 However, also regarding "East 100th Street," Douglas Harper goes as far as to accuse Davidson of "prettying up racial poverty"; while critic A. D. Coleman decries the absence of minority photographers to document it themselves.This is an issue elaborated by Erina Duganne's analyses of Davidson's, Roy DeCarava's and the Kamoinge Workshop's "Harlem" imagery, showing how poverty may be identified with ethnicity, and how photographers' cultural identity is revealed through their photographs.Coleman points to the pains taken by Davidson to avoid accusations of exploiting a repressed subculture, though stresses that he does so because of the charged politics of a white man, neither black nor Puerto Rican, "not only an outsider but an alien", photographing in the ghetto.