The best knife images (albeit photographs in general) not only capture the essence of a piece, but they evoke a stronger emotional sense in the viewer than the object alone would have forecast. We look at them, and are surprised at our own sense of desire.
To a photographer, THAT'S when we've succeeded.
Props: Jim Weyer accumulated, or had access to, a museum filled with available props and that helped him create his reknowned series of books, and helped him create emotion. (of course, of the thousands of images, there are many that won't work for all.) Utilizing props effectively is another art form in itself. It's actually harder. For this reason and time management, I rarely step into this arena.
Although I have photographed well over 6000 pieces (Over 1000 last year alone!), there are always times when I am impressed, and even surprised, by the outcome.
Here's a few examples and why:
Good lighting is key to any image, and I have refined my eye to assure that I have even and yet clarifying lighting to show any piece well. As anyone who has worked and watched me, I use my tools fully in every exposure.
This knife was SO cool, but so small. I needed to show that. A time honored technique, having a scale object joining the photo:
Capturing that delicious grain in the ivory sends it over the top.
On this shot, not only are the grinds needing witness, the placement of the images was different than I usually do. I liked it.
You have to work REAL hard to exceed Gus' own work.
No Single rectangle can capture how magnificent this piece is. it's a clumsy shape, to be sure. I decided to bend the rules to draw it in closer.
This took a lot of time in PS to make it plausible, but it was worth it.
John showed us an adequate photo of this knife after he built it. Once I got it I saw it needed to pronounce those swells loudly. THIS really is this piece and gave it 'justice'.
These California daggers ALWAYS have a sheath that is
incredible. So much so that the complete sheathed package was so visual, I decided to promote that as the
core image and allow the blade to be a secondary visual. For me, it was daring and it worked.
I did a first proof of this knife for Matt and Mary-Jo on tan. He liked it but thought it too...safe. He asked for a more dramatic background. OK, Let me try....
That and good lighting drew out the oohs and ahhs (as well as the wallets...!)
I'm still in love with this piece, and to be able to show this hamon so clearly takes a special lighting technique. I won't tell you, so you may stay alive. <wink>
Showing these traditional blades and all we like to view is tricky. In this case we can see both blades, the open view, the closed view, the reverse side of the knife, the backspine, the well fitment, and the scrumptious stag. All in one rectangle.
I could remark on many others, but this is a fine display that I am proud of for the reasons told.
Gotta go. Thanks for watching.
(Buddy, thanks for including your masterpiece in this thread. I specifically left that alone, and I'm glad you pointed it out.)
Coop
That does work.
an army of carrier pigeons on a mission to spread the good news about custom knives (no really, just like that). Continuing... A picture is worth a thousand words. Coop has launched on the order of 5,000 or more quality knife photographs (with more coming every day!) out into the river of life. I rest my case. 
