Photography entered Antoine Schneck's life when, at the age of 12, he discovered an old kodak camera in a cupboard. A vocation was born and his heroes were therefore called Henri Cartier-Bresson, William Klein, Richard Avedon or Marc Riboud. He studied at the Louis Lumière film school. 

It was only at the age of 30 that Antoine Schneck devoted himself fully and definitively to photography.  From the outset, the portrait revealed itself as his favorite subject. Antoine Schneck worked in the view camera before adopting digital technology, whose extreme quality and perfect definition he appreciated.

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His work therefore develops in series, over the course of travels, desires, projects, always under the sign of encounters. Antoine Schneck adopts the same approach each time. Far from any exoticism, his goal is to approach a face in the most direct way. His models, volunteers and consenting, are invited to take place in a tent of white fabric which diffuses the light evenly. Sitting on a chair in this completely neutral setting, the subject stands out against a black background while Antoine Schneck, invisible, operates from the outside, a hole in the fabric letting his camera lens through.

Close to traveling photographers, Antoine Schneck's device is however very different since the model finds himself alone, isolated from any context, without interaction with the outside world or even with the photographer. The goal of this total neutrality is to obtain from the character an extreme relaxation, a state of abandonment where it is no longer a question of posing, nor of composing an image of oneself. Patiently, Antoine Schneck waits and thus manages to capture this fleeting moment when the face at rest offers itself, gives itself for itself.

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Similar to landscapes crossed by lines, fine lines and inhabited by the brilliance of a gaze, these faces, intense and all different, bear the trace of a story, of an individual journey. Floating on a black background, detached from their bodies, most often without accessories, these faces from the end of the world have the raw, expressive strength of the mask with the added  dimension of the living, of the human.