189:(郎靜山), and he also discouraged images that exposed Taiwan's impoverished and backward aspects. Sending these photos abroad for competitions may indeed increase the chances of being selected, but it also makes them susceptible to being manipulated for the dissemination of malicious propaganda, which could potentially harm the reputation of the nation and its people. However, his unintentional 1956 photograph titled "Mengjia" (艋舺) featuring a richly-dressed woman and impoverished siblings became one of his most famous works, despite never being developed during his lifetime. This piece was selected for several exhibitions bearing his name, and it was included in various biographies.
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exhibition. Deng actively contributed to the promotion of photography. In 1952, along with Zhang Cai and Li
Mingdiao, he financially supported the Taipei Photography Monthly Competition. Later, the Taipei Photography Society took over, renaming it the "Taipei Photography Salon." This monthly competition and exhibition, judged by them, continued for a decade, mentoring many young photographers. Deng Nanguang, along with Zhang Tsai and Li Ming-diao, was collectively known as the "Three Swordsmen of Photography."
63:(張照堂) described Deng Nan-guang's works as "full of romance and loneliness," with a simple yet impactful lens that directly touches the heart. Deng's photographic career is divided into three stages according to Zhang: the first being the pre-war scenes during his time in Japan, the second featuring images capturing the essence of Taiwan, and the least focusing on portraits and female character studies. Among these, his collection depicting the unique features of Taiwan stands out as particularly numerous.
130:'s Beijing Street (京町, now Bao'ai Road, 博愛路) called "Nanguang Photo Studio." (南光寫真機店) Deng Shiguang recalled that his father initially used photo albums made of paper less susceptible to humidity store negatives, employing his own particle development technique, resulting in superior quality. Many of these negatives could be enlarged with the same level of detail. Because of this, enthusiasts referred to him as "Mr. Nanguang," and Deng Tenghui eventually adopted the name "Deng Nanguang."
173:. Consequently, in 1953, he collaborated with friends to initiate an underground club named the "Free Exhibition Fellowship," (自由影展同人會) with regular meetings taken place in founding member's homes. The purpose was to break away from salon photography, promoting a simple and meaningful realistic style. Participants often brought lunchboxes, rode bicycles, and went to various suburban areas to take photos, earning them the nickname "Lunchbox Team." (便當隊)
196:. He self-published two books, "The Latest Camera Guide" and "Introduction to Photography." Simultaneously, in 1963, the Free Exhibition expanded into a nationwide social organization, renaming itself the "Taiwan Provincial Photography Association." Deng served as its president for seven consecutive terms until his death in 1971 due to heart attack.
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As Deng's son noted, from 1935 to 1944, Deng reached the peak of his photographic career, capturing nearly six thousand negatives during his travels across Taiwan. The subjects include scenes from Taipei and
Hsinchu streets, street vendors, the Beipu deity-welcoming parade, Hakka women doing laundry,
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Autographic Camera, a luxury item during that era, but his family's support, including the sale of jewelry by his mother Deng
Wushunmei (鄧吳順妹), made it possible for him to indulge in his passion. Deng Nan-guang would carry the hefty camera to school every day, capturing moments and scenes around him.
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During the 1960s and 1970s, conservative social atmosphere made it challenging to find models, even among ordinary women who were hesitant to be photographed. To capture female figures, Deng
Nanguang often approached members of entertainment establishments. In 1965, he expressed disapproval of the
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Deng
Nanguang maintained composure while photographing. When serving as a judge, he would tactfully express that poorly done works were "interesting" (生趣) in Hakka. He also ventured into capturing bold and open outdoor nude photography, featuring images of women from establishments like the First
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After the war, Deng
Nanguang returned to Taipei to reopen a photographic equipment store. In 1951, he was appointed as a photography advisor for the Taiwanese Cultural Association (臺灣文化協會). The following year, he established the "Free Exhibition Society," (自由影展社) organizing an annual photography
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In his "Nostalgia, Memory, Deng
Nanguang," Zhang Zhaotang wrote that while managing the store, Deng Nanguang contemplated on how to find photographic subjects, how to implement realistic photography in Taiwan, and the means to becoming a recognized photographer. He chose to address these doubts
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The family's Sei-Yuan
Hospital (世源醫院) in Beipu has been transformed into the Deng Nanguang Image Memorial Museum. The museum periodically hosts courses in visual aesthetics and various events related to images. It officially opened to the public in October 2009, located at 15, Park Road, Beipu
220:(駱香林). Due to storage limitations, these invaluable visual assets faced the risk of deterioration and loss within three to four decades. Guan emphasized the urgent need for a photography museum to rescue Taiwan's irreplaceable visual heritage.
