Hsieh Chen-lung was born in 1933 in Miaoli, Taiwan. Because his father studied photography in Tokyo, Hsieh Chen-lung was from a young age able to view his father's photographs and was thoroughly immersed in photos. Consequently, he became extremely interested in painting and photography. Later on, he Started his own developing shop. In 1963, he won the first prize in the annual photography contest sponsored by Japan's Photographic Art magazine. After that, he won many other awards. Two years later, as chance would have it, he entered employment in Hong Kong's Shaw Brothers film studio, working as the in-house poster photographer. Up to now, he has photographed more than 150 films. He also engages in creative photography and has held an exhibition titled "Orchid Island Realist Photography."

[Picture Caption]

p.115

This is classic example of a finely crafted poster. There are two people in the poster, and both of them face the audience. In the composition, it is easy to understand the theme of inseparable love. The actress cannot bear the fact that the actor is leaving, but there is nothing he can do about it; he has the duty weighing down on his shoulders to go backand arrest the mountain bandits. She can not help but shed tears in secret, but she dare not let her lover see it. How dramatic!

Chang Chung, Ting Hung, 1964; Mountain Bandits

p.116

Photographing for posters is highly free and independent work. The traditional way of doing it is to let the actors pose or stop during the action. As a result, all the actors have stone-like expressions. I like to use a "sketching" method to catch actors' natural expressions, actions and charm. This photo showing actress Chang Mei-yao in the movie "When Flowers Wither" once won a Japanese photography award.

Chang Mei-yao, 1967: When Flowers Wither

p.117

Well described by the title of one of her films, Victorious Easterner, L in was just accompanying a friend auditioning for a part when she caught the director's eye instead. Just a babe in the woods when she entered the film world, she has since become one of its greatest stars. This is the clean and fresh look she had early in her career. Everybody says that she is a very "photogenic" actress, but as far as I'm concerned no one's photogenic or unphotogenic. It's just a question of the photographer's skill.

Lin Ching-hsia, 1976: Tomorrow Will Be My Twentieth Birthday

p.118

When Golden Horse winner Lu Hsiao-fen first started acting in films, if she wasn't a hooker, she was a hoodlum. She had a rough demeanor without any of the grace of a leading lady, and she often played characters older than her. As time has passed, she has not only has stayed young but looks ever more beautiful in comparison to herself on screen. I often joke with her and say, "What luck!"

Lu Hsiao-fen, 1983: A Flower in the Rainy Night

p.119

Wang Yin is the granddaddy of the Chinese film community. For me, he resembles my father, both for his looks and stubbornness. Off camera, he'd not only tell the workmen how to go about their lives but would also remind us, "Don't drink too much or you'll easily get on people's bad side!"

Wang Yin, 1971: Red Whiskers

p.120

Wang Yu, an overnight sensation with The One-Armed Sword Master, had a martial arts background and in the action scenes would almost forget that he was acting. The martial arts stuntmen feared working with him. Offscreen, he was a very righteous man. Once when he was shooting on location in Hong Kong, an old lady's cry of "stop thief" echoed out from an apartment building. Wang Yu jumped up in pursuit. With one kick, Wang upended the thief, giving his head a big lump. Sentenced to two years, the thief came looking for "payback" when he got out. Without blinking an eye, Wang got him a job at Shaw Brothers in "compensation."

Wang Yu, 1973: War God Beach

p.121

With a piercing gaze, solid frame and an impressive stance, Ti Lung has quite a presence. He needn't raise his voice to grab your attention. Because he is a truly a gifted actor, every move he makes is a drama in itself. When shooting stills of his movies, I can't help but click away like crazy as I follow his expressions. I just can't stop.

Ti Lung, 1980: Story of the Righteous Heros

p.122

A respectful piece of advice to all the parents of the world: You needn't worry if your children are naughty; Pa Ke is living proof. When acting in movies as a kid, he was a merry prankster around the set. Because he was so guileful, grown-ups would call him "venerable master" to keep on his good side. And so I say that naughty kids are smart. Though a mischievous youngster, Pa Ke has made quite a success of himself as an adult. And being sharp and quick has been his biggest asset in the world of film an d television.

