There is a dimension in Antoine Schneck's photographs that questions the questioning of something that can be as strong that will touch the first spectators of the daguerreotype. What we see seems so present that we forget the screen that the picture was upon before knowing what it intends to represent.
The abstraction of the background in night darker than ink, the immaterial transparency of the support diasec, is not enough to give the enigma key.
African faces are as close as possible, mouths of dogs, the translucent ring of scarlet beetroot, and a sculpture of iron or streamlined body of a race car has nothing in common.
