Friday, December 28, 2012

The Columbas Citizen - Ohio - Tuesday September 16, 1952

It’s Different In China…
Oriental Lensmen Spurn ‘Curves”

Dr. Francis Wu

A gentle mannered man from China, Dr. Francis Wu, brought a touch of the Orient and his fame as a photographer to Columbus last week.

Dr. Wu was the speaker at the meeting of the Central Ohio Camera Club at Central YMCA. He has been here for two months. His wizardry with a camera in Hong Kong has brought him international attention.

Making a tour, which will take him to 60 cities before he goes home again, Dr. Wu told his listeners the infinite patience the Chinese show with a camera.

“WE GO OUT” in the very early morning,” he said, “and get nature’s best efforts. If we don’t get the picture that morning, we try later in the afternoon and if we don’t get it then, we try tomorrow and the day after.

“We accentuate the face and the hands of our models, not the figure”

Dr. Wu saved some 600 famous pictures sent to Hong Kong from all parts of the world for a showing just before the Japanese overran his homeland. He does not disclose how the prints were buried and kept safe from the invaders. He changed his occupation to “broker” and was not imprisoned.


DR. WU IS a Fellow of the Royal Photographic Society and of the Photographic Society of America. In New York last month he was made an honorary member of the latter.

He uses both American and German cameras and finds the Germans have not lost their skill in making precision instruments. But was quick to praise American craftsmen too.

HE IS TAKING scores of pictures of homely American things and happenings of the people to show in China.

At the same time he is trying to teach our men and women here the way of the skilled craftsmen of the Orient with their way of making soft and delicate pictures and never bold or abstract at all.






Friday, December 14, 2012

The Gazette – Montreal, Canada – June 12, 1948


Montreal International Exhibition Of Photography
Old Butt Delicious By Francis Wu


Old Butt Delicious By Francis Wu
                               
Camera Club Show – Here is a photograph submitted to the MontrĂ©al International Salon of Photography now being conducted by the MontrĂ©al Camera Club at the Museum of Fine Arts, 1379 Sherbrooke Street West with co-operation of the Art Association of Montreal. Submissions reached an all time high this year and Camera Club officials say that the overall quality of the prints submitted was so high that the jury was very difficult.

Montreal is the largest city in the province of Quebec and the second largest city in Canada. Originally called “Ville-Marie” or “City of Mary”. French is the official language and is spoken by 60 percent of the population followed by English.

Sunday, December 2, 2012

Newark Sunday News – February 5 1956


Amateur Camera Artists Works On View In Newark

Newark New Jersey’s first International Salon of Photography, a Vailsburg Camera Club project, will be on exhibition until February 29 at the Newark Public Library.

   
Symbol Of Peace – Hovering Down On Globe Is Work of Francis Wu of Hong Kong

Friday, November 23, 2012

Hong Kong Commerce And Industry Department - November 16, 1955

Francis Wu – Judge

Francis Wu

Francis Wu was asked by Director of Commerce and Industry, Mr. H.A. Angus, (who is also the Chairman of the panel of judges.)  to be a judge for the Thirteenth Exhibition, which will be held from December 2nd 1955 to January 2nd. 1955.

The duties included the judging of the competition, attending the opening ceremony and the presentation of the awards.

Friday, November 16, 2012

Photographic Society Of America – April 21, 1960

1960 Stuyvesant Peabody Memorial Award
Francis Wu - Selection Committee

Francis Wu was on the panel of the committee of PSA to select the person with the honor of receiving the 1960 Stuyvesant Peabody Memorial Award.

This is an award, which is given annually to a member of the Society with outstanding capabilities who has contributed significantly to Pictorial Photography in any field of photographic endeavor. Francis Wu won this award in 1955.

There were five men nominated for this award for the year 1960. This is a worthy group of candidates and sincere thought and consideration should be given in making the choice. It should be remembered that the Peabody Award is given to the person who in the opinion of the committee contributed the most to pictorial photography. This contribution need not have been made during the past year or so but can extend back over many years. You should indeed consider most seriously those who have made their contribution over a period of many years even up to the present. That is, that their interest is still strong and their effects still continue as well as they are able.

The candidates for this award for 1960 are:

Ansel Adams FPSA – San Francisco, Calif.
P. Douglas Anderson – FPSA – San Anselmo, Calif.
A. Aubrey Bodine, FPSA – Baltijore, Md
Capt. Edw. J. Steichen – Hon. FPSA, Ridgefield, Conn.
Sewell P Wright, FPSA – Springfield, Ill.

