Finding Kurosawa

Finding Kurosawa (2015)

A short documentary I shot with my Canon M2 and Sport Action cam. I document my journey from Osaka to Kamakura to visit the grave site of famous Japanese director Akira Kurosawa. I visit Lake Suwa from the movie Kagemusha and the Ameyayokocho district of Tokyo where scenes from Stray Dogs were shot in 1949. Filming took place in August during the Obon holidays in Japan. The Obon is the time of year the Japanese remember their loved ones by visiting their graves, sending their ghosts back to the spirit world on paper lanterns down the river and dancing the Obondori. 

I found Kurosawa's grave in An'yo-in Temple in Kamakura. After walking through An'yo-in main temple I found a back trail that lead me straight to the grave yard. From there it took a lot of searching to find Kurosawa, but finally I found him. I paid my respects to him and completed my trip with a swim in Sagami Bay on Enoshima beach. 

Please feel free to leave constructive feedback or comments regarding this project. Any overly negative comments or trolling will be deleted. Thank you for you cooperation. 

Joshua Wood

The Faceless: Script with Storyboards

THE FACELESS

By Joshua Wood

INT. ROOM - DAY

Two faceless ghosts, GHOST 1 and GHOST 2, sit next to each
other in an empty room. Slowly Ghost 1 turns it's head
towards Ghost 2. Ghost 2 in turn turns toward Ghost 1. They
stand and exit right.

EXT. RIVER WALK - NIGHT

HENRY is walking through the park. He's dressed nicely
carrying a bag. He looks a bit tired from work but has an
attitude of  optimism.  

In the distance a women is leaning over the rail sobbing.
Her cries are audible from the distance as Henry gets
closer.

                      WOMAN
                (Crying)
          ...

Henry gets closer to the crying women and has a look of
concern. He walks past her trying to ignore her but keeps
looking in her direction. He stops and thinks. 

Henry starts walking quickly towards the women. Once he's
behind her he pauses and clears his throat. 

                      HENRY
          Excuse me. Are you alright?

The woman continuous crying without noticing Henry. 

                      HENRY
          Sumimasen, daijoubu desu ka?

Henry reaches out and puts his hand on the women's shoulder.
She sniffles a little and stops crying. She slowly turns
towards Henry revealing herself as the faceless ghost.

                      HENRY
                (shocked)
          Oh my God!

Henry screams in surprise as he runs away. The faceless
ghost 2 stands up straight watching as Henry runs away. 

Henry looks behind him to see she's not following him. But
he can't stop running. He keeps running until he sees a
light up ahead. 

The light is a VENDOR selling goods in the park. Henry
approaches him and stops running. He takes some time to
catch his breath. 

                      VENDOR
                (Surprised )
          Why hello good sir. 

Henry holds on to the table trying to catch his breath.

                      VENDOR
          Are you alright?

                      HENRY
                (still breathing heavily)
          No. A women...with no face...

                      VENDOR
          A women with no face? Maybe you
          aren't alright.

                      HENRY
                (Breathing normally)
          She was crying so I asked if she
          was alright. When she turned around
          she didn't have a face. 

                      VENDOR
          What do you mean no face?

                      HENRY
          It was the shape of a face but no
          eyes, no nose, no mouth. Nothing.

                      VENDOR
          Do yo mean like this?

The vendor then swipes his face to reveal he is also
faceless. Henry has a look of despair and the lights go out.
Henry screams.

INT. ROOM - NIGHT

Ghost 1 and Ghost 2 enter the room from the right. They both
sit down. Ghost 2 looks slowly towards Ghost 1 and Ghost 1
looks slowly towards Ghost 2 then both back facing front. 

INT. OFFICE - DAY

Open on a bookcase full of books on yokai and supernatural
beings.  

JAMES is sitting at his desk staring into his laptop. On the
screen is a story about a dead man in the park. Witnesses
say they saw what looked like a faceless man leaving the
scene.

Cut to Screen then back to James. He reaches down and grabs 
a box. He pulls some things out of the box including a GUN. 
He checks the time, stands up putting the items into his
pockets and leaves. 

INT. ROOM - NIGHT

Ghost 1 and 2 are sitting in the room. They slowly look at
each other then turn towards the window. Ghost 1 stands up
and holds out his hand. Ghost 2 puts her hand in his and
stands up. They begin to dance slowly.  Ghost 2 puts her
head on Ghost 1's shoulder. As the sun goes down the room 

 gets darker. They stop, look at each other then exit the
room to the left.

