In every photograph, behind every viewfinder, the unique character of its creator is reflected. Some may be warmhearted or cold. Some watch from the sideline while others get involved. Some people seek levels of aesthetics while others emphasize social consciousness. These different approaches are a creation of the thoughts of the individual.
In the 1960's, the outgoing photographer Weng T'ing-hua embodied a kind of acute wisdom and insight to present us with an image of the tranquility of former times. Weng's works done in black and white capture the poetry and rhythm of reality which can rarely be expressed. This type of individual feeling comes from his ability to mingle with and understand others around him.
It's difficult to maintain one's own style and direction; however, Weng T'ing-hua has been a success at it. He has recently retired from government office and stopped running the photography company where he has spent 23 years. Now, he's preparing to enroll in the Japanese School of Photography and Art, where he will take a course in "Theory of Photography." It's difficult to find an artist from the 1960's with the same opportunity and determination. For Weng T'ing-hua, photography has been his "occupation" for the latter half of his life. Looking at it from another angle, retirement is merely the first step.
Weng T'ing-hua was born in 1936 in Keelung, where he later held a government position. He first became interested in photography when he was 24 years old. He and a friend pooled their resources to buy a second-hand Olympus double-lens camera. On his first photo-taking trip he carelessly dropped the camera case into a valley as he was taking a photo from a suspension bridge. It's an experience he says he'll never forget.
During that materially impoverished generation, it was easier for people to maintain and to realize the true meaning of a tranquil life free from any worldly desires. At that time, Weng T'ing-hua cut corners just to make ends meet. He even had to take turns using the camera which he bought with his friend. Each experience he has gone through has given him a spirit which is reflected in his work. His insight is something which other photographers lacked then and still lack today.
Take "Countryside Wedding" for example. Weng used a solitary tree, a field, and a path in a field to portray a slight parting sorrow in the wedding procession. It's almost as if the bride, the flower girl, the matchmaker, and the friends are all walking down the long road of life, each absorbed in his or her own thoughts. Weng T'ing-hua's view from a distance captures the emotional relationship between man and nature.
When the wedding procession passed along the narrow path, the children from the village as well as some curious geese gathered together to watch. Weng brilliantly captured their movement in just a fraction of time. The photo, "Wedding March Song" was taken as Weng walked alongside the procession, thus creating a sense of movement. The adults, children, and geese, each with its own different mood, poise, and view are woven together to create this lively world of images. It conveys to the viewer the feelings among the people. Moreover, it grasps the spirit and technique behind realistic photography.
In "Old Street" and "The Ups-and-Downs of Life," we can see the pleasure and knowledge Weng T'ing-hua has in dealing with the topic of man and the road. The old cart in the road and the person's shadow bring back memories of the hardships of the past. The old woman alone on the mountain path and the shadow of the child running along the ridge between the plots of farmland accurately portray images of changes in time.
Weng spent more than twenty years running a photography company. Nineteen of those years he also worked as a photographer for the mayor of Keelung. His work has won him countless awards. In addition, he's been selected as both critic and chairman of many learned societies. However, his top priority still remains photography.
The difference between Weng T'ing-hua and other photographers is that he will go that extra step to make sure he gets the best shot possible. "Countryside Wedding" is an example of the fruit of his labor. Earlier, when he went to Chinshan, Yuna, and northern Wutu to take some photos, he handed out some postcards with his address on them. He asked the folks there to notify him if there was going to be a wedding in the area. It has been through efforts such as this that he has been able to capture those rare shots.
On account of Weng's keen perception, we have been able to get a glimpse of the mood and feelings of yesteryear and learn to appreciate and understand the art of photography. I think this is the most important function and contribution of photography.
[Picture Caption]
Weng T'ing-hua at age 29, 1965.
Countryside Wedding, 1965.
All Alone, 1964.
Old Street, 1967.
Wedding March Song, 1965.
Looking Back, 1987.
Corner of the House, 1983.
Peace Island Series, 1984.
Peace Island Series, 1985.
The Ups-and-Downs of Life, 1968.
Countryside Wedding, 1965.
Wedding March Song, 1965.
Corner of the House, 1983.
Peace Island Series, 1984.
Peace Island Series, 1985.
The Ups-and-Downs of Life, 1968.
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