Angelika Hala

Angelika Hala is a picture editor for Stern Magazine based in New York who has worked closely with photographer Suzanne Stein, also interviewed in this issue. She has spent 15 years as the magazine’s US photo editor and regularly serves on juries and portfolio reviews.

HM: Given the sensitive and often stark nature of Stein's subjects, particularly those depicting underprivileged communities or challenging social issues, was there any concern within the magazine about potential accusations of exploitation or ethical considerations in publishing her work? How did Stern Magazine address these concerns, if at all?

AH: Yes, I do acknowledge that there's often criticism leveled at reportage photography, particularly regarding the potential exploitation of subjects to satisfy public voyeurism. This critique, especially pertinent when individuals are clearly identifiable in photographs, is a significant consideration. However, in the case of Suzanne's work, which I initially discovered through the Social Documentary Network (SDN), this issue didn't seem prevalent. When reviewing her portfolio for possible inclusion in Stern magazine, her approach stood out to me.

Suzanne's work is distinctive for its focus on the subject rather than on herself. Her blog, which accompanies the photographs, is informative and fact-based, emphasizing the realities she captures rather than her own persona. This aspect of her work reflects a blend of empathy and objective documentation.

Angelika Hala

Her portfolio encompasses a broad spectrum of life in major U.S. cities like New York , LA and San Francisco, and juxtaposes the wealthy neighborhoods of Philadelphia with its less affluent areas. Suzanne doesn't just photograph addicts; she captures the entire community – families, children playing in the streets, people going about their daily routines. These images collectively tell a profound story of struggle, community, and resilience.

Interestingly, the portfolio includes not just people suffering from addiction, but also their interactions. There's a sense of community among them, marked by both support and conflict. Suzanne's portrayal brings forth the multifaceted nature of their lives, showing both the harsh realities of addiction and the human connections that persist amidst it.

The editing process for the magazine involved including some graphic images, essential for conveying the gravity of the situation. These photographs starkly depict the physical and emotional toll of addiction, a plight often inescapable for those ensnared by it.

Suzanne's commitment to this project is evident in her repeated visits to the area, which undoubtedly take an emotional toll. She captures not only the struggle of the addicts but also the efforts and failings of those trying to help. These images, difficult as they may be to view, are necessary for understanding the full scope of the issue.

What resonates with me, and what I believe impacted my colleagues as well, is the underlying message of Suzanne's work. It challenges the narrative of American identity often portrayed in politics, revealing a more complex and sometimes uncomfortable reality. Her work in Kensington, where most addicts are white, and the inclusion of flyers from families searching for their loved ones, highlight the widespread impact of addiction. This narrative was similarly echoed in our previous story about fentanyl on the West Coast.

Suzanne's perspective is particularly intriguing. Despite living in an affluent area in California, she finds herself drawn to the less visible, often marginalized segments of society. This shift in focus, whether conscious or subconscious, reveals a unique lens through which she views the world.

Her insights extended to a portrait series of a woman in New York. One photograph particularly stood out, featuring the woman with a duck, symbolizing her retreat to the countryside. This woman, suffering from severe mental health issues, believed she was infested with insects consuming her life. Her tragic response was to harm herself in an attempt to remove these imagined insects. This story is disturbingly vivid.

Bethany, 2020. Suzanne Stein

In another of the photographs, the woman isn't visible, which initially seemed accidental. However, the caption revealed a deeper context. It showed another woman, not showing her face, staring intently at something off-camera. This led to the realization that the main subject, the woman from the other photographs, was lying on the sidewalk, unnoticed by passersby. This imagery powerfully reflects the often-ignored plight of people struggling on the streets of New York. I've seen this myself – people avoiding a homeless person on the subway due to their appearance or odor, or an entire subway car emptying to avoid someone sleeping on the bench.

This portrayal of New York's harsh reality is not just a fleeting observation but a persistent issue that has worsened over time. Once you start noticing these scenes, it becomes impossible to ignore them. This artist's work compels us to confront the often overlooked struggles of those around us.

Ginette, East Village. Suzanne Stein

HM: Many people often voice their concerns about New York City, particularly noting its transformation over the years. They observe that the city has become too polished, possibly at the cost of losing its authentic humanity. What are your thoughts on this ?

AH: This is a significant change. However, when you examine contemporary photographs of the city and compare them with street photography from a few decades ago, a different picture emerges. These modern images don't aim to accuse or criticize; instead, they serve as a subtle observation of the city's ongoing narrative.

What's particularly striking about this current photographic work is its approach. It doesn't overtly demand action or point fingers. Rather, it encourages viewers to engage more deeply – to notice, to care, and to reflect on what they see. This, I believe, is the underlying message conveyed by Suzanne New York street photographs. They're not just capturing scenes; they're inviting us to contemplate the complexities and nuances of urban life. In essence, they're a reminder not to turn a blind eye but to think and feel more deeply about our surroundings. That's the powerful impact these images have on me.

HM: What observations would you like to share that would be important and useful for other photographers?

AH: I've had multiple discussions with Suzanne about her photography. She consistently sent more photos, striving for perfection, but I had to remind her that a photographer might never see their work as complete.

As a photo editor, I believe it's my role to guide photographers like Suzanne when a story feels complete. What makes Suzanne unique is not just her documentation skills but her artistic vision to capture the perfect frame. This approach sets her apart from others who might exploit subjects for profit. Suzanne's work is about telling a story, and it's important for her to share these stories. Through our publication, we hope to bring her work to a wider audience. Her photography is not just for our magazine; it's used in educational settings like college classes, adding value as a historical document and offering perspectives we might otherwise miss.