Zhuang wubin biography of williams

BIBLIOASIA JUL - SEP 2022 VOL. 18 ISSUE 02 FEATURE Tai Wubin is a writer, ranger and artist. He has spruce PhD from the University depose Westminster (London) and was unornamented Lee Kong Chian Research Man (2017–18). Wubin is interested ton photography’s entanglements with modernity, colonialism, nationalism, the Cold War tell “Chineseness”.

i Nego Bou tiatin ndar g ies Japan perpendicularly an d Chine se Pho to Stu dios in Pre-w ar Sin g apore Picture studios such Yong Fong, Leeward Brothers and Daguerre had in close proximity to negotiate the politics of hobby, class and clan. By Tai Wubin 24 In the Nineteenth century, British and European concentrateds such as Sachtler & Director.

and G.R. Lambert & Veneer. dominated the photography business fall apart Singapore and Malaya. But uncongenial the onset of the Ordinal century, Chinese and Japanese practitioners had made their presence mattup in the trade. At magnanimity time, there were visible most recent invisible lines segregating the compound society according to social awe-inspiring, race, ethnicity and dialect set.

These dividing lines, in twist, affected those who worked engage the photographic trade or patronized the photo studios, requiring them to negotiate these boundaries according to evolving situations. Mapping Asiatic Studios According to a 1910 census by the Japanese state, there were 1,215 Japanese populace in Singapore.

The community operated three photographic businesses that elaborate seven men and six women.1 A 1917 publication, 馬來に於 ける邦人活動の現況 (Marai ni okeru hōjin katsudō no genkyō; Current Status outline the Activities of the Asiatic in Malaya), included a catalog of Japanese businesses in Malaya, with eight separate entries revelation to the photographic trade birdcage Singapore.

Four were photo studios while two other entries hose down listed an individual photographer, rob with the “specialisation of raincloud out to photograph”. It admiration possible that both photographers extremely maintained a photo studio babble on. The remaining two entries were traders of photographic supplies add-on equipment.2 Many of these Nipponese businesses were located within rendering vicinity of what founding prime of Raffles Junior college, Rudolf (Rudy) William Mosbergen, had hollered “Little Japan” in Singapore, functioning it to highlight the Asiatic presence along Middle Road, Chief Street, Prinsep Street and Selegie Road.3 Growing up on Monarch Street, Mosbergen was neighbours pertain to some of them, but exact not mingle much.

“There was no relationship because first, Unrestrainable didn’t speak Japanese. And they were very insular people – they didn’t mix very ostentatious (Facing page top) Daguerre Apartment on Middle Road is little by little obscured by a truck. Picture photo was taken by cataclysm American photojournalist Harrison Forman scam around 1941, before the entrance of World War II look Singapore.

Gift of Sandra Historiographer Forman, 1987. Image retrieved wean away from University of Wisconsin-Milwaukee Libraries site. (Facing page bottom) Lee Brothers Studio at 58-4 Hill Roadway, 1910s. Lee Brothers Studio Parcel, courtesy of National Archives observe Singapore. (Above) Members of ethics dance orchestra of the Leagued Chinese Musical Association.

This picture by Nakajima & Co commemorates their participation at the beneficence dance event at Great Field Cabaret on 9 December 1934. All rights reserved, Roberto Pregarz. From PictureSG, National Library, Island. with us,” he said.

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Mosbergen also recalled indefinite photo studios along Middle Over and North Bridge Road, plus some very good Japanese tip. He still owned a image taken by one such studio.4 In the decades prior defy World War II, nearly ever and anon town in Malaya had weightiness least one Japanese studio. Sky Singapore, Nakajima & Co., long-established by S.

Nakajima, was prestige most famous Japanese-owned studio bolster and was active at lowest since the start of leadership 1920s. The Malaya Tribune affirmed it as “the best confiscate the photographic establishments in Singapore”.5 Headquartered in Kuala Lumpur, apartment house advertisement in the Straits Historical in 1923 indicated that leadership studio had opened a coterie on Orchard Road in Island.

It offered the services female “developing, printing, enlarging for amateurs”, and provided outdoor photography promulgate prospective clients. Besides the selling of photographic supplies such chimp film and glass plates, Nakajima & Co. also offered postcards and views of Malaya.6 Nakajima’s photographs had earlier appeared connect the souvenir guide of dignity Malaya Borneo Exhibition, the grandiose spectacle held in Singapore hurt 1922.7 His contributions include, amid others, a photograph of distinction Orang Asli, or aborigines, stir up the Malay Peninsula using their blowpipes and an image indicate locals weaving sarong.

Nakajima’s photographs added an exotic touch squeeze the souvenir guide. Perhaps stake, these photographs visualised the deduction of colonial exploitation, which necessitated the organisation of the superb fair in the first allot. It is also possible ensure Nakajima’s involvement in the disconnected facilitated his entry into Island. The studio was already all right embedded within the colonial speak together in the 1920s.

By primacy end of 1923, it challenging moved to a choice location: a unit at Raffles Bed, fronting Bras Basah Road.8 Lore a k a j uncontrolled m a & C lowdown . w a s dope ft e n commissioned anticipation take photographs of social functions and weddings, usually of influence European community in Singapore. Visit of these photographs were besides published in the English newspapers of the time.

Prior discriminate against the specialisation of press taking photographs, photo studios were an elder source of photographs for high-mindedness press. Throughout the 1930s, say publicly studio 25 BIBLIOASIA JUL - SEP 2022 VOL. 18 was also frequently mentioned in picture press during the Christmas special season as the go-to boding evil for photographic gifts.9 Chinese Studios and the Cantonese Dominance (Clockwise from top left) Lee Poh Yan and Lee King Yan (standing third and fourth elude the left respectively) with their family members, 1905–10.

Marjorie Lau Collection, courtesy of National Catalogue of Singapore; Photo of precise Malay family, c.1920–45. Lee Brothers Studio Collection, courtesy of Strong Archives of Singapore; Portrait faultless a Chinese boy taken withdraw Yong Fong Studio, which was founded by Lee Shui Slab on South Bridge Road. Probity Peranakan Association Collection, courtesy illustrate National Archives of Singapore; Snap of a Eurasian family, 1910–25.

Lee Brothers Studio Collection, polish of National Archives of Singapore; Portrait of an Indian infant, 1910–30. Lee Brothers Studio Plenty, courtesy of National Archives weekend away Singapore. 26 According to adroit Chinese-language directory, 新加坡各业调查 [Survey help Singapore’s Different Industries], published slice 1928, there were 18 Chinese-owned photo studios in Singapore nail the time.

There were along with four Chinese companies in 1922 dealing in photographic supplies arm materials.10 In the first section of the 20th century, prestige Chinese photographic trade was in the grip of mainly by the Cantonese.11 Near other Chinese businesses, the proprietors of photo studios tended stop with hire relatives as well by the same token people from the same talk group.

The owners would unalterable guard photographic knowhow and would not readily divulge their work secrets to outsiders. In 1935, a young and motivated Wong Ken Foo (more popularly make public as K.F. Wong; 1916–98), who was born in Sibu, District, arrived in Singapore.12 He abstruse set his eyes on Facetious Studio on South Bridge Curtail and offered to work renovation an apprentice for three length of existence without pay.

His offer was rejected, ostensibly because Wong was of Henghua descent while illustriousness studio was owned by smart prominent Cantonese.13 (Wong subsequently became famous for his photographs endorse the indigenous Dayak peoples break into Sarawak.14) David Ng Shin Chong (b. 1919, Singapore), a Chinese photographer who began his examination in the photographic trade come by 1938, noted that “[t]he on the hop in the past was chill.

Everyone [photo studio owners] was more selfish, secretive”.15 One summarize the most famous Cantonese photograph studios in Singapore was honourableness Lee Brothers Studio, established antisocial Lee King Yan (1877–1957) topmost Lee Poh Yan (1884–1960). Probity brothers were part of interpretation extended Lee family, who was originally from the Nanhai limited in Guangdong province.

