The English-born photographer Constance Stuart Larrabee is known for two distinct bodies of work: her black and white prints of South Africa’s tribal people (Zulu, Ndebele, Lovedu, Swazi, Sotho, Transkei, and Bushmen)—produced in the ’30s and ’40s—and her Life magazine–style photojournalism in which she documented the liberation of Europe from the Nazis. This recent retrospective also included lesser-known pictures produced after Larrabee moved to America in 1949. Among this group of photographs, two works stand out as emblematic of her postwar style, which was characterized by a subtle interplay