Hong Kong Tiger Standard – Sunday, November 13, 1949

The Fourth Hong Kong International Exhibition Of Photography
By Francis Wu, F.R.P.S., F.P.S.A.

The Hong Kong Photographic Society will present, for the fourth time, an International Salon of Photographic Exhibition. This salon, which is one of the greatest functions of the Society, is held annually at about the same time.

It is generally known that salons receiving entries from countries all over the world are considered as famous whereas those having fewer entries are thought of as less prominent. Large salons such as the Royal or the London Salon of photography, have receive entries up to a few thousand prints, while on the other hand, the lesser ones’ receipts average to only a few hundred.

In order to form an International Salon, a photography society must first have a locality, which the salon is to be held; it is not advisable to have two or more salons in any one community and at the same time, although a salon is not a competitive organization of camera clubs.

Another necessity in the formation of an International Salon is the enacting of certain rules, for example, the methods of judging and of exhibiting.

A set amount depicted as an entry fee, is also a requisite for the success of a salon.

The limitation of the amount of prints to be entered by any one person is also an expedient factor in the constitution of an International Salon. The restriction of the number of prints from any exhibitor is usually four though the amount may vary according to the rules of the salon.

The fifth essential rule is that the size of prints must be so that the regularity and uniformity of prints on exhibition may prove relaxing and pleasing to the public. The maximum size of all entries is usually 16” by 20”

That plain mounts are preferable is another indispensable item in the recipe of entries. Light colored mounts are always held in greater flavor than a photograph being gaudy or bright mounts.

Prints are always returned to their respective exhibitors two weeks after the exhibition. Notice cards are sent to each entrant after the judging Salon catalogues are usually forwarded at a later date.

Amateurs as well as professionals who are interested in photography take active parts all over the world. Photographic monthly journals usually publish a calendar of the International Salon schedules so that the exhibitors may know in advance what salon they may send their prints to and where and when it is to be held.

Hand-colored prints are never accepted because all photographic work must be done exclusively by the entrant himself photographically.

To have four prints accepted out of four is considered outstanding; to have one accepted is regarded as good. On the average, only about ten to twenty percent of the prints submitted for selection can be accepted for hanging. Certain salons offer prizes such as medals and plaques for exceedingly good prints – their salons offer “honor labels” All prints accepted for hanging receive a salon lable. The American Photography’s prints static’s on “Who’s Who” in photography ranking prominent photographers of the world according to the number of their salon acceptances and merit. As seen by the above samples, entering in a salon is very beneficial to all photographers whether they may be amateurs or professionals. The International salons act as a guiding yardstick of photographic standard.

The Hong Kong International Salon may truly be called an International Salon, as prints are sent in by photographers from the United Kingdom, Czechoslovakia, Sweden, Hungry, America, Canada, India, Malay, Japan, Australia, Cuba and China. Besides the support from foreign exhibitions, The Hong Kong International Salon receives much promotion from Hong Kong itself. More than 600 prints will be placed in a panel before judges, between who will be artists, photographers and art critics. Out of the 600, only 125 prints will be selected for the exhibition. The judging will be a silent one, with red and green lights only to signify whether the prints are accepted or rejected. The prints receiving more votes have the firs chance to be “in”. Any print that has been voted for by all of the judges is unanimously considered as an “honor” or outstanding print.

The Fourth Hong Kong International Salon will be opened to the public on November 22-26 at St. John’s Cathedral from 10am to 6pm,

Honolulu Advertiser – Sunday, October 9, 1949

Photo Show At Library

Old Butt Delicious By Francis Wu

Library of Hawaii presents a one-man photographic exhibition of the distinguished Chinese photographer, Francis Wu of Hong Kong, China.

Fifty prints, through the great artist’s viewfinder, reflect his personality and taste. Using imagination he has chosen simple subjects and interesting compositions.

In explaining his work, Mr. Wu writes: “The lighting is set accordingly to each individual picture. Usually I throw a few highlights on the main part of the picture to emphasize my point of interest. Each of these pictures was composed with one idea and that idea is carried throughout the picture according to the mood, scene or character study, which must correspond with the title. The subject in which I choose for indoor portraits studies in simple in outline with flashes of strong highlights to add brilliancy and sparkle in the prints and with a motive of creating a story behind it.”

Francis Wu’s work has appeared in Photogram of the Year in England and in American Annual of Photography in the United States.

China Mail - Hong Kong – March 1947

Francis Wu Picture Awarded

Old Butt Delicious By Francis Wu

One of the four Bronze Plaques awarded at the Sixth Lucknow International Salon of Photographic Arts, sponsored by the United Provinces Amateur Photographic Association in Lucknow and Allahabad, India has come to Hong Kong.

The recipient is Mr. Francis Wu, one of Hong Kong’s leading photographers, whose entry was among more than 3,000 others displayed at Lucknow in March.

Mr. Wu, who ahs more than 15 years’ photographic experience behind him and who started with a box camera, sent in an entry titled “Old Butt Delicious” depicting a wrinkled Chinese coolie puffing at a foreign cigarette butt picked up from the street.

The photograph is now on display at Mr. Wu’s studio in the Gloucester Arcade.

Lucknow has always been a multicultural city, and flourished as cultural and artistic capital of North India in the 18th and 19th centuries. Lucknow has developed as a metro city of Uttar Pradesh and second largest in the state.

The British Journal Of Photography – Friday, November 20, 1953

 China and Photography

Looking through our cuttings of notices of the London exhibitions we are reminded that The times poses a question of more than passing interest. The reviewer opens by saying that saying that the most interesting works at the London Salon of Photography re by Chinese contributors. He goes on to say, “One wonders why it is that at present Hong Kong should be producing so many talented photographers.” In the August number of Photography Journal (1953, 93A, 239, 240), Mr. Francis Wu F.P.S.A., F.R.P.S., F.I.B.P., in his very interest account of “Photography In Hong Kong” goes a very long way in providing a reasonable complete answer and explanation of the pre-eminence of Hong Kong photographers. What Mr. Wu has to say is so apposite and of such wide application that we shall not scruple to quote from his article, for it is of first class importance to photographers the world over.

