That is, for me to shoot. These are exceptional knives that have SO much going on, that capturing it all in a single rectangle is damn near impossible. I do the best I can.
For some of these, the lighting or angles were so complex that I took a gazillion shots before I cried "Mea culpa!" and settled on the selection.
The knives are
always deserving of the extra work. These are the ones in which I struggle to deliver.
Mardi Meshejian walks in with this monster. I left it till sunday morning before the show opened, and shot it against a wall away from my tent, with a gaggle of lights. He was fine shooting just the knife, but I felt the 'package' included the stand.
Gary Root works with
Ray Rybar often, and had some young artist carve the
cobra on this handle. I can't impress upon you how worthy this carving was. But you needed to look at it from 360°. Gary's work always goes beyond traditional.
Ray Rybar is a devout Christian, and he proudly makes works that reflect his beliefs. This particular piece of stag has something like 144 carved
ghoul faces in the handle. Is it creepy? Yes. That's the intention.
Those medalions are larger versions of what is in the blade. He wanted me to show them, too. Yikes!
Back to more traditional work,
Richard Rogers never ceases to impress those who understand uber-precision. His work is always intricate. In this case there are six blades and four tools that needed showing. What does it look like compacted? Believe me this wasn't easy figuring out a display.
Bertie Rietveld and I go way back (I own a particularly smart slender blade from him). His 'dragonskin' damascus is now legendary, as are his dagger skills. The bevels are really deep. Getting both to show well isn't as easy as plopping it on the table and firing when ready.
Add in a dose of blued and polished steel and it's a photographers dream.