Nishihama Beach on Hateruma Island. Fine white star sand, few people, clear water. Fantastic. (If we’re being pedantic, it’s arguably better to call it Nishi Beach or West Beach as hama means beach. This is why you should probably say Shuri-jo or Shuri Castle, and not Shuri-jo Castle. )
Festivals in Okinawa’s southern islands (collectively know as the Yaeyama Islands) are similar but not identical to those on the main island of Okinawa. Shishi lions and ryukyu dancers are common to both, while it seems only the Yaeyama festivals include the god Miroku (white mask) and the rain god Fusamarah (red mask). The images of the man dressed as the rain god Fusamarah show how the presence of the American military has slowly made it’s way into the everyday lives of Okinawans even on the most remote islands. Local farmers are particularly fond of army surplus uniforms, they must be particularly rugged, cheap, and ubiquitous to have become almost standard equipment for Okinawans working out in their fields.
Masakazu Kinjo demonstrates that there’s more to nunchaku than just swirling them around the body. Use the end to jab and break your attacker’s ribs. Trap the attacker’s wrist between the two shafts of the nunchaku. Use your forearm to bend and twist the attacker’s arm. The step into the attacker to to take control. From here onwards it’s the simple and painful application of leverage. Twist locked arm and apply further pressure to elbow as required.
Hateruma is the most southerly inhabited island in Japan. It has its own police station, post office, school, awamori distillery and a summer festival called Mushama. I took a day off from scuba diving off Ishigaki and took the ferry down to Hateruma for the festival. The festival, as so many are, was a gold mine for a photographer. So many interesting faces, great costumes and a welcoming atmosphere. The majority of the spectators were island residents and their families that had returned for the event. Nobody minded that I was wandering around taking photos of everyone, and as usual I was up in people’s face shooting portraits.
Satoshi and Kenta Kinjo, sons of master Masakazu Kinjo, and already highly respected karate experts.
A you descend beneath the ocean’s surface things become darker and bluer. Light is absorbed by the water and it does this to a greater extent at the red end of the color spectrum. When shooting in the shallows you can capture the vibrant colors of the reef, but sink a little further and your images will look a little green and possibly blurry from slow shutter speeds (or noisy from high ISOs). The solution is to shed a little light on your subject. Send in the strobes. I bought two used Ikelite strobes on Ebay (thank you Vadim in Australia). One is a powerful DS-161 strobe that has a 3W modeling light, and the other is a far less powerful (and much cheaper) DS-51 strobe that I use as fill. The above image is a pre-dive test in the bath, which showed that both strobes worked, and that the light from the modeling light allows the camera to autofocus on the subject. The strobes are positioned in this image for macro shooting. The lens …
Gaja-sensei, a lovely Okinawan man in his late 60’s, who after years of conditioning, has become both the unstoppable force and the immovable object. Uechiryu Karate is in my opinion the toughest of the karate styles. It is based around brutal conditioning of the body so that, if required, the person can endure heavy blows and then deal out a devastating response. Conditioning fists, forearms and shins is done through striking punch bags, wooden boards and even concrete pillars. Gaja-sensei demonstrated his technique for conditioning fingertips. Fill a bucket with stones (or sand if you’re taking it easy) and then punch with an open hand deep into the bucket of stones. So why condition the fingers to such an extent? The answer is simple and brutal. Poking someone in the ribs is more effective if you can literally reach in through the rib cage and remove some of them.
A month ago I worked with writer Julian Ryall on a piece about how the remains of the war dead found on Okinawa are identified and hopefully returned to their family graves. Photographing the skeleton of a dead Japanese soldier, and shards of bones in various trays was somber, but at that moment you are working and concentrating on getting images. Only later, when you’ve packed your gear away and returned to everyday life do you ponder the deeper meanings of what you’ve witnessed. On the cover of the Number 1 Shimbun is an image I shot of Gushiken-san a volunteer that has devoted his life to returning the remains of the fallen to their loved ones. Inside are a couple more images and the feature by Julian Ryall.
TRAVEL 67 : Chris Willson Photography 