It is particularly interesting to note the points that Mr. Wu highlights. He tells us that since the end of the Second World War more and more people in Hong Kong become photography minded. That is an important point. Next he says  “The business part is only a minor part of photography” Major credits must be given to enthusiastic amateurs who devote themselves solely to the advancement of pictorial photography. They organize camera clubs activities and sponsor salons, competitions and exhibitions.” A significant corollary to these last remarks is the following.” There are more and more exhibitors in international exhibitions and much of the work, in comparison with other nations, can be said to be outstanding. In quality as well in quantity, we are improving, and many of the world’s major awards have been won by Hong Kong photographers.”

We are told that there are two good schools of photography and both appear to be very successful. And that in addition there are many smaller schools where the Chinese language is the medium for teaching, also that tough a few years ago text books in Chinese are scarce, today a number f new books in photography in Chinese can be found in bookstall. Also in the last two years no fewer than four periodicals dealing with photography in Chinese have appeared. Finally we are told that camera club activities seem to have been successful beyond expectation.

A Very Live Society – Such is certainly the record of the Hong Kong Photographic Society, which we are told is the largest and best. Last year its members reached 250, which included no less than 104 new members in 1952. Of all these members, forty are actually life members. Meetings are held each month and are preceded by a dinner at the Café where the meetings take place. Competition prints are displayed in a large hall. The competitions are monthly and the usual lectures, demonstrations, and print criticisms are part of the general program. In November or December of each year the Hong Kong International Salon is held. It lasts a week and is looked upon as a big local event opened each year by the Governor of Hong Kong who is its patron. As many as 50,000 visitors have been counted during a week. This year will be the eighth exhibition. There is much more than it could be quoted and commented upon, but what has already been said should prove that in Hong Kong Photographic Society there is a very live organization, and one that can offer ideas to other clubs or societies either large or small. In assessing its importance photographically it is pertinent to revert again to the Times notice of the London Salon, for there can be little doubt that many of the exhibitors that are so highly spoken of are members of the Hong Kong Society. The Times critic says “one wonders why it is that at present Hong Kong should be producing so many talented photographers.”  He hazards a couple of suggestions, namely that climate is one reason, and that living perpetually in an unquiet settlement engenders a desire for the calm and life of nature. For our part we should not think that either these has any important effect on Hong Kong photographers in other parts of the world. What does appear, as pointed out by the critic, is the certainty with which the photographers have caught the mood of either subject and registered it unerringly. That is something we do not conceive of as being dependent upon either climate or political stability. It is the result of acute artistic perception allied to a real technical mastery of material and technique. These attributes are an integral part of the make up of Chinese. From the earliest times landscape art has predominated in China. It is  accounted the most important of subjects because it includes man and all living things.

Loke Wan Tho – Singapore – April 24, 1953

Francis Wu – Judge and Lecture

I am happy that you can come here to help us judge the next Singapore Photographic Exhibition

It is good to know too, that you will be able to give us a couple of lectures. My Committee and I think that “Pictorial Photography From A Chinese Viewpoint” is an excellent subject for one lecture, which we plan, should be given to the British Council Hall.

Regarding the other lecture, I am going to get in touch with the Camera Club and ask them for their suggestion because I expect they would like something rather more technical.

With Kind Regards
Loke Wan Tho.

The York Dispatch – Thursday, September 25, 1952

Noted Chinese Photographer To Address Mason-Dixon Clubs

Dr. Francis Wu

Members of  two of York camera clubs will attend the Mason-Dixon Camera Club’s convention at the Hotel Yorktown this Saturday.

The purpose of the convention, which is held in York every year, is to knit more closely the activities of camera fans in the Mason-Dixon Council of Camera Clubs. The council is made up of camera fan groups in 12 cities in Pennsylvania-Maryland area, including York, Harrisburg, Towson and Haggerstown.

A Haggerstown radio announcer, Dave Allen is general chairman of the convention. Allen is also president of Haggerstown Camera Club.

The principal speaker of the convention will be Dr. Francis Wu, a noted Chinese photographer. Dr. Wu is a Fellow of the Photographic Society of America and the Royal Photographic Society of England. A native of Hong Kong, China, he is in this country for a lecture tour before returning to operate his studio in the Orient. Dr. Wu will describe before the camera fans his method of taking pictures and he will explain the Chinese viewpoint of pictorial photography and how it can be used to achieve good pictures.

PSA Journal – Vol. 16 – February 1950

The Folio – Volume 3. Number 2
Chinese-American Exchange Exhibit
Half a world in distance, and the differences between the Orient and the Occident separate cosmopolitan Hong Kong and America’s western frontier – Washington State. But, among other things, the China-Washington Council International Photographic Exchange has demonstrated again that there is a medium, which transcends all differences in race and creed: Pictures!

In viewing the exhibition of the “6:20 Club” of Hong Kong and the Washington Council of Camera Clubs; we are at once stuck in thought: Discounting the differences in landscape, architecture and people, eh shows are astonishingly alike! In both, there is that sincere desire to capture, for the enjoyment of others, the beauty that is everywhere in one’s native land, to portray the character of interesting men and beautiful women, and to preserve those incidents that may never pass before the scene again.

