input: In 1856, Dodgson took up the new art form of photography under the influence first of his uncle Skeffington Lutwidge, and later of his Oxford friend Reginald Southey. He soon excelled at the art and became a well-known gentleman-photographer, and he seems even to have toyed with the idea of making a living out of it in his very early years.  A study by Roger Taylor and Edward Wakeling exhaustively lists every surviving print, and Taylor calculates that just over half of his surviving work depicts young girls, though about 60% of his original photographic portfolio is now missing. Dodgson also made many studies of men, women, boys, and landscapes; his subjects also include skeletons, dolls, dogs, statues, paintings, and trees. His pictures of children were taken with a parent in attendance and many of the pictures were taken in the Liddell garden because natural sunlight was required for good exposures.  He also found photography to be a useful entree into higher social circles. During the most productive part of his career, he made portraits of notable sitters such as John Everett Millais, Ellen Terry, Dante Gabriel Rossetti, Julia Margaret Cameron, Michael Faraday, Lord Salisbury, and Alfred, Lord Tennyson.  By the time that Dodgson abruptly ceased photography (1880, over 24 years), he had established his own studio on the roof of Tom Quad, created around 3,000 images, and was an amateur master of the medium, though fewer than 1,000 images have survived time and deliberate destruction. He stopped taking photographs because keeping his studio working was too time-consuming. He used the wet collodion process; commercial photographers who started using the dry-plate process in the 1870s took pictures more quickly. Popular taste changed with the advent of Modernism, affecting the types of photographs that he produced.

Answer this question "Did he photograph any famous people?"
output: he made portraits of notable sitters such as John Everett Millais, Ellen Terry, Dante Gabriel Rossetti, Julia Margaret Cameron, Michael Faraday, Lord Salisbury, and Alfred, Lord Tennyson.

input: Kohli is a naturally aggressive batsman with strong technical skills. He usually bats in the middle-order, but, on many occasions, has opened the innings as well. He bats with a slightly open-chested stance and a strong bottom-hand grip, and is said to have quick footwork. He is known for his wide range of shots, ability to pace an innings and batting under pressure. He is strong through the mid-wicket and cover region. He has said that the cover drive is his favourite shot, while also saying that the flick shot comes naturally to him. He does not play the sweep shot often, being called "not a natural sweeper of the cricket ball". His teammates have praised his confidence, commitment, focus and work ethics. Kohli is also known to be a "sharp" fielder.  Kohli is regarded as the best limited-overs batsmen in the world, especially while chasing. In ODIs, he averages more than 67 in matches batting second as opposed to around 47 batting first. 21 of his 35 ODI hundreds have come in run-chases and he holds the record for most hundreds batting second. Regarding his impressive record batting second, Kohli has said "I love the whole situation that comes with chasing. I like the challenge of testing myself, figuring out how to rotate strike, when to hit a boundary."  Kohli is often compared to Sachin Tendulkar, due to their similar styles of batting, and sometimes referred to as Tendulkar's "successor". Many former cricketers expect Kohli to break Tendulkar's batting records. Kohli has stated that growing up his idol and role model was Tendulkar and that as a kid he "tried to copy the shots [Tendulkar] played and hit sixes the way he used to hit them." Former West Indies great Vivian Richards, who is regarded as the most destructive batsman in cricket, stated that Kohli reminds him of himself. In early 2015, Richards said Kohli was "already legendary" in the ODI format, while former Australian cricketer Dean Jones called Kohli the "new king of world cricket".  Kohli is noted for his on-field aggression and was described in the media as "brash" and "arrogant" during his early career. He has got into confrontations with players and umpires on several occasions. While many former cricketers have backed his aggressive attitude, some have criticised it. In 2012, Kohli had stated that he tries to limit his aggressive behaviour but "the build-up and the pressure or the special occasions make it tough to control the aggression."

Answer this question "What else is important about his playing style?"
output: He bats with a slightly open-chested stance and a strong bottom-hand grip, and is said to have quick footwork.

input: Upon being renamed from Chicago Transit Authority to Chicago, the band sported a new logo. Its inspiration was found in the design of the Coca-Cola logo, in the attitude of the city of Chicago itself, and in the desire to visually transcend the individual identities of the band's members. It was designed by the Art Director of Columbia/CBS Records, John Berg, with each album's graphic art work being done by Nick Fasciano. Berg said, "The Chicago logo...was fashioned for me by Nick Fasciano from my sketch."  The logo would serve as the band's chief visual icon from Chicago II, onward. In various artistic forms and visual similes, it has been the subject of every subsequent album cover, except the fifteenth album, Greatest Hits, Volume II. For example, it appeared as an American flag on III, a piece of wood on V, a U.S. dollar bill on VI, a leather relief on VII, an embroidered patch on VIII, a chocolate bar on X, a map on XI, a building on 13, a fingerprint on XIV, a computer silicon chip on 16, a parcel on 17, a mosaic on 18, and an aquarelle on 19. Chicago IX's incarnation was a caricature of the band itself, in the shape of the logo.  The album cover series has endured as a cataloged work of art in its own right, described by Paul Nini of the American Institute of Graphic Arts as a "real landmark in record cover design". In 2013, the iconic status of Chicago's album art was featured in a New York art museum exhibit, which centered upon ninety-five album covers completely selected from John Berg's career portfolio of hundreds. Having overseen the design of approximately fourteen Chicago album covers across more than twenty years, Berg stated that this artistic success resulted from the combination of Chicago's "unique situation" and his position in "the best possible job at the best possible time to have that job, at the center of the graphic universe". Berg won the 1976 Grammy Award for Best Album Package for Chicago X, one of four Grammy Awards he won in his lifetime.  The book titled Type and Image: The Language of Graphic Design described the logo as "a warm vernacular form, executed in thick script letters with Victorian swashes in the tradition of sports teams and orange crate labels." The book mentions the cultural and material background of the city of Chicago as inspiration for the logo; for example, describing the leather embossing of Chicago VII as representative of the great fire and the stockades. The author connects the album art to the atmosphere of the band's namesake city, quoting the band's original manager, James William Guercio: "The printed word can never aspire to document a truly musical experience, so if you must call them something, speak of the city where all save one were born; where all of them were schooled and bred, and where all of this incredible music went down barely noticed; call them CHICAGO."

Answer this question "when did the book come out?"
output: