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.
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