cont.
Let's go with japs and choose Shomei Tomatsu, a sharp critic of the american military base intervention in Japan.
Here we can see his tame duality portrait with a rural worker and a plane taking off from a newly constructed base that practically stole all the well water from the people.
We can appreciate deliberate motion blur and a film stock leaning to seppia.
>https://josefchladek.com/media/Content/book_Image/image/9503/scalex/1022/scaley/824And here we can see a sharp high contrast picture of some okinawans stumbling around drunk outside an american bar, the context here is Shomei's disdain towards the forced niggerification the americans forces were doing in the vulnerable parts of some towns with food, clothes and habits... thus turning the already-funny okinawans into sad caribbean wannabes.
>https://www.walls-tokyo.com/data_img/wt127_b.jpgThe trademark here is the author's dislike towards foreign influence, if i showed you one of his seascapes you wouldn't even tell it's the same guy.
Lastly for the counter-position, the premier zogbot photographer Don McCullin: Brave as hell, didn't know where he was going half the time and didn't care who was getting shot as long as it wasn't him.
He made his name in 'nam showing the misery of the vietnamese and the misery of the soldiers giving them misery, here he made a portrait of a soldier resting after swatting a civilian/commie residence.
>https://www.tate.org.uk/art/images/work/AR/AR01196_9.jpgIn his spare time he would camp around and take landscapes, we can see one here which is slightly silvery in nature and overall just an Ansel Adams tribute snap.
>https://www.blackqube.de/wp-content/uploads/2020/06/lowres-jpg-72dpi-24-e1591956520559-1026x576.jpgThe only semblance between both is Don's usual antic to shoot things at "eye level" or with the horizon at the middle of most of his frames.
All in all, you are a negro.