The winner of the award went to Sewell P. Wright for 1960. Ansel Adams did win the award in 1961.

Friday, November 9, 2012

The Photographic Society Of Hong Kong – January 20, 1955

Francis Wu – President

Francis Wu was elected to be the President of The Photographic Society of Hong Kong for the year 1955.

Francis Wu was one of the founders of the Society. He also served as Vice President for many years and judged many of their salons.

Friday, October 26, 2012

The Circle Of Confusion – Whittier, California – April 25, 1981

Francis Wu – Judge
Circle Of Confusion 45th International Exhibition of Photography

Francis Wu

The Circle of Confusion is very happy to invite you to serve as a member of the jury of Selection for the Print Division of our 45th International Exhibition of Photography and your acceptance is appreciated.

In order for us to maintain proper records of your acceptance to be our judge in our Salon Book of Records, will you please acknowledge this by return mail, and include your reply information on your photographic experience such as honors, Star ratings, PSA and club activities. This will insure that our forms and publicity will be accurate.

Sincerely
Clyde & Mary Lou Manzer
Chairman, 45th International

Friday, October 19, 2012

Hong Kong Sunday Herald – September 21, 1947


Francis Wu Third In U.S. Exhibit
Tacoma, Washington


Francis Wu of Hong Kong was awarded third place in the portrait group in judging of the photo salon exhibit at the Western Washington Fair.

More than 500 entries from the United States, China, Canada, The Netherlands, England, Uruguay, Argentina, Brazil, Romania and India entered Photos – Associated Press.

A Bright Future By Francis Wu

Friday, October 12, 2012

Amateur Photographer Magazine – September 1948


The R.P.S. Exhibition – Pictorial Section
The Day Is Done By Francis Wu


The Day Is Done By Francis Wu

A print, which is likely to attract the attention of photographers, is Francis Wu’s “The Day Is Done” (74) because of the use of a background screen that imparts leather like texture. Wu is the leading photographer in Hong Kong.

Friday, October 5, 2012

The Amateur Photographer – October 4th, 1939

“The Royals” and “The Salons”
The Salons

As with the R.P.S. Annual Exhibition, The London Salon of Photography also announces an extension of time, and this attractive exhibition of pictorial photography at 26/27 Conduit Street, New bond Street, will remain open until October 21st. Here with the appeal entirely of pictorial photography, the visitor will be able to study at leisure, not only the various studies of individual workers, but ale, with the aid of the catalog, to discern variations of characteristics in national tendencies in camera work.

Already we have referred to the productions of many of the exhibitors, but with a collection of over 400 prints, selected from many thousands sent in, it can be assumed that the standards is very high and there is no poor prints in the collection.

The Chinese photographers have a very definite character of their own.



Francis Wu’s print “Portrait Of An Old Woman” was accepted and hung in this International Salon in 1939.

Friday, September 21, 2012

Photograms Of The Year – 1957


The aim of this annual is to show a representative collection of pictorial work and no other. There are plenty of publications that cater to news and documentary photography. This does not men that all the pictures are conventional – far from it; rather we may have made the basis of selection that which is adopted by the London Salon of Photography – “that there must be distinct evidence of personal artistic feelings and execution.” This means that originality is prerequisite and one only has to compare this volume with one of ten or more years ago to see there is plenty of scope for it within the limits of the photographic process. Pictorial photography can and does keep abreast of fashion in outlook, presentation and subject matter.

We cannot describe pictorial photography as an art without defining our use of the word – one that is loosely used. All kinds of things can be called works of Art: pictures, symphonies, buildings, industrial designs, bridges or even landscape garden. The one common factor is that of personal inspiration and creative conception, without which none of them are anything but utilities.  A work of art demands a personal mastery over the materials employed but the fact that a thing was difficult to do does not make it a work of art. The whole history of art is not a story of progress in technical efficiency but a story of human expression reflecting personal ideas in all ages.

Critics of photography say that it cannot be an art because the camera can only record what is in front of it and the photographer is not able to “create from nothing” like a painter. If the premise is accepted, then poetry. Drama and music cannot be arts because they are limited to the use of existing words and notes. They are, in fact, art of direction, in which the author moulds existing materials to project his own personal ideas, and the artistic photographer has the same facility at his disposal.