Credit must be given to Francis Wu, FPSA, Vice President of the Photographic Society of Hong Kong for pursuing the idea of a print exchange between photographers in Hong Kong and those of other countries. He communicated with the PSA and was directed to the Pictorial Division. The latter quickly recognized the potentialities of eh Hong Kong field, appointed Mr. Wu Pictorial Division Representative and suggested that he form a PSA Pictorial group in that area. In January 1949, he was elected Chairman. The print exchange was handled by Mr. Yuen, who arranged with George L Kinkade of the Washington Council of Camera Clubs under the general direction of Dr, Glenn Adams, and all the collection and exchange matters, which have made this exhibition possible.

With this initial showing of the First American-Chinese Exhibition, the Photographic Society of Hong Kong hopes to bring to the public of Hong Kong many more exchanges, not only from the photographers of America, but from photographers all over the world – and by such understanding hopes to foster international friendship through the sympathetic of similar aims and ideas.

Francis Wu wrote:
 
On the opening day, over 2,000 visitors came to view the prints, but ill fatedly, the clubroom was of a rather diminutive size, so that the accommodations for such a large crowd were inadequate. In spite of the drawback, the guests were patience, and waited their turn to enter the clubroom. The Governor and Lady Grantham were greeted by the President of the Society, Mr. Fung Ping Fan, and the Vice-, Mr. Francis Wu and his wife who escorted them around the premises and entertained them with discussions about the photographs. The club officials entertained the other visitors and the representatives of the press. The Governor and Lady Grantham spent a delightful half-hour in viewing the beautiful work of the exhibition, During the four days following the opening of the show, over 10,000 persons were in attendance – the largest response ever accorded to any type of art exhibit in the Colony.

In this exhibition, Francis Wu has 13 prints in this exhibition:
79    Sunlight, Calm and Misty
80    Sir Robert Hop Tung
81    Hauling In
82    Two On A Quiet Morning
83    Mirrored
84    For Big Fishes
85    Peace Is Here
86    Misty and Calm
88    Dawn Worker
89    An Old Master
90    Homeward Sail
91    Village Fog
92    Alone.

Two On A Quiet Morning By FrancisWu

                      

Chicago Daily News – Home and Life Magazine - December 3, 1949

One Man Show – Francis Wu

Even in the chaos of present day China there is a continued interest in pictorial photography. Proof of this fact is in the one-man show if 55 salon prints by Francis Wu which recently arrived for circulation among member clubs of the Chicago Area Camera Clubs Assn. This was just one of the international exchange exhibits the CACCA arranges with photographic clubs in India, Denmark and England.

Francis Wu, educated in Hawaii, is president of the Hong Kong Photographic Society. His work such as is seen in these prints, has brought him international reputation as one of the world’s finest pastoralists.

Moon Dreams By Francis Wu

Bath & Wilts Chronicle – May 1952

International Photo Exhibition At Bath

Some of the best examples of photographic art, from all parts of the world, are being exhibited this week at the Victoria Art Gallery, Bath.

To choose a third of the 600 or so prints submitted for this international exhibition was a difficult job for the three judges appointed by the Bath Photographic Society and the Admiralty Camera Club, who organized it. But their final choice wills doubtless meet universal approval.

Apart from the technical excellence there is a variety of subject to suit everyone’s interest in these glimpses of life and eh people of Eire, Portugal, Spain, Sweden, Malaya, Japan, Germany, India, the Netherlands, Hong Kong, all parts of the USA and The British Isles.

From Francis Wu, one of China’s leading photographs, comes one portrait of a shy wistful Chinese girl.

Photo By Francis Wu

Nagpur Times – India – Thursday, December 16, 1949

“China”
One-Man Show of Francis Wu

Francis Wu

Once again, the Photographic Society of C.P. & Berar has come to the aid of the art hungry in the capital. For the first time in India, it arranged a three-day one-man show of the photographic works of Francis Wu (Hong Kong), China sponsored by Pictorial Photographers, India and 1940 Portfolio Circle.

“China” – the one-man show of Francis Wu, a collection of 51 pieces of rare camera work, is on exhibition at the C.P. Camera House from today and will come to an end on Friday. Streams of visitors are seeing exhibition and the only comment they have is “Excellent and Superb”

It appears that when doing his work Francis Wu aimed at validity in both science and art. The reason why this works are so moving is that in each piece he has unmistakably depicted a person, a character and a personality rather than stiff and empty generalized “type”. It is this intensity real and human quality in the figures with which the viewer instantly feels a bond, transcending all differences in superficialities In this respect he can be favorably compared with Malvina Hoffman, the famed American sculptor who conceived, arranged and executed the figures of men of different races and countries.

WU’S PERSONALITY

These 51 prints reflect Wu’s own personality and taste of art in photography. By means of photography he expresses his imagination of simplicity in nature and life for that reason the subjects which he selects are simple, and compositioning is also simple in lines an construction. By this method the point of interest in the pictures stands out without making the viewer’s eye to wander about for a resting spot. Each of these pictures is composed with one idea and that idea is carried out throughout the pictures according to its mood, scene or character study, which must correspond with the title.

Most of these pieces, I must say, are typical of China, others in the style of America but all of them definitely bearing the hallmark of Wu who holds the honor of holding high the flag of pictorial photogpahy in China.

The predominance of water-scapes is accounted for by the fact that Mr. Wu is the founder of a very active group known as the “6:20” club, consisting of members who are in the habit of collecting at the quay-side of the island before 6:20am every Sunday morning in order to catch the first ferry boat to the mainland. Camera click freely during these outings and naturally many seascapes result. Let us hear what Wu himself has to say about this club now.

“Because of the present situation most of the members have more or less dropped the outings and limit themselves to indoors work. But a few like myself are still carrying on the work until we are absolutely forbidden to do so”

This intensity and sincerity of Wu is clearly brought out in his pictures. The general technique of Wu is very significant. He spotlights, as I have said, the subject interest while subduing the background, and this is where he excels. He also is at his best in superimposition. One word must also be said about his selection of subject, they are in a nutshell, “the best”

THE PIECES

I would call the “Dry Tears” as his best. This is a piece, which is indeed rare. It is difficult to see a livelier photograph. The palsied hand on his wrinkled forehead, his shining drooping teeth and the blind eyes closed in an agony which is inexpressible – all speak of the ace talent that Wu is.

Dry Tears By Francis Wu

                                            
“Lines Of Experience” is another specimen of Wu’s unchallengeable ability in bringing into bold relief, the wrinkles that identify the age behind the subject. “Smoke Dreams” is still another masterpiece. Here you feel as if the dreams of the subject are coiled and interlocked with the never-ending stream of smoke of the small cigarette end. “The Morning Mist” shows the silvery envelope of morning mist slowing coming down on the gray mountains like the veils of the blushing bride with a lemon sky at the background.
The sweating face of the old Chinese in “Old Vann” is also something very beautiful. “Cathy Maiden” brings you before a Chinese blonde. The youthful grace of the girl is what Wu puts before you. “Silver Lining” showing two defiant buffaloes between two trees is also another piece that attracts your attention.

“Lines Of Experience”. “The Pagoda”, “A Child’s Dream”, “Poison”, “Going My Way”, “Old Butt Delicious” and “Bamboo Pipe”. The latter showing the favorite opium tube, all tell a story that is unforgettable.

In conclusion, I can only say that Wu’s pictures are something, which you feel, which you want to feel. These pictures are almost irresistible. You can’t ignore them. We will see that you don’t. He gives you something, which once seen you will never forget, something, which you will like to think over and treasure as a sweet memory.

Lines Of Experience By Francis Wu

                                     

Warwick County News – Saturday, June 7, 1947

Solihull Photographic Exhibition
International Entries
Visitors to the Assembly Hall of Solihull Council House today and next week will experience something of a magic carpet atmosphere, for the second international exhibition staged by the Solihull Photographic Society has attracted a world wide and dazzling entry – prints from Russia and China viewing with many fascinating contributions from such diverse lands as Mexico, France, Spain, Norway, to say nothing of the usual large and vigorous entries from this country to the USA. In all, entries have been received from some 15 countries, and it may be said without fear of contradiction that the general level is indefinitely higher than that of last year’s delightful show.

The standard is so consistent that it is not at all easy to pick out the “winners”, but possibly the prints of Francis Wu of Hong Kong – with that delicacy and lightness of touch, which is the genius of China – deserves a special measure of praise. Mr. Wu’s “Old Butt Delicious” (150), “Early Morning” (80), and his glorious “Pagoda” (58) have the charm of the Chinese poetry.

White Pagoda By Francis Wu

PSA Journal – Volume 15, June 1949

International Exhibits
Francis Wu One-Man Show

The big news of the month, perhaps, is the arrival in this country of the 50 beautiful prints by Francis Wu, FPSA, FRPS, and Pictorial Division Representative of Hong Kong. This show was sent by Mr. Wu to Frances Robson, of Vina, California, one of his close friends in America. The pictures came unmounted, and Mrs. Robson writs that she kept hr two mounting presses hot, mounting the entire set. They were then displayed in a local department store and created quite a sensation. At this writing the prints are on the way to the Director of PSA International Exhibits and soon will be available. Pictorial Division councils and clubs are now arranging a schedule for exhibitions.

Foreign pictures are not to be compared with American prints until the spectator realizes that condition abroad is not comparable to our usual facilities and supplies here in the U.S.

Everyone should take advantage of an opportunity to see one of these foreign exhibits, and that should not be too difficult as the entire nine are now in circulation and on display in various parts of the country.

South China Morning Post – Hong Kong – June 14, 1954

H.K. Exhibits Predominate
Photographs At Show In Scotland

Photography, it would now seem, is the art of the Chinese.

There were 28 countries represented at the 38th Scottish Salon of Photography, which opened on June 5 in the Art Gallery, Kirkealdy, but Hong Kong left 37 of them standing, says the Scotsman.

In the first gallery, there were 24 Chinese prints compared with 18 from England, 17 from Scotland and 8 from the United States. In the second gallery, there were 17 from Hong Kong compared with 13 from England, 9 from Scotland and 8 from the United States.

At one time entries in the Scottish Salon were confined to Scotland, but at Paisley, in 1927, a collection of German and Austrian work was shown and it was decided to make all future salons international.

This year, 1146 prints were submitted in the pictorial section and less than 200 were hung.

Francis Wu’s “Two Princesses” from Hong Kong, was a velvet-smooth portrait of two Chinese girls reading.

Two Princesses By Francis Wu

Honolulu Star-Bulletin – Monday September 26, 1949

Library Is Exhibiting Photographs By Wu

Francis Wu, famous Chinese photographer, will have an exhibition of his work in the Library of Hawaii today through October 16.

He was born in Canton, China in a village called Buck To

When he was hour his mother brought him to Honolulu where he lived until 1931 when he returned to China to attend Lingnam University.

Mr. Wu now has a photography studio in Hong Kong. Under the military government, he was appointed official photographer for the government and was the only Hong Kong photographer present at the Japanese surrender ceremony, which took place in the governor’s house in Hong Kong.

He has won prizes in photography in Germany, England, India, Hungary and the United States.

Goddess Of Peace By Francis Wu

The Hong Kong Sunday Herald – December 26, 1948

Francis Wu Honored In Photo Salon

Francis Wu, well-known local photographer, has been awarded the only gold medal in the Amsterdam (The Netherlands) 8th International Salon.

Mr. Wu submitted four prints for the exhibition. All won awards – a grand prize, a first second and fifth prize. This is the first time in photographic history that one entrant gained such a high honor. The photos were published in the “Focus” magazine and are now in a traveling exhibition in all part of Netherlands.

Old Butt Delicious By Francis Wu

“Old Butt Delicious” is the picture that captured the grand prize. It is a character study of a coolie enjoying a cigarette butt of foreign bran, which he picked up,

The first prize award is “Sunset”, a picture taken at Aberdeen Harbor of a fishing junk returning at twilight. The soft glow of sunset is fully emphasized with sparkling highlights.

8th International Salon of Pictorial Photography Opens – 1953

Francis Wu - Judge

His Excellency, the Officer Administrating the government, the Hon. R.B. Black, CMG, OBE yesterday afternoon opened the Eighth International Salon of Pictorial Photography, 1953, at the St. John’s Cathedral Hall.

The exhibition is sponsored by the Photographic Society of Hong Kong, of which His Excellency the Governor, Sir Alexander Grantham, GCMG, is patron.

Following the opening ceremony, more than 100 prominent local residents and members of the local Press were treated to a preview of 232 exhibits selected from a total of 1,272 prints submitted by 352 entrants from 26 countries all over the world. Including two iron curtain nations, Czechoslovakia and Hungary.

Francis Wu was one of the six judges responsible for the selections.

Hong Kong dominates the exhibition with 89 of its 364 submitted prints accepted for display, taking up over one-third of the total selected. United States is the second largest contributor with 57 prints out of 183. One print each was picked from Brazil, Greece, Yugoslavia, Netherlands, New Zealand, South Africa and Sweden.

Each salon since the war has attracted more entries than its predecessors and opportunities have been offered in the public to see examples of the work of the best photographers in the world. At the same time and partly because of these opportunities the work of our own photographers is receiving increasing attention throughout the world and in the recent London salon one out of every eight for the pictures exhibited came from Hong Kong Photographers.

Portraiture Of Children By Francis Wu – Circa 1950’s

Francis Wu
Hon PSA, FPSA, FRPS, FIBP, FRSA
Hon. Master of Photography.

Children are ideal subjects for the camera because they are human beings who have no worries of the universe. Their minds are free from unnecessary thoughts, what is in them is happiness and liveliness. But why is it that sometimes we find children in a bad mood? It is because they cannot obtain their happiness and therefore feel like crying. For the photographer, this problem of making a child happy before the camera and getting him into a lively mood requires skill and careful tactics. The child may have moments of uncertainty, feelings and doubt, shyness and timidity, and even discomfort in coming into a strange room called a studio. The lights and surroundings may add to this fear. This restlessness is a great problem to child portraiture. To overcome this problem the photographer must put the child at ease, and in order to do this, he must be his friend. All children and even babies are eager to be friendly. The first step in approaching this problem is not with the child without the parent. Ask the parent questions concerning the likes and dislikes of the child, because different children have different preferences. One may like sweets while another prefer a toy. The parent can be your sole advisor. Ask the parent all that you can about the child beforehand, keeping in mind what will interest the child and avoiding everything objectionable. In one case a child may like a little puppy as a pet, and in another the child may be frightened even at the presence of an animal. So you see, this is a problem not so much pertaining to photographic and lightning technique but to the psychology of the child. Then also, the finished portraits will revel in the child’s expression what you have accomplished. No parent will like a child in be in a bad mood with a crying, tearful expression, or a face marked with fear and agony. To make a child’s portrait, the photographer must not make prints for his own satisfaction but for the parents and their friends. The parent will be proud to show the photographs you made for their child to their friends, not because you took these good photographs, but because they want to show how adorable and lovely their child is. Bear this in mind, when making child photographs, and the photographer himself will also be satisfied of his own hard-earned results.

How To Be Friendly With Children

After we have gathered all the information on the child’s behavior that we can from the parents, we can use the parent as our assistant and this assistance is usually given. Most parents are very cooperative. The parent can speak the baby language that her own child can understand and appreciate. The photographer is a stranger and naturally the baby talk will not be as pleasant as the voice coming from the dear parent. The tune, the sound, the high and low pitch, all has effects on the child’s expression. If the child is older, the parent can tell him stories, and children like to hear stories of fairyland or a few nursery rhymes. The mother of the child can also be an actor in the studio to entertain her own child, by singing and dancing in such a way that will not only entertain the child but also make the child forget that he is a portrait taken.

Many photographers prefer to leave the parent outside the studio and tackle the child alone. Personally, I do not think this is a wise or practical act; children will not like strangers to be alone with them. They would rather have someone dear to them near all the time. Some child photographers have an assistant, preferably a woman who understands children, who gets acquainted with the child ten or fifteen minutes before the sitting. The photographer will only have to have a few lights set up properly, the camera focused before the child enters the room. He is then ready to capture every momentary expression on the child’s face. There is another bad mistake that I have found with many photographers in relation to their studio lights. When the child enters into the studio, only the room light is on, and as soon as the child enters the room, or as soon as he is seated on the chair, the bright photo-lights is switched on. This changing of brightness may put fear into the child’s mind. It is more advisable to turn on the photo-light before the child steps into the studio room; many little unnoticeable things like this can create unpleasantness in the child’s mind. We must be very careful with small matters.

Keep The Child Busy

To simplify a portrait sitting of children is to keep their minds occupied. And they will forget about being in a strange place and having their photo taken. One way of keeping their minds occupied with pleasant thoughts is to keep their hands busy, let them have something to do. For a little girl a doll is the best toy, especially a doll with eyes that can open and close, changing of the doll’s dresses will keep the child occupied longer. We can add more items in the entertainment program if we add a doll’s house, with furniture and fixtures, etc. Although this work well most of the time, at certain times, it will distract the child’s mind too far away from the sitting. Then we must change the topic, by issuing another type of toys, like a pair of blunt scissors, for a child to cut doll’s dresses, etc. But occasionally when we see the child is so intense with their thoughts, we must distract her with different items to arouse interest in order to have a different expression. For a boy, there is nothing that will interest him more than a toy pistol. a toy car, or anything that is mechanical. Do not let the child have a new car, or a new toy because that will not interest him as much as a broken toy. Nearly all boys are mechanical minded. Nothing is more intriguing that to repair a broken toy like an engine with a wheel or two missing. Even film spools and the black paper around the films will entertain the child for a long time, and I can assure you that this way of keeping the child’s mind occupied, is better than the most expensive toy you can think of. I have seen many parents who, when they take the child to the studio for a sitting, carries bundles of newly bought toys in order to entertain the child for the sitting. I have a strong objection to this because the child will naturally be curious and want to play with each and every one. Putting one aside and taking another till the parents gets tired of handling one toy after the other may make the parent bad-tempered and the child would either have a good spanking or a good scolding. This will naturally ruin a good sitting. In order to overcome this type of sitter. I introduce my old broken clock, with a tick-tock sound to it that will at least keep the child quiet. We must keep on hand a lot of “Junks” for the entertainment of children. It is not advisable to produce good fancy toys. Many of the children like to carry away the things they play with to their homes so a few spare film spools will do no harm and a broken car is usually refused and left back in the studio by the child. Expensive toys will create a very bad impression with the child after the sitting for the child would think that the photographer is a cruel man by refusing to let him bring the toy home. If a second sitting later on is necessary the child will naturally refuse to even step into the studio.

 Parents Objects To Broken Toys

Many parents object to having their child play with broken toys lest them be shown in the photograph. A clever photographer will naturally avoid all the pitfall of introducing the broken toy in the photograph. The broken toy is to occupy the child’s mind, and the photograph should include only head and shoulders. The hands and the broken toy will naturally not be shown in the photograph. Although in many occasions it will unavoidably be included in the negatives the photographer can omit it in the darkroom process by enlarging the head and shoulder alone.

The Photographer Must Be The Entertainer
Besides relying on the parent and the toy to amuse the child during a sitting, the photographer himself must be an entertainer also. An alert and clever photographer can do more than keep the child’s mind occupied than the pareknt and the toy put together. Many times the present and the toy divert too much of his attention from the camera and many times will be wasted. From experience, I have “Played The Fool” for many children. I peep my head out of the black cloth, or put on a funny hat and even put on a clown show. Even by hiding behind the curtains in the studio and peeping out attracts the child’s delight and with one hand in front to manipulate the camera, pictures of pure ecstasy will result. The photographer must also be prepared to be a good storyteller. Do not tell a long story or a story with a sad ending. A story well planned beforehand will include a series of incidents producing in turn a series of different expressions. A story should be told with a definite purpose, and should be prepared in advance with this purpose in mind. An unprepared story will not only be uninteresting to the child, but the photographer himself will not find an ending to it. It is general rule to be wise to introduce a story casually, so that the child does not feel it is being deliberately entertained. Tell a story that the child can follow in his mind until the climax is reached. Such a story produces complete forgetfulness of the portrait sitting. If the photographer tries to introduce sudden turns of unexpected and some ridiculous situations he will incite a large variety of expressions. Another kind of story to tell is one that has already been told to him by his parents or teacher. If you tell it in such a way that there are full of blunders and mistakes, the child will correct you and have a good laugh at your faults. In this manner you will obtain may expressions to record.

Tone Of Voice

The tone and volume of your voice has a great deal to do with in making friends with children. A voice that sinks to a whisper suggests mystery, and a voice that goes richer and stronger, indicates that the achievement or crisis is at hand. A quiet gentle voice brings confidence to a timid child and comfort to a frightened one. To get the full value from a story, which is being told, the photographer should lean to control his tone. I would also like to suggest, during the story-telling period, that all other noises in the studio should be omitted or kept low, that parents and other persons in the room should be silent. Soon, if the photographer is in a good actor and a good storyteller besides being a good photographer he can impress other grown ups to be children too.

Some Stubborn Children

Sometimes you come across some children that are very stubborn and won’t smile for anything. My next approach is to talk to them about food and sweets. Ask them what they want. Naturally, they will have the impression that you are only curious and are trying to fool them. As a child said to me once, “I prefer ice cream but you are only fooling me when you said you ‘d offer me some” In order to have the confidence of the child, I sent my assistant to buy a cup of ice cream. The child was delighted and tickled. I let him finish the ice cream first, before I pulled out my bag of other tricks. A trick or two will amuse some stubborn children. No matter what type of tricks or entertainment we use, a smile is a necessity for a child’s portrait if it is pleasing not only to the parents and their relatives and friends, but to every human being in the world. A smile is always associated with children. It is up to the photographer to find it, to register it and to produce it. A good photographer should understand, not only his technique, but also human nature.

Hong Kong Joint School Photographic Exhibition

Francis Wu – Honorary Adviser

On behalf of the Joint School Photographic Exhibition, I am writing to invite you to be our Honorable Adviser.

This is the First Joint School Photographic Exhibition which is organized by 13 schools, namely Wah Yang College, Hong Kong, King’s College, Scared Heart Canossian College, St. Louie School, Maryknoll Convent School, St. Mary’s Canossian College, Queen’s College, St. Joseph’s College, St. Paul’s Secondary School, Ying Wa Boys’ School, Ying Wa’s Girls’ School, Diocesan Boys’ School and Hong Kong Tang King Po College.

Our aim is to promote the interest in photography of the people in Hong Kong, to show the photography standard of Hong Kong students and to promote the relationship among schools as well.

We are greatly in need of your support, should this request be met with kindly acceptance, we would be grateful to meet you to meet you at any time that is convenient to you.

