There’s something weirdly subversive about these that I really like. Schiff’s playing with the camera’s tendency to see things incorrectly (if we assume that human vision is correct seeing). The photos have flattened spaces, washed out colors, limited value ranges that lose information on the darker or lighter ends, odd and limited focal points, etc. Qualities associated with the ‘documentary authority’ of the photograph rather than the prettiness or sophistication of art and design imagery. That documentary authority kind of counts on a kind of visual drabness. And Schiff kind of plays these things up, finds light conditions and spaces that result in images that announce these differences. They’re notably different than (less than?) seeing. But then there’s something else going on. One, they kind of transcend that visual drabness (do you notice formal similarities between “Mirror” above and Eric Sall’s paintings?). Two, they play that subjective seeing the camera does against the subjective seeing that people do, specifically the way we humans seem to be keyed to believe we can and do often witness supernatural phenomena. The photos are kind of involved in the banal and the sublime all in one image.