The pictorialist starts the creative chain of events by his selection of subject, by the layman has difficulty in understanding how he can be creative in other ways because of the popular belief that the “camera never lie”. He does not realize that perspective can be varied by choice of viewpoint; that shapes can altered by lighting techniques and that the whole atmosphere of the subject can be changed by variations of contrast or key. The photographer is working within predetermined “frame” and the composition or arrangement can be varied to project entirely different ideas. 

Amongst these critics, however, are some who are prompted by a genuine desire to explore new paths and new original ideas to express. They are to be encouraged because they represent the progress that is essential to any art, and some of this work has been included in this book. Sometimes their pictures go rather too far along unconventional lines to please the traditionalists – but what is outrageous today is often the fashion tomorrow. We have tried to include only those, which are progressive and not just reactionary, but all of them have a strong emotional appeal.

Expression and composition are certainly the most important elements of a pictorial photograph but the quality of technique must also be considered. Sometimes the “message” is powerful enough to surmount a great deal of faulty technique and make the picture acceptable. Nerveless the result will be even better with good technique, which always helps to emphasize the other, more important, qualities in the picture.

It is hoped that these remarks will assist the laymen to evaluate the pictures in this book and to understand why they were deemed worthy of inclusion. As usual, there follows a brief commentary giving the silent virtues of each picture. Space does not permit a detailed analysis but the comments may help the tyro towards an evaluation of the photographs shown. By studying and analyzing good pictures in man medium he will learn to apply the basic principles in his own work and he will the better be enable to understand the whole world of graphic art. 

Morning Songs
By Francis Wu


This photograph is notable for its well-rendered water texture. The boughs in the foreground are intended to give their picture depth and perhaps help to build the true atmosphere. It is a pity that they do not fall into a better design and the out of focus branch is almost unfortunate. Nevertheless, there is quite a lot of mood in the picture and the small boat helps to give a remarkable perspective.

Morning Songs By Francis Wu

Friday, September 14, 2012

Institute Of British Photographers – January 1952


Record – Volume XXXI – Number 1
Francis Wu – Awarded “Fellowship”



Francis Wu of Hong Kong China was awarded the title of “Fellow of The Institute of British Photographers” (F.I.B.P). There were 72 applications and only 4 were qualified for this title this year. It was only a year ago that Francis Wu was awarded the Associateship from this Society.

Francis Wu has also the “Fellow” from the Photographic Society of America and the Royal Photographic Society of Great Britain

Friday, September 7, 2012

South China Morning Post, Hong Kong – Tuesday, December 13, 1955

Salon of Pictorial Photography
International Display In Hong Kong



Twenty-five countries were represented in the 10th Hong Kong International Salon of Pictorial Photography, which was opened by His Excellency the Governor, Sir Alexander Grantham yesterday.

A total of 219 prints of superb photogpahy are on exhibition at the Alliance Francaise, French Bank Building. Among them are 70 from Hong Kong, 54 from the USA, 20 from Hungary and 16 from Malaya. There is also a souvenir catalog containing excellent reproductions of many of the prints.

Sir Alexander, Patron of the Photographic Society of Hong Kong which is holding the salon, and Lady Grantham were met by the Society’s President, Mr. Francis Wu, and introduced to members of the Society’s Council, to President of the Alliance Francaise, Mr. D.L. Streliett, and to the French Council-General, A.M. Beaulieux.

The Governor placed the President’s chain on Francis Wu. Then, accompanied by Mr. Wu. The Governor and Lady Grantham inspected the pictures.

Friday, August 24, 2012

The Illustrated London News – September 23, 1950


At The R.P.S. Exhibition:
An Oriental Portrait Of Universal Appeal
Vanity By Francis Wu


“Fair Tresses Man’s Imperial Race Insnare, And Beauty Draws Us With A Single Hair” (POPE): “Vanity; By Francis Wu, FRPS of Hong Kong.

Friday, August 17, 2012

Hong Kong Government – October 28, 1949

Francis Wu – Judge
Hong Kong Annual Report – 1949

This is a letter from the Deputy Colonial Secretary:

I am directed to express to you Government’s appreciation of your kindness as a Judge in the Photographic Competition was held for selecting photographs suitable for inclusion in the Annual Report on Hong Kong for 1949, and to thank you for the valuable advice which you gave in this matter.