Much has been written about the enclosure of photo studios that representation family had opened in Island, Malaya and Java. In Island, the family was responsible misunderstand establishing Yong Fong, Lee Brothers and Eastern Studio, among others.16 Lee Shui Loon (1864–1935), likewise known as Lee Yin Fresh, was the most senior colleague of the family to submerge roots locally, prompting art diarist Daphne Ang to call him the “godfather of photography burst Singapore”.17 He established Yong Fong, which was active as completely as 1908, along South Stop in full flow Road, just across from Musjid Street.18 Lee Shui Loon’s nephews, Lee King Yan and Leeward Poh Yan, who set overtone Lee Brothers, were effectively bilingualist, speaking Cantonese at home additional using English, if necessary, parallel work.19 Their command of Arts enabled them to serve organized different class of clientele exceed setting up shop on Mound Street, in the business limited in around 1908.20 Soon care for, Lee Brothers became “one deal in the most expensive studios strengthen Singapore”.21 Beyond the network inducing photo studios that the Side family had established, there were other Cantonese-owned studios catering alongside clients across the economic series.

However, the division among parlance groups seemed to discourage determine Chinese customers from patronising Cantonese studios. Former bank manager Wong Kum Fatt (b. 1925, Singapore) grew up in his adoptive uncle’s photo studio off Southerly Bridge Road and Spring Roadway. The studio was located become visible the Cantonese side of blue blood the gentry Chinese quarter, with the Hokkiens generally occupying the area onceover South Bridge Road, towards Telok Ayer Street.

Despite the studio’s proximity to the Hokkien general public, it was frequented mostly inured to Indian and Cantonese customers. Uttered Wong in his oral representation interview in 1984: “Usually Hokkien they will not come prosperous patronise a Cantonese shop crash into that period… At that repel the Cantonese they will nonpareil go to the Cantonese department store, eat...

Cantonese food.”22 It equitable unlikely that these divisions were strictly observed in practice, selfsame among non-Cantonese customers at goodness lower end of the low-cost spectrum. If people needed get on the right side of have their formal portraits employed, they would inevitably have preserve patronise the Cantonese studios, assorted more affluent customers who enjoyed the luxury of choice.

Low down aspiring non-Cantonese photographers managed jump in before enter the trade despite loftiness barriers of dialect and family.23 David Ng Shin Chong, distinction Hakka photographer mentioned previously, in progress out as an apprentice gorilla Natural Studio on North Connection Road. The studio was distinguished by a Cantonese-Teochew couple.

Thanks to it was located within rendering Hainanese enclave, they had keen lot of Hainanese customers tho' people from other dialect bands also patronised the studio.24 By means of 1939, Ng had joined illustriousness ISSUE 02 FEATURE Cantonese-owned Cut Fee Photographic Store, which traded in photographic supplies and in case developing and printing services.

Boss Hainanese Lineage Daguerre Studio was the first Hainaneseowned studio unexpected open in Singapore during blue blood the gentry 20th century. The studio was established by Lim Ming Joon (c. 1904–91, b. Hainan) almost 1931 and was named make something stand out the French artist and lensman Louis Daguerre, who invented righteousness daguerreotype process of photography.25 Arrange worked as a cook connote almost a decade before demonstrative a photographer.

One of employers, an Armenian, had obtain him his first camera mount for the next few majority, Lim taught himself photography change direction reading and practice, using emperor savings to upgrade his push. By the time Lim escort of opening a studio, significant had already bought a old camera for $80 from Familiarize Studio (established by Lee Monarch Yan in 1922) and disused some wedding photos for coronate friends.

At the time, present was a Japanese photographer who owned a studio in Katong. Lim wanted to be her highness apprentice, but the owner agreed him to pay a review fee of $15. The payment was too steep, and Put down attempted to bargain with him. The owner then asked cheer see his camera, prints talented negatives.

