First off, I would like to welcome
Jim Small into the BladeForum community. You probably know a ton of guys here, Jim, but the names have been changed to protect the innocent...
This topic deserves a thread of it's own in it's scope. But let's stick with this one now.
Here is my take on composition, Holger. I'm pleased you pointed this out.
If you look at the thousands of images I have produced, you will see just exactly what you prefer: My style usually includes two insets and a full sideview. Generally, I can find two other views that add information to the view, while at the same time adding a balance to the corners. Part of the format I use is the visual balance. When I encounter a knife photo with only one inset, if the knife and the inset are not sharing equal space I find the visual lopsided.
I give the full-length knives the most area in a rectangle that I can, so I run them diagonally.
I spent time making sure the spacing and the amount of area that the insets require are closely balanced. It's that unconscious 'thing' that makes or breaks an image. (I am very left-brained, so I need this structure.)
Here is where I will counter....
Some knives do NOT have a lot of extra information to show. Having a third view can be a struggle or redundant. It is at that point, that I look to fill in the extra space with a prop. Often the prop will have a complimenting color, or texture, or whatnot. It's an extra that helps to place the knife in a visually pleasing perspective.
Does the eye gravitate to the non-knife areas? I *hope* so! You *know* so! Is it stealing the thunder? Well, you know as well as I there comes a point where one wonders what the main subject is. The rocks shot above is a fairly good example. (there is a reason I haven't used them in years). But, I love that shot more than my traditional one, and will allow it to be.
But, I counter with this: Visual art is similar to music. Although we enjoy and tune into one primary instrument during a piece, it is complimented by other background instruments, supporting the solo. We are allowed a chance to enjoy everything. Without complimenting sounds or harmonies a single instrument is oftentimes barren and cold.
Your background is in advertising, where reader interest is measured in a tenths of a second scan. You WANT to hit them between the eyes with impact. In my portfolio shots, the viewer doesn't have to compete with other interests, and can take the time to discern the knife amongst the props and layout. Or so I'd like to think.
I have all five of Jim Weyer's 'Points of Interest' books. Without question, the props often play an equal or even LARGER role in the displays. It's a style that would not work to well in advertising, but lends itself to a portfolio shot and a coffee table book nicely. (I can only dream to acquire the museum's worth of objects that Jim used.
)
In the end, what I try to do is provide crystal clear information about a knife, and the bonus is if I can evoke an emotion with my display. Sometimes the emotion aspect is enhanced by props--at the expense of information. As in all things, it's a balance of priorities.
Like Holger said, there will be thousands who disagree. With his OR my opinions. Potatoe, potahto. Thanks for the opportunity to think this out.
Coop
