The exact dates on which the two studio portraits were taken are unknown, even though Khim (琴京) had written and signed at the back of both photos, in what seems to be her best Chinese handwriting ever, and in exactly the same format, position and orientation, that each of the photos was (meant to be) a gift for 廷勤, to whom she would marry in about half a decade. It is both interesting and intriguing that Khim dated the left photo 一九五五,三,十八 (18 March 1955), which corresponded to her 24th birthday not long after they were both acquianted in that year, and the right photo 一九五六,十二,廿五 (25 December 1956), which corresponded to his 25th birthday. In any case, when Khim actually wrote on those photos, and whether she did so in succession or after an unknown interval, are impossible to determine with complete certainty, even though one may logically assume that Khim had indeed penned on each of the photos on the respective written date and then given each as a present to 廷勤, who had treasured and kept both photos for posterity. As the tokens of Khim’s premarital love for her future husband, the two photos had existed together in good condition for about 65 years, culminating in being scanned, presented and explained by Khai in this eulogy.
Simply put, since the photos were tokens of love and the dates corresponded to birthdays, the written dates are more likely to be indicating when the photos were given as gifts than when they were taken in the respective photo studios.