95:-shot works were also selected for inaugural the Shanghai International Photography Exhibition. With diverse subject matter and frequent award-winning entries in competitions, Deng became a member of the All-Japan Leica Association and the All
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Zhang
Zhaotang believed this period marked the pinnacle of Deng Nanguang's creative output. Using the camera as his pen, Deng created a visual diary, leaving behind many precious witnesses to the era in Taiwan.
208:(TIVAC), urged the government to establish a photography museum to preserve the extensive collections of original film negatives left by Taiwanese photographers such as Deng Nanguang, Zhang Tsai, Li Ming-diao,
110:, and subconscious imagery—a departure from conservative and traditional pictorial photography. Residing in Japan, Deng Nan-guang was particularly influenced by the works and concepts of German photographer
154:. He also used an 8mm camera to film two dynamic works, "Fishing Trip" and "Zoo," featuring his children, which received awards. Both films were honored with the 8mm Film Award by the Japanese. Later, as
91:(潘慶妹) from Xinpu, and together they moved to Tokyo. Deng's earliest work was accepted for publication in the Japanese magazine "Camera," marking the beginning of his growing interest in photography. His
118:. He embraced Kimura's idea that the camera should become an extension of one's body, functioning as an integral part of oneself, and becoming an extension of one's own eyes or mind.
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In 1960, the
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Born into the Chiang family in Beipu, Deng went to Japan for high school and university education at the age of 17. The influence of his uncle,
43:, he was born into the prominent Chiang (姜) family (also called XinChiang, 新姜). Deng is recognized as one of the pioneers of photography in
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Influenced by the contemporary photography trends in Japan, Deng Nan-guang's aesthetics emphasized improvisation, freehand sketching,
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75:(姜瑞昌), who shared a passion for photography, likely contributed to Deng Nan-guang's love for the craft. While studying economics at
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In 1935, after Deng Nanguang obtained his bachelor's degree, he returned to Taiwan and opened a photographic materials store in
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tea leaf picking, lumberjacks cutting trees, charcoal burning, shepherds tending to their flocks, and prominent figures like
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In addition, Deng Nanguang attempted several times to organize his photography group, but the requests were rejected by the
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79:(法政大学), he joined a photography club, sparking his enduring interest in photography. His first camera was a
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423:趙慧琳 (2003-07-05). "前輩攝影家原片 被時間快速吃掉 國際視覺藝術中心主持人全會華催生攝影博物館 搶救台灣影像資產" (in Chinese (Taiwan)). 《聯合報》.
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Student Photography Alliance. In 1932, his eldest son, Deng Shiguang (鄧世光), was born.
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27:(鄧騰輝), was a Taiwanese photographer and a key figure in the early development of
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Deng Shiguang, Deng Nanguang's son, exhibited his father's works from the
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382:李青霖 (1996-02-12). "鄧南光影像日記 探索台灣人文寶藏" (in Chinese (Taiwan)). 《聯合報》.
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276:何來美 (2009-09-13). "鄧南光 鏡頭記錄台灣" (in Chinese (Taiwan)). 《聯合報》.
464:羅緗綸 (2009-08-15). "鄧南光攝影賽" (in Chinese (Taiwan)). 《聯合報》.
146:. Around 1938, Deng Nanguang developed an interest in
87:During his university years, Deng Tenghui married
23::鄧南光, December 5, 1907 – June 16, 1971), born
204:In 2003, Chuan Huihua (全會華), the host of the
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344:(in Chinese (Taiwan)). 台北市: 遠流.
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185:picturesque salon advocated by
51:(張才) and Lee Ming-diao (李鳴雕).
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436:"漫遊藝術史》意外成影：談鄧南光1956年的名作《艋舺》"
397:. 臺北市: 雄獅圖書. pp. 26–29.
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114:and Japanese photographer
481:Taiwanese photographers
442:(in Chinese (Taiwan)).
171:Taiwan Garrison Command
312:"不簡單的旁觀者 鄧南光攝影、攝心，也攝情"
122:Middle and Later years
134:through his actions.
29:photography in Taiwan
434:陳, 德馨 (2017-08-08).
310:吳, 美枝 (2015-03-10).
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108:Solarization
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491:1971 deaths
486:1907 births
216:(林壽益), and
214:Lin Shou-yi
116:Ihei Kimura
89:Pan Qingmei
67:Early years
31:. From the
475:Categories
450:2021-08-03
342:《看見北埔．鄧南光》
326:2017-11-27
239:References
235:Township.
112:Paul Wolff
49:Zhang Tsai
395:鄉愁．記憶．鄧南光
225:Showa era
148:8mm films
142:(吳鴻麒) of
140:Wu Hongqi
444:Archived
212:(林權助),
144:Zhongli
104:montage
41:Hsinchu
21:Chinese
440:《自由時報》
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316:《中央日報》
200:Legacy
179:Beitou
128:Taipei
45:Taiwan
229:Ginza
97:Kanto
93:Leica
81:Kodak
37:Beipu
33:Hakka
399:ISBN
346:ISBN
55:Life
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