EXT. RIVER WALK - NIGHT

James is walking through the park, around the area where
Henry had died. He looks frustrated from walking around all
night. He then hears a woman crying. He walks toward the
sound.

                      WOMAN
                (Crying)
          ...

James approaches the woman as she sits crying on the bench.
He carefully walks up to the bench and sits next to the
woman.

                      JAMES
          Excuse me?

The woman turns to expose her faceless face. She stares
directly at James and he stares directly at her. Slowly he
moves closer  to her staring the whole time. He gets very
close, neither of them moving. With his eyes open he kisses
her.

As they come apart the woman now has a face. She reaches up
and touches her eyes, nose and mouth. She sees Ghost 1
approaching, stands and runs off. 

Ghost 1 comes up behind him James and puts his hand on his
shoulder. James turns and reveals he is now faceless. Ghost
1 stands him up and they walk off into the darkness.

INT. ROOM - NIGHT

Ghost 1 and James enter the room. Ghost 1 sits James into
the chair then sits next to him. They both turn to look at
each other. 
Cut to a close up of James who sheds a single tear down his
faceless face.  Pull out on the two of them sitting in the
chairs. James pulls out the GUN putting to his head. He
pulls the trigger.

                         THE END 

Stay Put

Stay Put

A Short Film

by

Joshua Wood

***

FADE IN:

INT. OFFICE - AFTERNOON

Open on CLOSE UP of MARK MILLER's face. 

                      MARK

          Well?

PAN OUT to see four people sitting around a rectangle TABLE

in standard office chairs. Mark Miller, mid-30's assistant

marketing manager, SATOMI SUZUKI, 20's social media

consultant, ED REED, 30's content creator, KENSHI AZUMA,

late 20's web programmer. The ROOM is completely bare of any

pictures or other office furniture except for a FIRE

EXTINGUISHER sitting in the corner. The three employees sit

in silence with their eyes staring down, each with a

notebook and pen in front of them. 

                      MARK

          We've already fired Ted. Does

          anyone want to be next?

Ed looks up.

                      ED

          Ted's been fired?

                      MARK

          Yep. We let him go yesterday,

          that's why he's not here with us

          now.

                      ED

          It was an experiment that's all. No

          reason to start firing people.

                      MARK

          Experiment? 

                      ED

          A social experiment. 

                      MARK

          Social experiment?

                      SATOMI

          By making fun of our product we

          were trying to show our customers

          we had a sense of humor.

                      MARK

          Facebook was a social experiment.

          Did you see that movie?

                      ED

          Yeah.

                      MARK

          Ed saw it. What about you Satomi?

                      SATOMI

          A few years ago.

                      MARK

          Kenshi?

                      KENSHI

          I read the book. 

                      MARK

          There is a book?

                      KENSHI

          Yeah. It's good.

                      MARK

          My point is we all know what a

          social experiment is. And we as web

          marketers are not social

          experimenters are we?

Everyone looks around at each other, they all know the

answer is 'NO'.

                      ED

          We tried something different.

          That's what you asked us to do.

                      MARK

          You're right. I did ask you to try

          something different. And Kenshi

          what does different mean?

                      KENSHI

          Umm..something not normal.

                      MARK

          Not normal. 

                      KENSHI

          Outside the box?

                      MARK

          No, not outside the box. There is

          no box so how can we be in it or

          out of it if it doesn't exist. 

                      KENSHI

          Right, sorry.

                      MARK

          Don't be sorry Kenshi, you read the

          book instead of seeing the movie. I

          like that.

                (beat)

          So usually at these meetings we

          have laptops and smartphones. But

          today our meeting is different. We

          have paper and pens.

CAMERA cuts between the PAPER and PENS at the table.

                      MARK

                (continued)

          The same function of writing is

          used with both a computer and with

          paper to communicate ideas through

          different mediums. One is more

          advanced allowing the user to

          deliver messages more quickly and

          one is slightly older, not

          primitive ...

While Mark explains his definition of 'different' there's a

sound of running FOOTSTEPS outside the room. Satomi looks at

the door.

                      MARK

                (continued)

          Just older. By the way Satomi how

          old do you think I am?