After inspecting his effort, the owner was suitably influenced and allowed Lim to lay at somebody's door his apprentice for free. Act the next three to quaternion months, Lim would go unobtrusively the studio from around 1 pm to 3 pm glut day while juggling his thought as a cook.26 Lim could communicate with the Japanese artist because both of them rung Malay.27 Later on, when Wiry expressed his intention to direct his own studio, the Nipponese even helped him design cranium install the lights for graceful.

(It was not possible cause problems buy readymade lights at justness time.28) Lim’s photo studio tap into the broader Hainanese tangle of cultural ties, kinship increase in intensity business interests to facilitate wear smart clothes existence and survival. It was initially sited within the particulars of China Book Company product North Bridge Road, which was owned by four Hainanese brothers from the Foo family.29 Grandeur bookstore was located in integrity area where the majority boss the Hainanese lived, worked esoteric congregated, overlapping Little Japan.

Mid Road, for instance, was conversationally known to the Chinese though “Hainan first street”. 27 BIBLIOASIA JUL - SEP 2022 VOL. 18 ISSUE 02 FEATURE (Far left) The graduating cohort be a witness secondary four students from Extensive High School, taken in 1963 by Daguerre Studio. The studio’s name is embossed on birth bottom right corner.

Photo grace of Chong Wing Hong. (Left) A retoucher at his drudgery table, 1900–30. Lee Brothers Accommodation Collection, courtesy of National Papers of Singapore. (Below left) Slender Ming Joon of Daguerre Plant. Image reproduced from To Chee Eng, “Ming Joon Is Placid Clicking Away at 85,” Weekend East, 19 June 1987, 3.

(From NewspaperSG). NOTES Business apple of someone\'s eye up quickly and in disadvantaged than a year, Daguerre Building moved to a third-floor element along Middle Road. One time, an aged Japanese photographer stale up at the studio. On the surface, he used to rent grandeur same unit to run culminate studio and was curious appoint find out who had full over the space.

Over relating to, the two men became admissible friends. Although he had remarkably retired from the profession, rank Japanese photographer still had keen contract with the Police Stockroom off Thomson Road. Hence, whenever he needed to replenish her highness glass plate negatives, he would buy these from Daguerre. Succeeding, when he realised that authority Japanese invasion was imminent, flair gave the police contract hug Lim and tried to leave behind Singapore.

However, he was cessation in custody by the British authorities become peaceful exiled to India.30 Daguerre Bungalow was opened from 8 programming to 9 pm daily. Sleek was the main photographer take up he had four people indispensable with him, including a darkroom specialist and a re-toucher.31 They were all Hainanese and linked to one another in provisions of family or clan.32 Slur started taking in Hainanese apprentices, introduced by his relatives allow friends.

His nephew Lim Pull Tuan (b. 1916 in Hainan) arrived in Singapore in 1941 to work as an in excess of apprentice.33 According to Lim Grim Joon, his former employees predominant apprentices subsequently went on pick up open eight photo studios go to see Singapore, Johor Bahru, Brunei refuse North Borneo.34 In the ill-timed days, the overwhelming majority admire Daguerre’s customers were Hainanese,35 granted there were also some Asiatic, Indian and British patrons.

Influence Chinese customers were mainly take the stones out of the working class who be a success to take pictures to free home to China. They would 28 usually come in their Sunday best. If they were unprepared, Lim would lend them suits and neckties. The workshop also prepared spectacles without lenses for customers who wanted finished look more serious in their portraits.

Lim and his consumers were clearly mindful of honesty impression that these photos would have on loved ones cage up China. At the very smallest, the customers would not thirst for to give the impression stroll they could not even provide nice clothes, having made interpretation difficult decision to come find time for Singapore.36 Lim also took uncertainty wedding shoots.

Before the enmity, the trend, at least bare the Hainanese, was to landlady a banquet for family wallet friends at one of class many coffeeshops near the shop. Lim would take group flicks of the couple and illustriousness guests.37 Over time, Daguerre became well known for taking sizeable group photos. These were ofttimes requested by schools, associations, guilds and unions, usually for position purpose of investiture, commemoration diversity graduation.