BaKe, 1969: The Little Flying Hero

p.123

The 1970s were the golden age of kungfu movies. At the time, hidden suspension cables and cushions weren't in vogue. They didn't fake the action shots, making it tough on both the actors and the martial arts stuntmen. In this period, they would start booking a movie in theaters as soon as they had the stills--even if they hadn't started filming. The result was that theaters booked quite a few duds. Finally, they got wise and wanted to see previews too.

Chiang Ta-Wei,1976:One-Armed Sword masters

Pai Ying,1979:Charging Horses,Flying Sand

Wu Chia-chi, 1967: Clean Blade

This is classic example of a finely crafted poster. There are two people in the poster, and both of them face the audience. In the composition, it is easy to understand the theme of inseparable love. The actress cannot bear the fact that the actor is leaving, but there is nothing he can do about it; he has the duty weighing down on his shoulders to go backand arrest the mountain bandits. She can not help but shed tears in secret, but she dare not let her lover see it. How dramatic! Chang Chung, Ting Hung, 1964; Mountain Bandits

Photographing for posters is highly free and independent work. The traditional way of doing it is to let the actors pose or stop during the action. As a result, all the actors have stone-like expressions. I like to use a "sketching" method to catch actors' natural expressions, actions and charm. This photo showing actress Chang Mei-yao in the movie "When Flowers Wither" once won a Japanese photography award. Chang Mei-yao, 1967: When Flowers Wither

Well described by the title of one of her films, Victorious Easterner, L in was just accompanying a friend auditioning for a part when she caught the director's eye instead. Just a babe in the woods when she entered the film world, she has since become one of its greatest stars. This is the clean and fresh look she had early in her career. Everybody says that she is a very "photogenic" actress, but as far as I'm concerned no one's photogenic or unphotogenic. It's just a question of the photographer's skill. Lin Ching-hsia, 1976: Tomorrow Will Be My Twentieth Birthday

When Golden Horse winner Lu Hsiao-fen first started acting in films, if she wasn't a hooker, she was a hoodlum. She had a rough demeanor without any of the grace of a leading lady, and she often played characters older than her. As time has passed, she has not only has stayed young but looks ever more beautiful in comparison to herself on screen. I often joke with her and say, "What luck!" Lu Hsiao-fen, 1983: A Flower in the Rainy Night.

Wang Yin is the granddaddy of the Chinese film community. For me, he resembles my father, both for his looks and stubbornness. Off camera, he'd not only tell the workmen how to go about their lives but would also remind us, "Don't drink too much or you'll easily get on people's bad side!" Wang Yin, 1971: Red Whiskers.

Wang Yu, an overnight sensation with The One-Armed Sword Master, had a martial arts background and in the action scenes would almost forget that he was acting. The martial arts stuntmen feared working with him. Offscreen, he was a very righteous man. Once when he was shooting on location in Hong Kong, an old lady's cry of "stop thief" echoed out from an apartment building. Wang Yu jumped up in pursuit. With one kick, Wang upended the thief, giving his head a big lump. Sentenced to two years, the thief came looking for "payback" when he got out. Without blinking an eye, Wang got him a job at Shaw Brothers in "compensation." Wang Yu, 1973: War God Beach

With a piercing gaze, solid frame and an impressive stance, Ti Lung has quite a presence. He needn't raise his voice to grab your attention. Because he is a truly a gifted actor, every move he makes is a drama in itself. When shooting stills of his movies, I can't help but click away like crazy as I follow his expressions. I just can't stop. Ti Lung, 1980: Story of the Righteous Heros.

A respectful piece of advice to all the parents of the world: You needn't worry if your children are naughty; Pa Ke is living proof. When acting in movies as a kid, he was a merry prankster around the set. Because he was so guileful, grown-ups would call him "venerable master" to keep on his good side. And so I say that naughty kids are smart. Though a mischievous youngster, Pa Ke has made quite a success of himself as an adult. And being sharp and quick has been his biggest asset in the world of film an d television. BaKe, 1969: The Little Flying Hero