Although Bryan Schutmaat’s photos from Grays The Mountain Sends are extraordinary, right seeming but somehow askew, the portraits that accompany the landscapes and the still lifes can be hollow. There’s something about the way that Schutmaat documents the person as a whole, something that reduces them all the way down to their stare, that betrays a falseness in the camera’s judgement. Sometimes, though, when the wall between the subject and the observer remains intact, Schutmaat captures something full.
