Louis Stettner’s Classic Photographs Capture Everyday People in New York and Paris

A black-and-white image split into two parts: the left side shows passengers on public transportation, with a woman holding a newspaper featuring the headline "Court Order Speedup!"; the right side shows an elderly man sitting in a wheelchair outdoors, soaking up the sun.
‘Woman Holding Newspaper, New York,’ 1946, left, ‘Jardin du Luxembourg, Paris, 1997’, right. | © Louis Stettner Estate

Dedicating himself to capturing ordinary men and women, Louis Stettner described himself as the “world’s best-known unknown photographer”.

Operating both in Paris and New York, Stettner particularly enjoyed photographing commuters, and perhaps his best-known body of work focusing on Penn Station in Manhattan.

Black and white photo showing men dressed in suits and hats reading newspapers. Some are seated inside a train carriage, while two men stand outside by the train, each absorbed in their newspapers. The image exudes a mid-20th-century vibe.
‘Commuters, Evening Train, Penn Station, New York, 1958.’ | © Louis Stettner Estate
Black and white photo of two boys standing on a cobbled street in an old, European-style town. Both boys are wearing berets, jackets, and scarves. The street is wet, possibly after rain, with a solitary figure walking in the background and houses lining the sides.
‘Aubervilliers, France, 1947.’ | © Louis Stettner Estate

Stettner’s documentation of ordinary people stemmed from deeply-held communist beliefs; he was a lifelong Marxist who regularly attended workers’ protests which can be seen in his 1976 photo: Demonstrators on March in Support of United Farm Workers.

A group of men passionately protesting or cheering, with some raising their fists in the air. The image is in black and white, conveying an intense atmosphere and a sense of urgency or strong emotion among the individuals.
‘Demonstrators on March in Support of United Farm Workers, New York, 1975–1976.’ | © Louis Stettner Estate
A black and white photograph showing a woman in a work uniform, standing at a production line in a factory. She is placing bottles on the line, focused on her task. The background features blurred machinery and items.
‘Assembly Line Worker, Long Island City, New York, 1972–1974.’ | © Louis Stettner Estate
A black and white photo of a man standing with arms crossed in a courtyard, observing something off-frame. He wears a cap and casual clothing. Another man in the background is looking at him. The foreground includes a partial view of a doorway and a woman's legs.
‘Train Station Near Málaga, Spain, 1951.’ | © Louis Stettner Estate

In a new major retrospective published by Thames & Hudson, Sally Martin Katz asks why Stettner is not a household name.

“When we think of 20th-century photography, a number of greats come to mind: Henri Cartier-Bresson, Walker Evan, Dorothea Lange, to mention but a few. But the name of Louis Stettner is less frequently invoked, and then perhaps only by academics and scholars of the history of photography,” writes Martin Katz.

Martin Katz speculates that it is perhaps because Stettner never really attached himself to either New York or Paris the way many of the great mid-20th century photographers did.

Two women with voluminous hairstyles in a 1960s or 1970s street scene. One wears a polka-dotted outfit, facing away, while the other, in a denim ensemble with a handbag, faces forward with an expressionless face. Cars and buildings form the background.
‘Women from Texas, Fifth Avenue, New York, 1975.’ | © Louis Stettner Estate
A black and white photo of a person with short hair and glasses resting their head against a window. They have their eyes closed and are wearing a polo shirt and a glove on one hand, which is positioned with one finger pointing upwards, touching their face.
‘Woman with White Glove, Penn Station, New York, 1958.’ | © Louis Stettner Estate
A black and white photo of a shirtless man standing near the ocean, extending his right arm and pointing towards the camera. The sky is clear and the water calmly stretches out behind him.
‘Pepe & Tony, Spanish Fishermen, Ibiza, Spain, 1956.’ | © Louis Stettner Estate
A black and white photo of a young woman sitting on a bench, wearing a coat, with her reflection visible in a glass surface beside her. She has short, dark hair and appears thoughtful. The background shows an indistinct, blurred scene with faint lights.
‘Nancy Listening to Jazz, Greenwich Village, New York, 1958.’ | © Louis Stettner Estate

Who Was Louis Stettner?

Louis “Lou” Stettner was born in Brooklyn, New York on November 7, 1922, and describes his photography as “Humanist Realism”, believing that staging a photograph was immoral.

The Great Depression had a profound influence on his later work, fostering his deep empathy for the working class and marginalized communities. He was inspired by photographers like Sid Grossman, Henri Cartier-Bresson, and Weegee (Arthur Fellig).

A person reclines on a bench with arms outstretched, facing away and overlooking a vast river. In the background, the iconic New York City skyline with tall skyscrapers is visible through the hazy atmosphere, separated by a metal railing.
‘Brooklyn Promenade, Brooklyn, New York, 1954.’ | © Louis Stettner Estate
Black and white photo of a city street scene featuring reflections in storefront windows. Two individuals walk under an awning with French text. Reflections include cars, pedestrians, and other shop signs, creating an interplay of light and shadows.
‘Boulevard de Clichy, Paris, 1951.’ | © Louis Stettner Estate
A shadow of a person wearing a hat is cast on the ground, seen through glass doors with large, metallic handles. The shadow of the handles is reflected, creating a symmetrical effect on the glass surface. The image is in black and white.
‘Self-Portrait, Santiago, Chile, 2000–2001.’ | © Louis Stettner Estate

During World War II, Stettner served in the U.S. Army. It was during this time that he honed his photography skills, working as a combat photographer in the Pacific theater.

After the war, Stettner returned to New York. He became actively involved with the Photo League, a group of socially conscious photographers committed to documenting life in New York City. He moved the Paris in the 1950s and became involved with the city’s artistic community.

A black-and-white photo shows a person with glasses leaning against a window, eyes closed, seemingly deep in thought. The cover of the book is pale teal with the title "LOUIS STETTNER" in black letters on the left side. The image has a soft, blurred effect.
Courtesy of Thames & Hudson

Louis Stettner is published by Thames & Hudson.

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