The face behind the lens

John Foster, Photographer

John Foster, photographer, filmmaker and University Professor has returned to Japan for the third time to devote yet more energy to his great passions - film and photography. This month his efforts come to fruition with his first book of photographs being published. One Hundred Views of Maiko and Geiko is a collection of images captured over the last four years. The book is an intriguing insight into the world of maiko and geiko women but the photographs need no explanation. It is the man behind the lens who has an interesting story to tell about the journey that led to his first book.

John came to Japan in 1991 after graduating from college with a double major in religion and literature. "I came over really just to see what I had learned about Buddhism." He entered the JET program and worked as a teacher in Kumamoto but returned home after one year. The first visit to Japan evoked a curiosity that drew him back in the mid 90s. His desire was to live in Kyoto but after working there for only two months he was transferred to Kobe and then Fukuoka. In 2002 John returned a third time to focus on his passion. "I wanted to make a film here and I wanted to do some photography." The idea of publishing a collection of 100 photos of maiko and geiko had not entered John's mind;

"The book wasn't even on my radar." While John works as a University Professor teaching literature, drama and English, he devotes many hours to doing what he loves most - "using my imagination and creating things."

John Foster, Photographer

John has an incredible eye for detail and is drawn to capturing light and colour on film. On a dark night back in 2002 John was filming lanterns down a deserted alley in Gion (a district in Kyoto) when a flash of vibrant colour passed by and caught his attention and imagination. It was his first encounter with a geisha and from that moment he was hooked. "There, that night filming the lanterns there was a little tingle up my spine saying 'that's the thing you should be photographing'."

When John first started photographing the women he would stand for hours and hours in the same place waiting for a maiko (a geiko in training, usually between the age of 15 and 20) or a geiko to walk by. Gion was the first district he visited and the book contains approximately 40 photos from that district. Miyagawa-cho is the second district John visited and he says, "Now it's where I go the most". There are approximately 50 photos in the book from that area. With five main districts of different moods and feelings it was difficult for John to know

when and where to set up his camera to take a good shot. He says at first; "I didn't know anything but through experience just learnt this is a good time or this is a good place."

In the beginning John says the women would just walk past without acknowledging him just thinking he was another tourist; "it was kind of intimidating". This response didn't deter John and his non obtrusive manner and persistence paid off. "The breakthrough came when two were walking and one stopped to pose for me." John invested a lot of time getting to know the women, he would only take a photo every third time he saw them. The other times he would simply acknowledge them or have a brief conversation with them. By looking at the close up head shots in the book the trust and comfort the women developed with John over the four years is evident. Not only did John take time to have conversations with the women he also talked to other people in the neighbourhood.

Over the last four years John has built a good rapport with many of the women who now recognise him as a reputable photographer. He says, "There's a core group who have been very friendly". It was important for him to communicate to the women that he wasn't there to bother them. He never chased after them. "I stay in a spot and if they pass by then I take the photograph." Through- out the process John has exercised both sensitivity and good judgement. "I've learnt to become a good reader of body language ... I know there are certain times when it's not appropriate to photograph them." Over the many days and hours spent waiting for a photo opportunity John has learned "If you're patient, polite and considerate you will be able to get a shot."

Whether John is taking a photograph or making a film he sets out to do something unique and different "I'm not at all interested in doing what other people are doing." This desire and intent to be an individual makes John's photos unique in many respects. They do not follow the same principles of other Japanese photographers who have captured these women on camera. Unlike Japanese photographers John has photographed these women from behind with a view of their obi (the colourful and elaborate sash around the kimono). Many photos in the book are candid shots of the women walking through an alley because John wanted to avoid "the stock standard pose which is quite stiff." If the women stopped to pose, John would often ask them to keep walking.

John's friendly yet determined manner has resulted in a collection of 100 wonderful images. There have been many challenges that have been overcome throughout the process. Finding a publisher was one of the greatest hurdles as some publishers were reluctant to publish photos of maiko and geiko that deviated from traditional conventions. Publishing a book "was just a prayer in the beginning" and John says when he first sees the book on bookstore shelves he expects it will be "quite surreal". Although John is delighted to have a book published he says he would go out alone to take photos on a dark, cold night lugging a heavy tripod and camera "no matter what". It is this passion and ingenuity that is reflected in every image.

Text: Melanie • Photos: Courtsey John Foster