input: 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.

Answer this question "Did Eakins paint the things he photographed?"
output: Some figures appear to be detailed transcriptions and tracings from the photographs by some device

input: Dickinson went to audition for Iron Maiden at a rehearsal room in Hackney in September 1981 and immediately discovered that this was a much more professional operation than he was used to with Samson. In the practice rooms, the band played through "Prowler", "Sanctuary", "Running Free" and "Remember Tomorrow", before asking Dickinson to sing the same songs again in a recording studio, and he was immediately inducted into the group. Iron Maiden had a strict and organised routine that suited the band's writing style, which Dickinson described as a "time table". After a few gigs, they began writing new material for their third album, The Number of the Beast, released in 1982. In the wake of Samson's contractual problems, Dickinson could not legally be credited on any of the record's songs, having to make, what he called, a "moral contribution", later revealing that he had contributed limited creative input to "The Prisoner", "Children of the Damned" and "Run to the Hills". The album was a major success, topping the UK charts, and earning platinum status in the UK and the US. Following the release, the band embarked on a supporting tour around the globe. On the following albums, 1983's Piece of Mind and 1984's Powerslave, Steve Harris's song-writing monopoly was pushed aside in favour of other members' ideas, with Dickinson contributing to a number of tracks, including the singles "Flight of Icarus" and "2 Minutes to Midnight". Throughout the World Slavery Tour, as part of the new theatrical elements incorporated into the band's stage-show, Dickinson wore a feathered mask during "Powerslave". This was the band's longest tour to date, during which Dickinson considered going home mid-tour, due to the high number of shows. Iron Maiden's management were continually adding dates, until Dickinson demanded that they stop or he would leave the group.

Answer this question "How did he get his start?"
output: Dickinson went to audition for Iron Maiden at a rehearsal room in Hackney in September 1981

input: During the World's Columbian Exposition at Chicago, Illinois, in 1893, IC was charged with providing commuter service for the thousands of visitors to the fairground. A call was sent out for trainmen who wanted to work there. Jones answered it, spending a pleasant summer there with his wife. He shuttled many people from Van Buren Street to Jackson Park during the exposition. It was his first experience as an engineer in passenger service and he liked it. At the fair (also called The Chicago World's Fair), he became acquainted with No. 638, a big new freight engine IC had on display as the latest and greatest technological advancement in trains. It had eight drive wheels and two pilot wheels, a 2-8-0 "Consolidation" type. At the closing of the fair, No. 638 was due to be sent to Water Valley for service in the Jackson District. Jones asked for permission to drive the engine back to Water Valley. His request was approved, and No. 638 ran its first 589 miles (948 km) with Jones at the throttle to Water Valley. Jones liked No. 638 and liked working in the Jackson District because his family was there. They had once moved to Water Valley, but returned to Jackson, which they felt was home. Jones drove the engine until he transferred to Memphis in February 1900. No. 638 stayed in Water Valley. That year he drove the engine that became most closely associated with him, for one time. That was Engine No. 382, known affectionately as "Ole 382.", or "Cannonball". It was a steam-driven Rogers 4-6-0 "Ten Wheeler" with six drivers, each approximately six feet (1.8 m) high. Bought new in 1898 from the Rogers Locomotive Works, it was a very powerful engine for the time. When a potential disaster arose, all of Jones' skill and the engine's responsiveness were put to the greatest test. His regular fireman on No. 638 was his close friend, John Wesley McKinnie, with whom he worked exclusively from about 1897 until he went to the passenger run out of Memphis. There he worked with his next and last fireman, Simeon T. "Sim" Webb in 1900.

Answer this question "When did he drive the engine?"
output:
Jones drove the engine until he transferred to Memphis in February 1900.