I am, Sir,
Your obedient servant,
C.B. Burgess
Deputy Colonial Secretary

Friday, August 10, 2012

Classical Chinese Beauties – 1951


Photographed By Francis Wu
Introduction


Feminine beauty has been a source of constant admiration since time immemorial. The ways in which female beauty are admired are numerous and varied : different opinion of real loveliness range from nude studies to veiled models. Each and every nation has its own ideas of feminine beauty, totaling different from the other. Thus there is the light-hearted, submissive beauty of the Siamese woman; the exotic beauty of the South Sea Islander; the glamorous, long legged American; the French coquette; the vivacious Spaniard; all have their own distinctions and subtle attractions.

Of all the many types and classes of feminine beauty, there is no doubt that the Chinese type has a big claim on the attention of the connoisseur. The Chinese woman is always delicate and truly feminine. The study of Chinese poems and lyrics and Chinese paintings and sketches makes it easy to visualize the kind of beauty which Chinese people realize the true attributes of real loveliness and therefore they enhance these qualities by representing their women with all the delicacy and charm which nature has bestowed upon them. While the Chinese man is always shown as daring, rugged and brave, the woman is pictured as dainty, and refined, often in a reclining attitude, or sometimes engaged in the pursuit of various arts – painting, music and literature. Nakedness is very seldom seen in Chinese paintings, nor indeed is it written about in poems. The Chinese woman is always dramatized as dreamy and abstract in appearance.

Chinese beauty and charm lies mainly in the face and hands. A woman is considered beautiful in the eyes of the Chinese if her facial expression is refined and appealing. Such beauty is usually landed in music and poetry. The alluring expressive eyes, the delicately arched eyebrows, the enticing attractive lips, the sweet smile, al harmonize to form the rare beauty of the Chinese woman. The hands, too, play an important part in the judge
ment of the lovely Chinese woman. Her hands are small, dainty and graceful, her fingertips are light and elegant, and all these add up to make the allurement and attractiveness of her Classical beauty.

Clothing and ornaments are important which increase, rather than detract from the charm of the Chinese Beauty. Her gown is loosely fitted to her body, while long wide sleeves cover her arms and the length of her dress denies any view of her legs. This characteristic of dress, although it differs so much from the Western form of attire, adds to her natural qualities and makes her more admired, and certainly more respected. The ornaments she wears are in accordance with her character, and are always chosen to enhance her gracefulness. Flowers, pearls, earrings, necklaces, are selected so as to amplify her personal attributes, and must never be gaudy or over-bright.

       “And  At That Moment Silence Was More Poignant Even Than Music”

Thus classical Chinese Beauties are represented as slender, willowy, reserved and with delicate sloping shoulders, graceful hands and well-cut features

In producing this book “Classical Chinese Beauties” the author ha spent many years of careful research and intensive study of Chinese literature and art, always aiming to portray a true representation of the Chinese type of traditional classical beauty.

Many countries have published books depicting the various types of beauties admired by them. However, China has been as exception, and it is with this omission in mind that the author has devote and material in the preparation of this volume of selected photographs.

The author has spent much time in selecting models who could portray and express the qualities of typical Chinese Beauties and in doing so has encountered great difficulty in the approaching of the models and persuading them to cooperate.

“A Network” “Kerchief Contains No Tears”

The costumes chosen for “Classical Chinese Beauties”  represents styles of several periods of Chinese dresses. They show the designs and the patterns of the Orient.

This book aims to give the world an idea of the gentleness and gracefulness of Chinese womanhood in earlier periods. All the illustrations are treated with modern processes of photography with optic, light and shade illusions instead of the usual brush and ink.

Although this book contains only forty pictures, a greater number of black and white negatives have been exposed. In addition, many color transparencies have been used so as to provide a wide range of choice and the best prints have been employed.

Francis Wu, F.P.S.A., F.R.P.S., A.I.B.P., Hon. M.P.S., Hon. S.F.F.
August 1951

Friday, July 27, 2012

Hong Kong Commerce And Industry – November 17, 1956

Francis Wu – Judge


Dear Mr. Wu:

The Chairman of the Chinese Manufactures’ Union has again asked me to act as Chairman of the Panel of Judges for this year’s 14th annual Exhibition, which is being held from 29th November 1956 to the January 3rd. 1957. I would appreciate very much if you would be kind enough to agree to serve on the Panel of Judges this year.