Satomi turns back to Mark.

                      SATOMI

          Uhh, somewhere around 40?

                      MARK

          I'm 37. Anyway as I was saying ...

Satomi turns back to the DOOR.

                      MARK

                (continued)

          using old techniques such as paper

          delivers the message slower but

          gives you time to think it through.

          To craft a message you want the

          world to see. Satomi is there a

          problem?

                      SATOMI

          Sounds like people are running

          through the hall. 

                      MARK

          That's not our problem. Our problem

          is how we bounce back from this

          blunder. 

In the distance there are gun shots that sound like doors

slamming. Kenshi now looks at the DOOR then to Satomi.

                      ED

          Shouldn't we wait for the data

          before changing course?

                      MARK

          No. No, we shouldn't. It was made

          very clear to me by the higher ups

          that we have to change now. 

Outside the room is the sound of a SCREAM. 

                      SATOMI

          Sir, something is going on outside. 

                      MARK

          It's not our problem right now. 

                      ED

          How do we run a successful social

          media campaign when we're always

          changing course?

                      MARK

          Right now we're a laughing stock.

          They're thinking of getting rid of

          our whole division. 

                      ED

          Should of just went with your cat

          video idea Kenshi. 

                      MARK

          That sounds good. Why didn't we do

          that one?

                      ED

          But it's done a million times.

The fire alarm goes off sounding three short RINGS, a PAUSE,

then three short RINGS again.

                      SATOMI

          See. Something's up.

                      MARK

          OK, maybe it is our problem.

                      ED

          The building's on fire. 

                      KENSHI

          No. Three short rings is something

          else.

                      MARK

          Plus the sprinklers would come on

          if there was a fire.

                      SATOMI

          Tornado?

                      KENSHI

          No, no. There was a memo about

          this. If I had my computer I could

          look it up.

                      MARK

          Alright, I was just trying to make

          a point that ...

                      SATOMI

          Sir, now's not the time. 

                      KENSHI

          Shooter!

                      ED

          What?

                      KENSHI

          A shooter, someone with a gun. 

                      MARK

          You mean someone is in the building

          with a gun, shooting people.

Two GUN SHOTS closer this time can be heard outside the

room. 

                      ED

          We have to get out here.

                      SATOMI

          It sounded close. How could we get

          out?

                      ED

          If we run we could make it to the

          emergency exit.

                      KENSHI

          No. It's safer to stay put. 

                      ED

          Is that what your memo said?

                      MARK

          Alright everyone. Don't get

          nervous. This is probably just some

          elaborate drill.

                      ED

          A drill? This is no drill, there's

          a guy outside with a gun.

                      MARK

          No, no. There can't be.

The DOOR opens everyone ducks under the table. LISA

HAVERFORD, Mark's personal assistant 20's, runs in slamming

the door behind her. She locks it then runs to Mark. 

                      MARK

                (standing up)

          Lisa.

                      LISA

          Mark, it's horrible!

We see Lisa has been shot, blood is running down her arm.

She falls to the floor. 

                      LISA

          He's angry.

                      SATOMI

          Who is? Who's angry?

                      LISA

          Ted.

GUN SHOTS can be heard a little farther away than before.

                      KENSHI

          Everyone get back.

As everyone moves to the far wall Kenshi lifts the table

onto its side, the PENS and PAPER fall onto the floor. Ed

steps in to help. They push it in front of the door then

stack the chairs on top. 

                      ED

          Is it going to work?

                      KENSHI

          I don't know. Should help.

                      MARK

          Lisa, are you alright?

Everyone moves around Lisa. Satomi reaches over to Mark and

takes off his tie. She ties it around Lisa's arm to help

stop the bleeding. 

                      SATOMI

          That should stop the bleeding.

                      LISA

          Thanks.

                      KENSHI

          How are you feeling?

                      LISA

          Is there any water?

                      MARK

          There's nothing. 

                      LISA

          The punishment meeting. How was it

          going?

                      MARK

          Don't worry about that. Just take

          it easy. 

They sit in silence for a few moments until another gun shot

is heard off screen. 

                      ED

          Oh my God! Why is this happening!

                      SATOMI

          Calm down Ed.

                      ED

          How can I stay calm? Ted is out

          there shooting people. Looking for

          us, to shoot us. 

                      MARK

          How do you know it's Ted?