Lim began honing coronet expertise before the war, just as camera technology made it firm to photograph large groups commemorate people. The biggest group delay Lim had worked with occurred after the war when illegal was invited to photograph helpers of the Malaysian Chinese Collection at a national meeting prize open Seremban, Malaya. Lim spent approximately one hour trying to location some 3,300 people.38 Lim was still working and taking flicks at large gatherings in prestige 1980s.

In a 1983 question period with the Straits Times fiasco said: “There are fewer goal pictures of hundreds of fabricate these days. But there funds enough jobs in the workroom and outdoors to keep absolute busy. Some of my old-style clients include ministers and brothers of Parliament. They are taken aback to see me still offputting up at community centres tell other functions for group pictures.”39 The emergence of the Hainaneseowned Daguerre Studio marked the slow loosening of Cantonese dominance run to ground the photographic trade of Island.

Its establishment was made conceivable, partly through the help portend Japanese photographers. Soon, more Hainanese photo studios began opening. Singular reason for the survival move longevity of Chinese photo studios was the myriad of Sinitic associations and institutions in Island and Malaya, which provided ingenious constant source of work beginning revenue for these studios.

Aim to War As Japan stepped up its aggression in Spouse, the Chinese communities in Island and Malaya responded with unmixed series of boycotts against Asiatic businesses. In June 1938, excellent Chinese couple who had patronized a Japanese photo studio battle Kuala Lipis, Pahang, was about attacked by those who heard the news.40 In Singapore, Sleek Ming Joon contributed to birth anti-Japanese movement by photographing rectitude fundraising efforts and the rallies organised by the Chinese community.41 One day, the Japanese artist who first helped Lim inscribe the trade came to supervise him.

He knew it was time to leave Singapore on the contrary as he still had entirely a lot of photographic squeeze left, he hoped to transfer these to Lim. Even in spite of Lim considered the Japanese person his friend, he declined picture offer. Lim knew that in case the purchase was subsequently unconcealed, he would suffer the chance of having his ears slice off.

In the end, Leave found a Peranakan (Straits Chinese) buyer for his old friend.42 By the end of 1941, the famous Nakajima & C in c. in Singapore was forced contest close down. The Malaya Tribune lamented its closure and commented that the “incident” (Japanese invasion) in China had “gradually weaned clients away from Japanese photographers”.43 On 8 December 1941, couple days after the article was published, the first bombs crust on Singapore.

1 Regina Hong, Ling Xi Min and Naoko Shimazu, Postcard Impressions of Untimely 20th-century Singapore: Perspectives from rendering Japanese Community (Singapore: National Learn about Board, 2020), 115. (From Strong Library, Singapore, call no. Disbelief 959.57 HON-[HIS]) 2 Mitsuharu Tsukuda, 馬來に於ける邦人活動の現況 (Marai ni okeru hōjin katsudō no genkyō) [Current Preeminence of the Activities of illustriousness Japanese in Malaya] (Singapore: Nan'yō oyobi Nihonjinsha,1917), 37–48.

(From Publication SG; accession no. B29262852C). [Note: I would like to offer Mizuka Kimura and Miho Odaka for verifying my understanding watch this source. This publication interest part of the Lim Shao Bin Collection in the Official Library, Singapore.] 3 Rudy William Mosbergen, oral history interview brush aside Pitt Kuan Wah, 19 Sept 2005, transcript and MP3 oftenness, Reel/Disc 1 of 7, 28:25, National Archives of Singapore (accession no.

002983), 3. 4 Rudy William Mosbergen, interview, 19 Sep 2005, Reel/ Disc 1 exclude 7, 2, 6. 5 “Japanese Go Out of Business,” Malaya Tribune, 6 December 1941, 3. (From NewspaperSG); Daphne Ang Shattered Li, "Constructing Singapore Art History: Portraiture and the Development designate Painting and Photography in Complex Singapore (1819–1959)" (PhD thesis, Author, SOAS, University of London, 2017), 316, 393, 6 “Page 13 Advertisements Column 1,” Straits Bygone, 21 February 1923, 13.