Yours Sincerely,
R.A. Angus
Director of Commerce and Industry

Friday, July 20, 2012

The Outstanding Chinese Photographers Exhibition Association - January 1982

Francis Wu’s Photographic Exhibition

Francis Wu
“The Outstanding Chinese Photographers Exhibition Association” is an organization established for the purpose of showing photographic work done by well-known Chinese photographers. Obviously, the prints submitted by Chinese photographers to international salons or exhibitions are to shown in sufficient scope to represent the Chinese approach to art and photography. Hence, the Association was formed in the United States and other countries of the world by means of “traveling shows” formed by the Association to introduce Chinese photographic art

For our first exhibition, we proudly present the work of Francis Wu, a well-known Chinese photographer whose work has been in Salon Exhibitions, magazines and periodicals. Formerly of Hong Kong, Mr. Wu recently moved to Fullerton, California. This exhibition will be held at Lin Sin Association in New York City.

Friday, July 6, 2012

South China Morning Post, Tuesday, December 28, 1948

PERSONALITIES

Success For Local Photographer
Mr. Francis Wu

Mr. Francis Wu, well-known local photographer, has achieved a signal success with his exhibits at the Amsterdam 8th International Salon. His submitted four prints, all of which were awarded prizes.

With “Old Butt Delicious”, picture of a coolie enjoying a cigarette end, Mr. Wu won the only gold medal awarded at the exhibition. His three other print won a first, second and fifth prizes.

He photographs were reproduced in Focus magazine and the originals are now in a mobile exhibition touring the Netherlands.

Thursday, June 21, 2012

The Photographic Society Of America – June 20, 1980

Francis Wu - PSA International Affairs Committee
Francis Wu

On the recommendation of the PSA Officers, the PSA International Affairs Committee is being expanded.

It was felt that the addition of certain PSA members to the Committee might further the aim of the Society to promote good will with photographers in other nations.

In particular, the thinking was that PSA members having extensive (or special) contacts with photographers in certain foreign areas could well serve on the Committee as goodwill ambassadors.

Your appointment would be concurrent with my present appointment as Committee Chairman, which terminates at the 1981 Annual Meeting of the PSA Board of Directors.

I am sure your wide acquaintance with photographers in other nations will make you a valuable member of the Committee and I look forward to having you as a member.

Sincerely
Col. Joe E. Kennedy
Chairman – PSA International Affairs Committee

Friday, May 11, 2012

Portraiture By Francis Wu – Circa 1950’s

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




Introduction

I am often asked to write a book on Portraiture for the benefit of all those who are interested in this field of photography, whether he or she is an amateur or a professional. To write a book of this sort is difficult, as it would be necessary to please both the beginners and the advanced workers. Bearing this in mind, I am trying to write something about portraiture that will aid the beginner as well as the advanced worker. Many of the ideas, which other portrait photographers have conceived or written about, will be repeated. Gathering all their points together and adding the experiences and mistakes I myself have made in producing portraits. Expecting my readers to follow through my personal methods of making a portrait, but I hope this will guide them to avoid some common mistakes made by photographers.

Portrait photography can be said to be the most interesting branch of photography. It will interest everyone and anyone: not only the photographer himself, but the sitter, his or her friends, and an audience of admirers.

Portraiture

Why is portraiture such a fascinating subject to talk about in photography? We often ask ourselves this question, and once we start asking ourselves questions about a subject, it must be an interesting one. Indeed, it is fascinating and interesting. The constant change of facial expressions, moods, age (of childhood to old age), the individual characters, the personalities – all these – make up out of portrait photography a study of human nature.

We, as portrait photographers, must record in our portraits all the characteristics of human nature. We can make the record in our portraits good or bad, many times we even distort or exaggerate. A portrait can either mar a successful print or emphasize it to such an extent that it will arouse the enthusiasm of the viewers or the audience, A successful print depends not only on the ability of the photographer, but also the cooperation of the sitter.

Naturally, a portrait photographer must know his camera and accessories, his lights, films, developers, papers, and be able to manipulate and handle his equipment with ease. His technique must be good; otherwise the finished work will have no significance at all.

In addition of being capable of managing his equipment and expressing his technique, a portrait photographer must also be an artist: arranging of pose, draping, make-up and dressing the models, etc. all require an artistic sense.