                      KENSHI

          Lisa said it. 

                      MARK

          She did?

                      KENSHI

          You didn't hear her. 

                      MARK

          No. I didn't hear anything.

                      KENSHI

          She said it's Ted. He's out there

          shooting people. He shot Lisa.

                      SATOMI

          He's in shock.

                      ED

          Oh Jesus.

                      MARK

          I don't know what you're talking

          about. 

Satomi stands up slowly walking towards the door. She turns

out the lights and walks back to the group. 

                      KENSHI

          Good idea.

                      SATOMI

          Everyone keep your voices down, if

          he comes by the room it will seem

          empty. 

                (beat)

          Does anyone know we're in here?

Everyone thinks for a second.

                      KENSHI

          The email.

                      SATOMI

          The email?

                      KENSHI

          His name was on the email.

                      SATOMI

          Is that true?

                (beat)

          Mark. Is that true?

                      MARK

          What?

                      SATOMI

          Was Ted included in the email about

          today's meeting, in this room?

                      MARK

          Lisa sent out the email. 

                      SATOMI

          Lisa. Do you remember? Did you put

          Ted's name on the email?

                      MARK

          Leave her alone. She needs to rest.

                      SATOMI

          But if he knows where we are then-

                      LISA

          He was.

                      MARK

          Shhh. Don't speak.

                      LISA

          I didn't know Ted was fired.

                      ED

          He knows. He knows exactly where we

          are.

                      KENSHI

          My children. I'm going to never see

          them again.

                      ED

          We're sitting ducks just waiting to

          be hunted down. 

                      SATOMI

          We're going to be OK. We need

          weapons. 

                      MARK

          Wait.

                      SATOMI

          And once he enters we nail him.

                      KENSHI

          My sweet Mai. I'll never see her

          smile or her eyes light up at

          Christmas.

                      ED

          I'm with Satomi. Let's kill him

          before he kills us.

                      MARK

          Wait!

Everyone stops. 

                      MARK

          I'll give him his job back. That's

          what he wants. I'll hire him back

          even promote him. Then he'll stop.

                      SATOMI

          I don't think so.

                      MARK

          Why not?

                      SATOMI

          He's already shot Lisa and others.

          Maybe even killed them. His only

          future now is prison. 

                      ED

          If he comes in here I'll kill him

          first.

                      MARK

          I'll bump his pay. Give him stock

          options. Anything. You name it. 

                      SATOMI

          He's passed that point. He finishes

          what he started or dies trying. 

                      ED

          He dies. 

Closer than before they hear GUN SHOTS. He's close. 

                      LISA

          I wish I would of washed my hair.

                      MARK

          What do you mean?

                      LISA

          My hair. I didn't wash it this

          morning.

                      MARK

          Why? Why does that matter?

                      LISA

          I don't want to die with unwashed

          hair.

                      MARK

          You're not going to die.

                      LISA

          We are. All of us.

                      MARK

          No. We're going to be safe. This

          will all be over soon. 

More GUN SHOTS are heard outside the room. People can be

heard screaming then  more GUN SHOTS. The screaming STOPS. 

                      ED

          He just killed someone. 

                      SATOMI

          Ken you grab the fire extinguisher

          over there. Ed grab a chair.

She looks around the ROOM.

                      SATOMI

                (continued)

           I'll grab the pens.

                      ED

          What for?

                      SATOMI

          I'll stab him in the eyes.

                      ED

          Are you capable of that?

                      SATOMI

          You knock that gun out of his hand

          so I can get in close and yeah,

          I'll be capable. 

                      MARK

          What should we do?

                      SATOMI

          Get behind the table with Lisa and

          make sure she's safe.

Everyone moves as directed. 

                      ED

          Now what?

                      SATOMI

          Surround the door?

                      ED

          Yeah. That way once he bursts

          through, we nail him. 

                      SATOMI

          That's what I was thinking.

Ed moves towards the door. Kenshi sits on the floor hugging

the fire extinguisher. Satomi stands in front of the door.

                      SATOMI

          Ken, pull yourself together.

                      KENSHI

          It's all over. I'll never see my

          family again.

                      ED

          I'll never have a family if we

          don't get of this shit.

                      SATOMI

          I'll never finish my novel.

                      ED

          What?

                      SATOMI

          My novel.  

                      ED

          Satomi get against the wall.

