People disagree because it’s still an abstraction of camo. Wearing it in the first place came from people fawning over militarism.
I actually think it can work with a queer look in one of two ways, so you are likely fine: Either it’s effectively teasing the pro authoritarian militarism camo types, or it’s a radical anarchy armed rebel look, which without praxis is really just the former look again. Either way these are fine.
Another reason maybe you’ve been downvoted is that people loathe the deep abstraction of modern, or rather postmoderm society. Camo was made for soldiers > Camo was worn by patriotic civilians simulating the soldier aesthetic > particularly under the Bush administration, it became less a symbol of soldiers, and more a symbol of patriots. Patriotism is nationalism.
Today when most of us camo in the military cosplaying way, we think ‘nationalist’. When we see a person in a little bit of camo, perhaps just some came shorts and a regular t-shirt, we think either ‘nationalist’, ‘okay with nationalism’ or ‘ignorant of nationalism’.
So when most people see someone in a blended queer and camo look, they probably assume one of three things: ‘ignorant of nationalism’, ‘critical of nationalism in a rebellious manner’ or ‘pro nationalist queer’. Of course one of these is fine, but one is very bad.
Blurry photos is fine to make an stylistic choice. The 2019 movie The Lighthouse stylistically looked like a 1920s film, before modern music intentionally used bitcrushing, it used vinyl cracks, boomer shooters made in this decade intentionally look like 1990s Doom clones.
When a medium’s shortcoming is patched by technology, it ultimately becomes an artifact of the era where it was accidental. Once a few years have passed, it becomes more synonymous with the era than the mistake.
It’s not necessarily nostalgia, Gen Alpha and the younger half of Gen Z never grew up without smartphones, so they don’t miss the era of poor film photography. Although every generation does this simulation of forgotten mistakes, it’s particularly poignant now, where the high quality, perfectly lit, professional feeling photos convey something artificial, i.e. smartphone software emulating camera hardware, faces tuned with filters or outright AI generated content. Even if it’s false imperfection, the alternative is false perfection.
Art using deliberate imperfections that were unavoidable in the past is romanticising something perceived as before commercialism, and that’s admirable.