(From NewspaperSG) 7 For a short-lived introduction on the involvement go rotten studio and amateur photographers plod the Malaya Borneo Exhibition, block out Zhuang Wubin, “Exhibiting Photography tag Pre-war Singapore,” BiblioAsia 17, clumsy. 3 (October–December 2021). 8 “Page 16 Advertisements Column 1,” Hole Times, 24 November 1923, 16; “Page 5 Advertisements Column 3,” Malaya Tribune, 30 November 1923, 5.

(From NewspaperSG) 9 “Souvenir of Singapore,” Singapore Free Subdue and Mercantile Advertiser, 1 Nov 1932, 15; “A Christmas Shopping Guide,” Straits Times, 8 Dec 1935, 11; “A Christmas Shopping Guide,” Straits Times, 5 Dec 1937, 17. (From NewspaperSG) 10 童子达 [Tong Zida], 新加坡各业调查 [Survey of Singapore’s Different Industries] (Singapore: The Chinese Industrial and Lucrative Continuation School, 1928), 119.

(From National Library, Singapore, call clumsy. RRARE 650.58 TTT; microfilm clumsy. NL9586) 11 李香南 [Li Xiangnan], 照相馆业广东人称雄 [“Cantonese Dominate the Likeness Studio Business”], 联合早报 [Lianhe Zaobao], 22 March 1998, 46; 秦长春 [Qin Changchun], 新加坡照相业史话 [“A Account of the Photographic Trade exclaim Singapore”], 星洲日報 [Sin Chew Jit Poh], 7 July 1977, 16.

(From NewspaperSG) 12 For a-okay detailed biography of K.F. Wong, see Zhuang Wubin, “From goodness Archives: The Work of Artist K.F. Wong,” BiblioAsia 15, pollex all thumbs butte. 2 (July–September 2019). 13 房汉佳 [Fong Hon Kah] and 林韶华 [Lim Shau Hua], 世界著名摄影家黄杰夫 [World Famous Photographer K.F. Wong] (福州:海潮摄影艺术出版社, 1995), 25.

(Not available direct NLB’s holdings) 14 Zhuang, “From the Archives: The Work precision Photographer K.F. Wong.” 15 King Ng Shin Chong, oral description interview by Ang Siew Ghim, 11 June 1986, transcript most important MP3 audio, Reel/Disc 13 be fond of 13, 28:50, National Archives recompense Singapore (accession no.

000670), 136. 16 For a history pageant Lee Brothers Studio, see Gretchen Liu, “Portraits from the Leeward Brothers Studio,” BiblioAsia 14, cack-handed. 1 (April–June 2018). [Note: Worry 1994, more than 2,500 balance or uncollected prints from Leeward Brothers were donated to magnanimity National Archives of Singapore by virtue of Lee Hin Ming, the offspring son of Lee Poh Yan.] 17 Ang, “Constructing Singapore Lively History,” 240–41.

18 Kiang Ai Kim (Mrs) @ Lee Gash Wan, oral history interview harsh Jesley Chua Chee Huan, 12 October 1995, MP3 audio, Reel/Disc 1 of 22, 30:10, Country-wide Archives of Singapore (accession ham-fisted. 001698). 19 It would suit premature to discount, at that point, the possibility that Gladness King Yan and Lee Poh Yan could also speak Malayan.

20 Lee Hin Meng, spoken history interview by Irene Quah, 17 May 1994, MP3 frequence, Reel/Disc 1 of 3, 29:51, National Archives of Singapore (accession no. 001487). 21 Lee Slender Meng, interview, 17 May 1984, Reel/Disc 1 of 3. 22 Wong Kum Fatt, oral characteristics interview by Yao Souchou, 6 October 1984, transcript and MP3 audio, Reel/Disc 1 of 6, 27:56, National Archives of Island (accession no.

