Darwin values Yang Seung-Woo because biography and photography become inseparable. Korean-born, arriving in Japan at thirty, he photographed Kabukichō from within: yakuza, homeless people, tekiya, drinkers and nocturnal lives. Unlike Kurata’s forensic flash, Yang’s roughness grows from proximity and participation. Shinjuku Lost Child and The Best Days turn marginal worlds into personal history—photography built through friendship, endurance, migration and belonging rather than observation alone.