Our Warmest Thanks
Wong Kwai Hon
Chairman

The Lincoln Camera Club – Annual Exhibition Of Photography – December 1948

Certificate of Merit
Francis Wu’s Print – A Child’s Dream

A Child's Dream By Francis Wu

The Lincoln Camera Club is located in England. Francis Wu’s print
 “A Child’s Dream” won a Certificate of Merit in this exhibition. This exhibition was held at the Usher Art Gallery in December 1948.

Third Annual Photographic Salon –Rockport, Mass. – 1954

A Clam Catcher By Francis Wu

The Sandy Bay Camera Group and The Rockport Art Association sponsored this International Exhibition of Photography in 1954. The judges of this exhibition are Otis Cook, Patken S. Kechichian, and Samuel T. Williamson.

Rockport is a town in Essex County, Massachusetts, United States. It is located round 25 miles northeast of Boston at the tip of Cape Ann peninsula. It is directly east of Gloucester, Massachusetts and surrounded on three sides by the Atlantic Ocean.

Francis Wu of Hong Kong China has 2 prints in this exhibition:

540042    A Clam Catcher
540043    Net Mending In The Mist
540044    A Maid In The Reading Chamber

The Kutztown Patriot, Kutztown, Pa., Thursday, September 18, 1952

“AMBASSADOR OF GOOD WILL” WU

Dr. Francis Wu, master photographer of China, and a Doctor of Philosophy, gave his more than 200 listeners at a recent lecture in Reading, much to think about. Only in his preliminary remarks did he mention the type of camera he used to secure a picture. “It’s imagination and feeling that counts,” he kept repeating.

He showed us some of his 100 photographs of “Classic Beauties of China” which he recently published in Hong Kong, a labor of four years, including a great deal of research. “To The Chinese” he said, “The Beauty of a woman is not her body, but her face, her eyes, her mouth, her hands.”

Perhaps the photograph that appealed most was his character study of an old Chinese refugee. A wide, black band was about her head and tucked under her disheveled chignon. Her face had thousand wrinkles, and she was laughing! “When I found her,” the master photographer explained “her face registered all the terror and sorrow she had suffered. And it wasn’t until I had served tea and cakes, and asked her to remember her happiest days, that she began to smile. It was her childhood memories. Suddenly then, she laughed, and that was when I snapped her picture.” With a twinkle in her eyes, she added, “I wanted her one tooth to show!”

Dr. Wu has five children, and one of his daughters posed for one of the “Classic Beauties” that he exhibited. And a son, not quite three, is as adept as an adult in handling a camera. Mrs. Wu, who during his absence manages the studio that employs 20, is also an artist, and does all the tinting of the photographs.

He is enjoying his stay here with folks interested in photography, and wants to come back again.

We consider him an ambassador of good will.

China Mail – Hong Kong - Friday, March 24, 1950

ONE –MAN PHOTO SHOW OPENED

The Photographic Society of Hong Kong launched a new series of one-man shows yesterday with an exhibition of pictures by Mr. Francis Wu

The Governor, Sir Alexander Grantham, and Lady Grantham opened the exhibition.

The pictures, numbering exactly 100, will be displayed at the salon of the Society, Prince’s Building, for a week.

They range from facial studies to landscapes to interior scenes.

It is planned to hold these shows towards the latter part of each month.

Mr. Wu, who is a Fellow of the Royal Photographic Society and The Photographic Society of America is one of the Colony’s leading photographers.

His show yesterday contained many distinguished portraits. His outdoor scenes were a visual record of Hong Kong’s many moods – they captured alike the drabness and the oppressive glare of the summer sun.

Mr. Wu is planning to devote considerable attention to color photography, which he believes will soon replace black and white.

The Camera Magazine – April 1939

Portrait Print Analysis
Butterfly Ying by Francis Wu

Butterfly Ying By Francis Wu

All the way from sorely beset Hong Kong comes this delightful portrait of a young Chinese woman.

The photographer, one Mr. Wu, has given it the title of “Madam Butterfly Ying” We have this to say of the madam: she is a fine looking girl “in any language” and in particular as Americans evaluate oriental pulchritude.

The print submitted is 9 ¼ x 13, and is nicely modeled and balanced as to lighting. It is either printed direct from a paper negative or projected through some screen to simulate that effect. While the reproduction may lose some of the delicate detail, it is indicated in the original. Attractive curls flank either side of the face and add to the quaintness of the subject.

Where have we ever seen such tiny hands? We have heard of custom of confining the feet of the Chinese women to keep them small, but these hands seem to be positively childish, as we know hands. Being in the foreground they would photograph somewhat larger than normal, so we may only guess how small they really are.

If the lady is an actress, as implied in the title, she is good. Her smile appears to be candid as one could wish. There may or may not be some significance in the position of the hands, but in this country they suggest affection. My opinion is that both subject and photographer desired to show their diminutive proportions.

Just imagine what a fine composition if the dress were darker and of simple design. Then the whole picture would present a series of masses, which would support each other and lead back to the face through the dark of the dress and the gray of the ground.

There are some feelings in flatness due to the light coming from a frontal position. If it were more to the side the modeling, or lift, of the face, would have been improved. But there is such delicacy of gradation that the flat light becomes only of slight consequence.

The spacing of the head is ideal, giving ample room in front of the face, which always suggests that there is really something ahead at which the subject is looking.

We have always understood that photography in China had not developed beyond the simple “recording” type, and most of the photographs sent us from there have substantiated this belief. But this man has actually sensed the pictorial possibilities in portrait photography and has shown his subject as something more than a mere Chinese woman. He indicates that she is alive, quite alert, and possesses those feminine attributes that make woman attractive to man.