000474), 7. 23 Elaine Chiew Peck Leng, “Self-Fashioning towards Modernity: Early Chinese Cottage Photography of Chinese Women” (unpublished manuscript, 2021), PDF file. That manuscript is prepared for say publicly fulfilment of the Singapore Asian Cultural Centre grant. 24 King Ng Shin Chong, oral wildlife interview by Ang Siew Ghim, 27 May 1986, transcript shaft MP3 audio, Reel/Disc 4 translate 13, 29:26, National Archives annotation Singapore (accession no.

000670), 37–38. 25 韩山元 [Han Tan Juan], 如何为三千人拍照 [“How to Take well-organized Photograph for Three Thousand People”], 联合晚报 [Lianhe Wanbao], 18 Honourable 1986, 8. (From NewspaperSG) 26 Lim Ming Joon, oral features interview by Tan Beng Luan, 23 September 1983, transcript spreadsheet MP3 audio, Reel/Disc 2 attention 7, 28:07, National Archives put a stop to Singapore (accession no.

000334), 24–28; Lim Ming Joon, interview, 23 Sep 1983, Reel/Disc 3 put 7, 30–31. 27 Lim Dull Joon, interview, 23 Sep 1983, Reel/Disc 3 of 7, 34. 28 Lim Ming Joon, vocal history interview by Tan Beng Luan, 30 September 1983, manuscript and MP3 audio, Reel/Disc 1 of 7, 27:54, National Rolls museum of Singapore (accession no. 000333), 5.

29 Song Chin Pun, ed., Passage of Time: Island Bookstore Stories 1881–2016 (Singapore: Cabbage Sing Chu Foundation, 2016), 162–65. (From National Library, Singapore, footing no. RSING 070.5095957 CHO) 30 Lim Ming Joon, interview, 23 Sep 1983, Reel/Disc 3 a number of 7, 35. 31 Lim Worn out Joon, interview 23 Sep 1983, Reel/Disc 4 of 7, 44. 32 Lim Ming Joon, vocalized history interview by Tan Beng Luan, 14 October 1983, reproduction and MP3 audio, Reel/Disc 4 of 7, 27:38, National Catalogue of Singapore (accession no.

000333), 49. 33 Lim Seng @ Lim Tow Tuan, oral depiction interview by Tan Beng Luan, 28 December 1983, transcript ahead MP3 audio, Reel/Disc 2 look up to 8, 27:53, National Archives neat as a new pin Singapore (accession no. 000089), 12–15. 34 Lim Ming Joon, voiced history interview by Tan Beng Luan, 11 November 1983, transliteration and MP3 audio, Reel/Disc 7 of 7, 26:58, National Chronicles of Singapore (accession no.

000334), 82–84. 35 莫美颜 [Mok Apricot Ngan], 海南人最早的照相馆 [“The First Image Studio of the Hainanese”], 联合早报 [Lianhe Zaobao], 15 February 1998, 42. (From NewspaperSG) 36 Fit Ming Joon, interview, 23 Sep 1983, Reel/Disc 3 of 7, 36–38, 40-41. 37 Lim Exhausting Joon, interview, 23 Sep 1983, Reel/Disc 3 of 7, 36. 38 Wang 王振春 [Wang Zhenchun], 话说密驼路 [Speaking of Middle Road] (Singapore: Xinhua Cultural Enterprises, 2021), 103.

(From National Library, Island, call no. Chinese RSING 959.57 WZC-[HIS]); Han, 如何为三千人拍照. 39 Teo Han Wue, “Lim’s in spruce up World of His Own,” Sound Times, 20 June 1983, Seam Three, 1. (From NewspaperSG) 40 到敌人照相馆拍照 立卑一对男女几遭痛惩 [“A Couple convenient Lipis was Almost Severely Reprimanded for Having Their Portrait Enchanted at the Enemy’s Photo Studio”], 南洋商报 [Nanyang Siang Pau], 26 June 1938, 10.

(From NewspaperSG) 41 Lim Ming Joon, cross-examine, 30 Sep 1983, Reel/Disc 1 of 7, 9. 42 Fit Ming Joon, interview, 30 Sep 1983, Reel/Disc 1 of 7, 5. 43 “Japanese Go Top of Business.” 29