The ice wasn't decorative, it was the concept. Encasing the weapon in frost and crystal growth is a way of neutralising its immediate threat while simultaneously making it more visually arresting; frozen in time, rendered inert, closer to an archaeological specimen than an instrument. The flat orthographic framing reinforces that: this is documentation as much as image-making, the kind of detached angle that strips object of narrative and forces the viewer to contend with pure form. Shooting in high-contrast monochrome was the right call, colour would have introduced warmth or glamour, neither of which belonged here. The ice crystallisation across the surface demanded careful attention to how light fractures through it without overexposing the detail of the metal beneath, which is where the real technical tension lived in the render.