Carole Naggar | The New York Review of Books | 8th February 2019
Brassaï and Stettner both cut their artistic teeth on street photography but from there they diverged. Brassaï avoided improvisation where he could, sometimes giving his images a “frozen” quality. Stettner, whom Brassaï mentored, was all spontaneity. His sympathetic images of New York commuters combine “theatrical composition and voyeuristic opportunism”.