the most important artists in American art history. For the length of his professional career, from the early 1870s until his health began to fail some 40 years later, Eakins worked exactingly from life, choosing as his subject the people of his hometown of Philadelphia. He painted several hundred portraits, usually of friends, family members, or prominent people in the arts, sciences, medicine, and clergy.
Context: Eakins has been credited with having "introduced the camera to the American art studio". During his study abroad, he was exposed to the use of photography by the French realists, though the use of photography was still frowned upon as a shortcut by traditionalists. In the late 1870s, Eakins was introduced to the photographic motion studies of Eadweard Muybridge, particularly the equine studies, and became interested in using the camera to study sequential movement. In the mid-1880s, Eakins worked briefly alongside Muybridge in the latter's photographic studio at the University of Pennsylvania in Philadelphia. Eakins soon performed his own independent motion studies, also usually involving the nude figure, and even developed his own technique for capturing movement on film. Whereas Muybridge's system relied on a series of cameras triggered to produce a sequence of individual photographs, Eakins preferred to use a single camera to produce a series of exposures superimposed on one negative. Eakins was more interested in precision measurements on a single image to aid in translating a motion into a painting, while Muybridge preferred separate images that could also be displayed by his primitive movie projector. After Eakins obtained a camera in 1880, several paintings, such as Mending the Net (1881) and Arcadia (1883), are known to have been derived at least in part from his photographs. Some figures appear to be detailed transcriptions and tracings from the photographs by some device like a magic lantern, which Eakins then took pains to cover up with oil paint. Eakins' methods appear to be meticulously applied, and rather than shortcuts, were likely used in a quest for accuracy and realism. An excellent example of Eakins' use of this new technology is his painting A May Morning in the Park, which relied heavily on photographic motion studies to depict the true gait of the four horses pulling the coach of patron Fairman Rogers. But in typical fashion, Eakins also employed wax figures and oil sketches to get the final effect he desired. The so-called "Naked Series", which began in 1883, were nude photos of students and professional models which were taken to show real human anatomy from several specific angles, and were often hung and displayed for study at the school. Later, less regimented poses were taken indoors and out, of men, women, and children, including his wife. The most provocative, and the only ones combining males and females, were nude photos of Eakins and a female model (see below). Although witnesses and chaperones were usually on site, and the poses were mostly traditional in nature, the sheer quantity of the photos and Eakins' overt display of them may have undermined his standing at the Academy. In all, about eight hundred photographs are now attributed to Eakins and his circle, most of which are figure studies, both clothed and nude, and portraits. No other American artist of his time matched Eakins' interest in photography, nor produced a comparable body of photographic works.
Question: What else made Eakins pursue photography?
Answer:
In the late 1870s, Eakins was introduced to the photographic motion studies of Eadweard Muybridge, particularly the equine studies, and became interested in using the camera to study sequential movement.