Ch'en Keng-pin's more realistic postwar works, such as "Young Gentleman in Front of Car" and "Grandfather and Grandchildren," while being perhaps little more than family keepsakes, derive from their direct angles, simple lighting, and exactness of layout a certain air of innocence in childhood recollection.
當然這和攝影家的個性或膽識有關，以及做為一個「社會人」必要的內省與思慮。在陳耿彬戰後的寫實作品「車前小紳士」（一九五一年）及「祖父和孫子」（一九五六年）中，雖是簡單的家族紀念照，但直接的視角與簡明、適切的佈局，確也傳達了兒時記憶中一絲無邪的情感。