                      SATOMI

          What, why?

                      ED

          If he shoots the door it will come

          straight through and hit you. 

                      SATOMI

          Oh right.

Satomi moves to the wall next to Ed.

                      SATOMI

          Ken, get up here.

Kenshi stands with the fire extinguisher. He walks towards

the door next to Ed. 

                      ED

          Guys.

                      SATOMI

          Yeah.

                      ED

          Don't hesitate. Go straight for the

          head. Make sure he doesn't get up. 

                      SATOMI

          OK.

There's a short silence.

                      ED

          Kenshi?

                      KENSHI

          Yeah. For the head. Got it.

                      ED

          Maybe you should go for the gun.

                      KENSHI

          The gun?

                      ED

          Knock the gun towards the other

          wall so Satomi can get him in the

          eye then I can get him in the head.

We see the DOOR as the HANDLE jiggles. The SHOOTER is behind

the door. The door is locked as he pushes and turns the

handle. Everyone holds their breath. 

From inside the room we hear a POLICE MAN speak to the

Shooter.

                      POLICE MAN

          This is the police. Drop your

          weapon and put your hands on your

          head. 

The HANDLE stops moving.

                      POLICE MAN

          Drop your weapon or we will be

          forced to shoot you. Do it now!

Complete silence as the stand off takes place outside the

door. 

                      POLICE MAN

          This is your last warning. Drop the

          weapon now!

The door starts banging as The SHOOTER uses his body to

break it down. Then there's a GUN SHOT, followed by SIX more

as a gunfight ensues. Everyone in the room falls to the

floor covering their head until the shooting stops. 

                      SATOMI

          Do you think he's dead?

                      ED

          Or did he kill the police?

There's a SILENCE then a KNOCK on the DOOR. 

                      POLICE MAN

          Hello? Is anyone in there?

Everyone gives each other quick glances. Mark pops up from

behind the table.

                      MARK

          Who is it?

                      POLICE MAN

          It's the police. Are you all right

          in there?

                      MARK

          No. We have someone wounded in

          here. 

                      POLICE MAN

          We have an ambulance outside. Open

          the door so we can help. 

Satomi goes for the door.

                      ED

          Wait. Are we sure it's not Ted.

She stops.

                      SATOMI

          Don't be silly. 

Satomi unlocks the DOOR and opens it. Standing in the door

is DETECTIVE YOUNG. 

                      DET. YOUNG

          Come on out, it's all right. But

          don't look at the body. 

One by one everyone walks out the DOOR. Satomi exits first,

followed by Ed who drops the chair before exiting. Ken sets

down the fire extinguisher then walks through the door. Mark

is carrying Lisa as they walk from behind CAMERA through the

open door. The CAMERA follows a short distance behind until

Mark is out the door then SLAM the DOOR shuts. 

                                             FADE TO BLACK

***
Generated with Trelby.

Shanghai Night Market

On the Shanghai streets I walked for hours as day turned into night when I came across this wonderful scene of people selling fruits, vegetables, meat and rice. One long street of local commerce supporting a local community of vendors as neighborhood residents shop along the market street.


 


After making my way from one end of the market street to the other, it began to pour down rain. Most of the market closed down as people scattered for cover including myself.

Script: The Letter

INT. ROOM - DAY

                                             FADE IN:

The WOMAN is sitting in a dark room with black curtains all

around and a small table in the middle of the room. On the

table and the floor are 16 letters with something written on

them. 

The women has a tired look on her face. She slowly reaches

out of frame and grabs a hair brush. She begins slowly

brushing

The camera moves forward passed the back of the women and

focuses on the letters, but the words are unreadable. The

women starts humming Mary had a Little Lamb. The camera

circles to see the women still brushing her hair and

humming. The camera keeps going to focus on the door. 

The woman's humming slowly turns to crying as the camera

slowly gets closer to the door.

The camera cuts to the woman crying. She stops brushing her

hair and drops the brush.

The camera goes back to the door zooming in slowly then

stops. Suddenly a BANG then two more. 

                      WOMAN

                (Crying)

          Noooo...

Cut back to the door. Another three bangs. Cut to the woman.

                      WOMAN

                (Crying)

          Go away! Go away!

More banging on the door.

                      WOMAN

                (in a whisper)

          No, no, no. Go away.

She stands up and runs to the door. She looks through the

peep hole.