After fulfilling the qualifications of a good technician, and artist, the last requirement is to be a good psychologist – to know the habits, the likes and dislikes of human beings – how to apply the right approach to obtain the inner, natural expression so that the portrait can be truly and actually represented.

All human beings have a pride in themselves; this pride produces individualism. In order to manifest our pride, therefore, we comb our hair, put on nice clothing, polish our shoes and manicure our nails. The women, especially spend hours in front of their dressing mirrors, taking care of every minute detail of their make-up and dress: yes, it is all done out of pride and vanity. All women love to be beautiful – and it is the duty of the portrait photographer to make them beautiful. On the other hand, men have a pride in themselves, different from that of women: their pride is their dignity, their bold, manly character, their strong feature that distinguish them from Wong or Wu, or John or Jack.

All in all, the portrait photographer must concentrate on giving a good likeness, showing outstanding features of beauty and character. What more do we want of a portrait photograph?

Individualism

All human beings have the same features given to them by nature, such as two eyes, a nose, a mouth, two ears and so forth: and all human beings act according to the law of nature. Therefore a frown, a smile, a cry, a laugh is nothing but a human manifestation of expression. Individualism does not mean that one person is distinguished from another by a physical peculiarity, such as one eye, two noses, two mouths or one ear. This type of individualism is classified as freakish. It is not the job of the portrait photographer to make “individualist” portraits of them. What I really mean by individualism is that each person is endowed with the same features but different characters – the character that distinguishes one person from another. Although we all look alike, we can say that this is Mary or Jane, or Ching or Ming. Mary may have a pair of large round eyes, while Jane has a pair of small slanted eyes. Ching may have a wide thick mouth, and Ming have two large elephant ears. These slight variations sort out the features of the individual, and these individual features, added to expressions, form individual characters.  Individual characters, therefore, can be said to develop from expressions habitually used and the contractions of the facial muscles to such a form when such expressions are required. As we grow older, these expressions have mobility; they constantly change from one to another according to the mood of the individual. Thing changing of expression according to mood gives the portrait photographer ways of capturing outstanding portraits. Mr. A. photographer may make a picture of Mary in a smiling mood, while Mr. B. photographer may make another one of her in a melancholy mood. This depends on the photographer themselves in creating and capturing their subject’s expression.


While we are on the topic of expression, I would like to say that this is the first essential of a good portrait. Expression arouses the emotions, produces sentiments: expressions can bring laughter or tears to the one who is looking at the portrait. Expression in a portrait photograph is like the expression of a dream, a scene in a stage or in a movie.  Writers have described their characters with words, and their words are reflected into expressions and images in their mind. But looking at the expression in a photograph, the emotions are aroused directly. Therefore, to compose a portrait photograph requires the skill of the photographer to bring out the full expression. Not many photographers can achieve this skill. Many attempt to do it and are not successful. This skill depends on the photographer’s personality, how well he manages to know life and habits of his fellow men. He must have enough education and be well brought up in life; he must also have mingled with all classes and types of people, in order to understand their lives. The photographer must play-act in front of the camera and their sitter. In order to create a feeling or mood to get the expression out of his sitter.


The face is generally said to be an open book. Everything on the facial surface reveals everything within that person. From the surface of the face, we can get the message from the bottom of the heart. Therefore, the face is very important. From the face, there are the eyes, and the eyes re said to be the windows of the soul. Expression in the eyes reflects the expressions from within – gaiety or sadness, seriousness or hilarity. “Look me straight in the eye” is also another phrase – expressing honesty.

The mouth is next in importance in expression. If the eye and the mouth are hidden from a photograph, what other features will reveal the character, mood and expression? I don’t think the nose or the ears would create a sensation. But if we hide the ears and the nose and only reveal the eyes or the mouth, we can be aroused by their expression.