I have no information as to the availability of photographic materials in China, but imagine they are mostly imported. If so their very perishable nature would preclude importation of any great variety of films, papers, etc. Therefore these Orientals must have to work with limited choice of materials. That makes any advance effort more meritorious. They can’t turn just the exact paper emulsion to suit any kind of negative they may happen to make. In view of this condition I am not sure but this print might shame some of our own photographers.

If the reproduction shows too much contrast it is because of the buff paper upon which it is made.

Royal Society of Arts – October 15, 1952

John Adams Street, Adelphi
London W.C.2

Francis Wu – Fellowship
Royal Society of Arts

Francis Wu

I have the pleasure in informing you that at the last meeting of the Council you were duly elected a Fellow of the Royal Society of Arts. A form of signature for your signature is required.

A diploma of Fellowship will be issued to you, and your name officially entered in the List of Fellows, in accordance with the Bi-Laws.

Louisville Newspaper – Behind The Lens – 1952

A ‘Missionary’ From China
Will ‘Preach’ Film Art Here.

Dr. Francis Wu

Photography as practiced by the Chinese will be discussed in Louisville Tuesday night by Dr. Francis Wu, FPSA, FRPS of Hong Kong. His illustrated lecture is to be at 8pm in the auditorium at Speed Scientific School.

The Louisville Photographic Society is sponsoring Dr. Wu’s lecture. He was brought to this country through the combined efforts of the Photographic Society of America and the Photographer’s Association as a featured speaker on their convention programs at New York and Chicago, respectively.

Although he is a professional in whose studio many European and Oriental dignitaries have been photographed, it is his avid interest in all phases of photography, which led him to undertake his present lecture tour.

Dr. Wu is internationally known pictorialist. He is a firm believer in the value of traditional Chinese art and attributes much of his remarkable success in competitive exhibits to its influence.

In regard to Chinese photography as quoted by Jack Wright in the PSA Journal:

“My impression with photography as practiced by the Chinese is that their pictures conforms to the considerable extent to the Chinese character. Their photographs are soft, delicate and highly artistic. Very few would dare to produce a picture that was bold, abstract and strong in character.

In his lecture, profusely illustrated by many of the pictures that have won honors and acclaim throughout the world, Dr. Wu traces the influences of traditional Chinese art and explains the methods by which he achieves such remarkable results.

In recognition of his pictorial achievements, he was made a Fellow of the Royal Photographic Society of London in 1941 and of the Photographic Society of America in 1948. In 1949, he became a Cornerstone member of P.S.A. and now serves as representative for Hong Kong and China. At the recent New York convention, PSA bestowed on him the award of Honorary Membership. He has always been honored by photographic organizations in numerous other countries.

The Bamboo Pipe By Fraancis Wu

Jack Wright furnishes this concerning Dr. Wu’s background:

“”When francis Wu was 9 year old, he came across a book called “While You Wait Photography” The little volume purported to give complete instructions for making pictures….”

“With $6.00 saved from his allowances he purchased a Kodak folding pocket camera and inserted a roll of film. After taking pictures he opened up the camera immediately and looked at the film, expecting to see the pictures all finished in a “while you wait” basis. He still laughs about the incident.

“Dr. Wu was born in China and educated in Honolulu, In Hawaii he met Nicholas Haz (of Cincinnati), the noted photographer teacher, and Haz encouraged him to continue and expand his photographic activities”

In 1931 he entered Lingnam University in China and soon organized the first camera club.

Gaining rapidly in technical skills and pictorial understandings. He made prints that began to be accepted by international salons and exhibitions. In 1937, he determined to make photography his profession. He now operates a large and successful studio in Hong Kong, employing more than 20 assistants.

His progress was temporarily halted by the Japanese occupation. But when Hong Kong was liberated he was appointed official photographer for the Hong Kong Colonial Government. In that capacity he had the distinction of being the only Chinese photographer to take part of the Japanese surrender ceremonies.

Shortly after the Japanese invasion of China, the First Hong of International Salon of Photography was announced, under Dr. Wu’s leadership.

“The exhibition was well publicized,” Wright reports, “and entries poured in from all parts of the world. After the judging, but before the salon started, the war broke out and within a short time the Japanese occupied Hong Kong. Dr. Wu, who by that time was a professional, immediately changed his profession as “broker” because he was afraid that any connection with photography would get him into trouble with the Japanese. The European members of the Photographic Society of Hong Kong were marched away to prison camps. Dr. Wu was not imprisoned. In secrecy and stealth, he was bale to smuggle 90 percent of the accepted prints in the salon out of the club’s darkroom. He hid them in various points in Hong Kong. The remainder of the pictures, including those which had been rejected, were captured by the Japanese and destroyed or sent to Japan”

Dr. Wu’s studio is furnished with the most modern equipment, including 10 speed light outfits. He reports that supplies are plentiful in Hong Kong, but that in the China mainland, amateur photographers are greatly hampered by scarce and outdated materials.

He devotes much of his time to amateur groups. One of the best known of these is the “6:20 Group”, which takes the name from the fact that it meets each Sunday to take the 6:20 a.m. ferry to Kowloon from which the search of pictures begins.

In order to help the Chinese amateur groups, Dr. Wu organized the Chinese Photographic Publishing Company and edited its monthly magazine. “Chinese Photography” printed in both Chinese and English. When the Iron Curtain of Communists was recently drawn around the mainland of China, the magazine was forced to suspend. The publication of the books continues. However, and among these is one on completion, printed in Chinese and English for the amateur. His latest book is “Classical Chinese Beauties”, depicting the dainty charm of the Chinese women.

Photographers in the Louisville area are fortunate to have an opportunity to hear a craftsman of Francis Wu’s stature. His prints are wroth driving miles to see. The unique approach to photography as practiced by one grounded in Chinese cultures will provide fresh viewpoint for all interested in camera work.