In both "Drawing Water at a Pool's Edge," which was taken at daybreak, and the evening-shot "Old Ox, Come on Home," Ch'en Keng-pin made use of naturally back-lit scenes. The reflections from the rippled surface of the water add a three dimensional effect to the stooping actions of the young girl and the aged farmer, as well as to the images of the laborers.
在晨曦中拍攝的「潭畔汲水」（一九五六年），或在暮色中拍攝的「老牛啊，快回家」（一九五六年），陳耿彬皆利用逆光的取景，使得水面與漣漪因反光而更加浮現；少女與老農的屈身動作，生動地表現了一種韻律感。