EXT. THE DOOR - DAY

In a fisheye lens like a peep hole. A man in a hat and

surgical sick mask stands outside. 

                      MAN

                (Incomprehensible and

                 angry )

          Hello, are you in there? Hello?

Bangs on the door.

                      MAN

                (Incomprehensible and

                 angry )

          Hello, hello, hello! Are you in

          there? ... Are you in there?

The man reaches into his coat and pulls out a letter. 

INT. ROOM - DAY

Focus on the letterbox. The letter drops in the box. 

The woman goes to the box and pulls out the letter then runs

to the middle of the room. She opens the letter and reads

it. When she is  done she throws the letter on the table.

She begins to cry.

                      WOMAN

                (Crying)

          Why...

She grabs a mirror, looks into it and wipes her face clean.

She lies down closing her eyes falling asleep.

INT. ROOM - DAY

The women wakes up. She grabs a hair brush brushing her

hair. 

There is a loud knock on the door.

                      WOMAN

                (worried)

          No, no, no.

INT. THE DOOR - DAY

Camera slowly goes towards the door. Three loud bangs on the

door. Keeping towards all the way up to the peephole. 

Cut to man through peephole. 

                      WOMAN (O.S.)

                (in a low voice)

          No .. go away.

Bangs on the door 3 times then looks into the peephole. 

                      MAN

                (Incomprehensible and

                 angry )

          Hello? Are you there? Are you home?

          Hello?

Drops the letter in the letter box. 

INT. ROOM - DAY

Focus on the letterbox. The letter drops in. Cut to the

woman staring at the box. 

                      WOMAN

                (dazed)

          No.

The girl runs back to the middle of the room and begins to

sob. She looks at the phone out of frame. Cut to the phone,

her hand reaches in picking it up. 

Cut to the woman's face. Her makeup is smeared. The light

casts a stripe over her eyes and mouth. 

Cut to the phone, her fingers reach in and dial the police. 

The woman holds the phone with her eyes darting back and

forth. Searching for words. The other end picks up. 

                      POLICE

                (dry and serious)

          This is the police.

                      WOMAN

                (Calmly)

          There's a man dropping letters in

          my box.

                      POLICE

          Letters? What kind of letters?

                      WOMAN

          Everyday he comes by and drops a

          letter.

                      POLICE

          How many letters?

                      WOMAN

          Today was 17. 

                      POLICE

          What do they say?

                      WOMAN

          He bangs on the door, screaming at

          me. Then drops the letter in the

          box.

                      POLICE

          Do you answer the door?

                      WOMAN

          I tell him to go away but he keeps

          coming everyday.

                      POLICE

          Does he go away?

                      WOMAN

          I want it to stop. 

                      POLICE

          Do you let him in?

                      WOMAN

          He must of followed me home.

                      POLICE

          Who is he?

                      WOMAN

          I don't know what to do.

                      POLICE

          Do you know him from somewhere?

                      WOMAN

          I can't move or leave thinking he's

          out there, waiting, watching.

                      POLICE

          How about your family?

                      WOMAN

          It's like a bad dream.

                      POLICE

          What's your job?

                      WOMAN

          There's no help out there.

                      POLICE

          There's nothing we can do.

                      WOMAN

          Talk to you tomorrow. 

The police man hangs up. The woman hangs up. She looks

toward the door. She stands up and walks to the door. She

looks through the peep hole. 

EXT. THE DOOR - DAY

Through the peep hole there is nothing there.

INT. ROOM - DAY

She looks at the letter box. She opens it and takes the

letter out. She goes back in the room and sits down.

She looks at the letter. Cut to the woman's hands holding

the letter. The letter says I love you. Cut to the other

letters, they all say I love you. 

Cut to the woman's face. She smiles. 

The End

Street Photography: Girls on Phones

Street Photography Series

Girls on Phones
After reviewing many photos taken from photo walks around Hong Kong and Osaka, I noticed that many contained shots of girls on phones. Walking and looking at your phone is actually a dangerous activity if your not paying attention to your surroundings. The girls in these photos are fortunately being safe with their phone activities. I hope to explore this subject more knowing it's easy to find all over the world any day of the week.



Street photography shots from Hong Kong

Street photography from Japan


Thanks for taking a look,

Joshua

Follow me on Instagram @joshuaxwood