The Sitter

 No matter whether you are a beginner, an advanced amateur, or even a professional photographer, you will have the same problem with your sitter. And no matter whether the sitter is a friend or an unacquainted stranger, he will react in the same way – he will inevitability be camera conscious. Even we, being photographers ourselves, when approached by other photographers who want to make a portrait of us, feel camera conscious when we face a camera. From experience, I can say that everyone is self-conscious when having a portrait taken. This camera consciousness must be overcome before the sitter is clicked. Camera consciousness will put the sitter at ease. His mind will be wandering and wondering. He will be over worried and anxious over nothing. I have seen people who come to me for portraits, whose camera conscious keeps them from moving all the time. Occasionally, a sitter is so nervous that he trembles, blinks his eyes, twitches his mouth, and makes funny expressions. This uneasiness is registered not only on the face, but also be the camera on the film. The photographer must be careful with such a sitter. From my daily experiences with sitters, I have formulated a way of getting along with them. My method is this: I pretend to be ill at ease myself, fumbling around with unnecessary gadgets, and manipulating out of the way light stands, and so forth. In this way, the sitter will be conscious of my own clumsiness or fumbling, and forget about his sitting for the portrait. I never pose my sitter and tell him to give me a smile or look into the camera. I leave all the expression to his natural responses. But in the meantime, my camera is well checked and ready for taking. As soon as I see the expression that is good, click goes the shutter.

How To Avoid Camera Consciousness

Fumbling around the camera may work at times, but not all the time. Sometimes this will make a fool of the photographer in front of the sitter. Another method of avoiding this camera consciousness is to get acquainted with the sitter. The photographer before the sitting should spend a few minutes talking with the sitter, being friendly, asking a few questions about his business, his hobby, or interest in life outside of work, what he likes and dislikes, what kind of amusements he indulges in, how he likes to be entertained, about his friends, his social background, and his position in the community or society. The more the photographer knows about his subject, the easier it will be to work with him. He must also keep in mind while he keeps his conversation going, he must be on the alert to watch the expression he wants. Once he has captured the confidence for the sitter, it will not be difficult for the photographer to capture good facial expressions for the portrait.

However, when he cannot get any information on the life of the sitter, the photographer must rely upon his own powers of appraisal; he should train himself to gather quickly a correct impression of the subject’s intellect, his taste, his aspirations, and by conversation draw from him some ideas of his special interests, which may be used as topics for continued conversation.

Such conversations will sooner or later strike a responsive note within the subject, and brighten up his face, what is most interesting to him will bring to life the natural pleasing expression so essential to a good finished portrait.

Natural Expressions

Since a good portrait depends upon a natural expression, the photographer’s task will be to remove all suspicion from the subject’s mind, to break down all antagonism and to create a friendly situation in which the subject feels he has an equal part. The making of a successful portrait will depend upon this mutual co-operation. The photographer should not rush and hurry a sitting and above all, should not get flustered. He should always be in command of the situation. In addition he should always be polite and invite the sitter into the studio in a casual way. He should not put on an artificial appearance, or assume affected mannerisms in greeting the sitter. If a person is treated in a natural, friendly way, he will easily make himself at home, and assume natural or habitual pose which would suit him best, or be more likely to be associated with him. Sometimes, through this system is not very successful. For instance, some people who are too conscious of their own shortcomings may try to correct them before the camera. A mild, timid man may try to make himself look severe and bold, a stern man may force an unaccustomed smile on his face, and the camera will in consequence capture these artificial aspects. Needless to say, this resulting portrait will not reveal the person as he really is, and will not show him as he usually appears. The photographer should bear in mind that a portrait should be candid as well as flattering, and should, be casual conversations, by subtle handling of the situation, be an insight of human feelings, and a knowledge of the psychology of human nature, be able to capture  pose that is graceful, dignified, and in relation to the sitter’s personal status.


Posing The Sitter
Arranging The Bench

When the bench is placed directly in front of and parallel to the camera, the sitter will tend to site squarely on it. As a result, his shoulders will be spread directly across the picture, and he will seem broader than he really is. If t he sitter is woman, she will naturally dislike the picture, as it would make her look fat, and not flattering her as it should. As for men, only very few will be pleased with such a pose. A great Man, or a person of dignity would appear statelier with this straightforward pose, but only a small number of people have such high positions in life as to demand such a pose.

The bench therefore should be placed slightly slant from the camera, so that when the person sits on it, his shoulders will be turned a little away from the camera. The picture will not appear stiff or artificial because with his shoulders at an angle from the camera and his head turned back to the cameras, the person does not seem to be entirely still; an element of motion is thus added to the pose.


The Eyes

Never let the subject stare right into the camera: the picture would give anyone an uncomfortable feeling no matter where it should be placed. Having the sitter look near the lens – a little to one side would be best. However, don’t direct his eyes too far from the camera, as this would give his eyes a faraway look, and should not be as intimate as a portrait should be.

