While northern Taiwan proliferated with photographic societies during the 1950's, the seemingly only such organization of note in the center of the island at that time was the Taichung Photography Society, which was headed by a number of prominent photographers, Ch'en Keng-pin among them. During the mid-50's, this photographer's tasteful use of bright, clear subjects, his creativity in applying darkroom techniques which carefully preserved the original appearance of the subject, and the alluring appeal of his work were all brought together to the fullest of their potential.

The majority of Ch'en Keng-pin's photos are of natural scenery, where his employment of crystal-clear priorities and a delicate, quality feel took the place of the typically obscure, artificial beautification of other photographers. These attributes provided a more direct and powerful expression to the essential face of his photography. His portraits of people and still-lifes are imbued with a blend of both artistic value and realism; in his warm, mild approach there is revealed a sense of respectful regard for life and the natural world.

Ch'en Keng-pin was born in 1921 in Shenkang Village, Taichung County. Being from a farming family which lived constantly at the edge of poverty, he dropped out of school upon completing his elementary education and went immediately to work. At the age of fourteen he was hired to assist in the Photography Department of the Taiwan News, the only newspaper in Taichung at that time. Due to his diligently studious nature, he was promoted two years later to the position of photojournalist, thereby becoming the first Taiwanese photojournalist to work in central Taiwan during the Japanese occupation.

These achievements did not, however, leave Ch'en Keng-pin prone to an attitude of self-satisfaction. He continued with the sedulous pursual of his research into photographic and plate-printing skills, while spending the better part of his income on books, absorbing the knowledge and technology of numerous and diverse fields. Owing to his outstanding work performance, he rose to be director of the Photography Department before he reached his nineteenth year.

The concepts involved in the majority of photographic works produced on Taiwan during the 1950's seemed generally to be stagnated in conservative traditions, touching up and beautifying reality. Scenic photographs were the rule; those in which one faces squarely the human condition were the very limited exception.

Ch'en Keng-pin's more realistic postwar works, such as "Young Gentleman in Front of Car" and "Grandfather and Grandchildren," while being perhaps little more than family keepsakes, derive from their direct angles, simple lighting, and exactness of layout a certain air of innocence in childhood recollection. Depicted in "Father and Son" is the suffering fortitude of life among Taiwan's indigenous peoples in earlier years. The employment of the low angle shot, along with the forceful directness of the sharp gleam in the eyes of the swaddled child, impart to the viewer a sudden twinge of unease. The barrel of the hunting gun cutting powerfully across the cheek of the father brings additional strength to his spirit of sturdy fearlessness. "Young Audience at a Puppet Play" is a more optimistically light-hearted, yet realistic work; it seems that the camera has unintentionally captured in a fortuitous glance a candid look at this group of impish young theatergoers.

The camera most frequently used by Ch'en Keng-pin was a Rolleiflex Hasseblad 500 C with a 75mm or 80mm lens, onto which he placed a green Y2 filter when going off to capture shots of cotton clouds, mountain fog, sunrises, and other such inconsistently lit scenes. In "Rising Flame" the directness of the morning light shining through the smoke of the burning wood makes this one such eye catching shot, implying a harmony between heaven and earth, the rays of light seemingly full of a mysterious vitality.

In both "Drawing Water at a Pool's Edge," which was taken at daybreak, and the evening-shot "Old Ox, Come on Home," Ch'en Keng-pin made use of naturally back-lit scenes. The reflections from the rippled surface of the water add a three dimensional effect to the stooping actions of the young girl and the aged farmer, as well as to the images of the laborers.

"An Old Aborigine" portrays both the physical appearance and the spiritual hardships of the Taiya aboriginal people twenty years ago, while "Ferry Crossing" is an elegant, peaceful look at an ordinary moment in the daily lives of country residents. Here is found an attitude of respect towards both people and life, giving the photos an expansive, thoughtful inner depth.

Ch'en Keng-pin's photos are pure, mild, and refined. His focus is usually directed towards the happier, gentler side of life, using a universally accessible aesthetic value as an emphasis on his statements. These were common characteristics among photographers on Taiwan during the 1950's and 60's.

Ch'en was in robust health throughout most of his life, but due to the constant expansion of his endeavors and the ensuing fatigue brought on by his labors, he was stricken with diabetes in 1966, leading to liver ailments which in turn caused his death in 1967. During the course of the 47 years of his life, the entirety of his energies were spent on research and creative work in the art of photography and printing technology, bringing to him the wide acclaim of his fellow professionals.

In today's variegated society of confused meanings and purposes, our reluctance to leave behind these images of earlier days may help us to maintain a sense of clarity in these times of busily disordered bewilderment, recalling for us a mood gratitude for life itself.

[Picture Caption]

Self Portrait, 1964

Grandfather and Grandchildren, 1956

Young Gentleman in Front of Car, 1951

(left) Young Audience at a Puppet Play, 1964

(right) Carpenter at Work, 1957

Ferry Crossing, 1957

(left) Father and Son, 1954

(right) An Old Aborigine, 1959

Drawing Water at the lake's Edge, 1956

Rising Flame, 1957

Old Ox, Come On Home, 1956

Grandfather and Grandchildren, 1956.

Young Gentleman in Front of Car, 1951.

（left） Young Audience at a Puppet Play, 1964.

（right） Carpenter at Work, 1957.

（left） Father and Son, 1954.

（right） An Old Aborigine, 1959.

Ferry Crossing, 1957.

Rising Flame, 1957.

Drawing Water at the lake's Edge, 1956.

Old Ox, Come On Home, 1956.