Head And Shoulder Portraits



When you look into the ground glass of your camera, you must know how much to include and how much to leave out. Amateurs usually place the head too low in the picture space, and not enough body is shown in the resulting negative. This is very inadvisable, as there would not be any pleasant proportional relationships between the head and body areas. Good portraits should show a head with ample support from the body below.

On the other hand, some people place the head too high. The picture would, in this way, have a cramped appearance, and would not be pleasant or comfortable to look at.

If the head and eyes are facing one side, it is better to allow more space in front of the head than behind. This will give the eyes a directional scope, and a well-balanced composition.



Three Quarter and Full Length Poses

A three quarter pose is more difficult than just a head and shoulder pose, and should not be attempted until the latter is mastered. The photographer would have to pay attention not only to the head and shoulders, but also to the arms and hands. When you are taking a full-length picture. You will have to consider the legs as well. You should be careful not to let the legs or arms point directly towards the camera. Turn the legs as well as the body to one side, and don’t let the arms fall close to the body, as this will make the body look wider. When the sitter is slender, the three quarter length pose will be very effective, but when he is quite old or stout, you should restrict the pose to head and shoulder views.

In three quarter poses, do not have the feet and legs placed stiffly together. Either let one foot be slightly in front of the other, or have the other foot crossed over the other. Crossing the knees will add grace and rhythm to the composition.

When you want to show the person standing up, remember not to make him stand with equal weight on both feet. Let the weight rest more on one foot than the other; better still, have him put one foot slightly forward and flex that knee. This will abate any awkwardness or ungracefulness, and add a feeling of naturalness and relaxation. You must bear in mind, though, that when the body is turned slightly away from the camera, the near foot should always be flexed, not the further one.



If the sitter is not an experienced one, he will inevitable be at a loss with what to do with his hands. When the subject is a man, he will want his hands to express strength and character. The most effective and popular ways of posing the hands is to have the subject hold a book, a pipe or a cigarette, or maybe, a pair of spectacles. If he is a lawyer, doctor, scientist, artist, or a band leader, you could successfully post him with some instrument or tool customarily associated with him: this will put him at ease, as well as give the picture a story. However, whatever he is holding, makes sure that he is not grasping it too tensely. Pose his hands, so that they are shown slightly away from the camera, and be careful not to pose the wrist, hand and fingers in acute angles.

If the subject is a woman, you must try to enhance the gracefulness of the hands. The most important rule is never to show the broadest aspect of the hands. Again, I must remind you that the best thing to do would be to have her turn her hands a little to the side. The back of her hand and her fingers should curve gracefully. Sharp angles or unnatural placement of the hands would spoil the whole picture.

When the sitter has graceful hands, she can place them near her face with a very pleasing effect. When she is sitting, she can cup them slightly in her lap, and you can have the lady hold something in her hands. Good props would be a fan, open or closed, a scarf or handkerchief, or maybe even flowers. However, you must bear in mind that she holds and how you pose her should be natural to her personality, her habits and temperament.

Friday, March 30, 2012

Popular Photography – February 4, 1949

Popular Photography 1948 Photo Contest
Francis Wu – Winner Print “Rowing In Still Waters”

We are very happy to advice you that you are one of the prizewinners in the black and white division of Popular Photography 1948 Picture Contest. In the final judging the Contest jury ranted you an award with your print “Sprint Song”

We congregate you on having had your work selected by the judges from the many thousands that were entered in the Contest, and wish you continued success in the field of photography.

Announcement of all prize winners in the contest, and reproductions of many of the prize winning pictures will appear in the march 1949 issue of Popular Photography. An exhibition of the prize-winning pictures is also being held simultaneously at the New York museum of Science and Industry, the RCA Building, New York City; Franklin Institute, Philadelphia, Higbee’s. Cleveland, Marshall Field and Company, Chicago; and Bullocks, Los Angeles.

Many thanks for having participated in the Contest, and for your cooperation in providing picture data and other information as requested.

Sincerely Yours
Frank Fenner Jr
Editor – Popular Photography


Rowing In Still Waters By Francis Wu

Friday, March 16, 2012

The Mariners’ Museum – Newport News, Virginia – March 1953

Francis Wu – Permanent Collection
Print – Touches of Sunlight



The museum would like to keep for its permanent collection of exhibition prints your “Touches Of Sunlight” These prints are displayed both in the museum and sometimes at special loan exhibitions.

Very Truly Yours,

John L. Lochhead


Touches Of Sunlight By Francis Wu