Red Molten Glass

Red molten glass in the workshop in Mdina Malta Stock photo by John Rocha

Caption:

Red molten glass in the workshop in Mdina Malta

Description:

Mdina glass comes from Malta in the Mediterranean.

It’s easily recognised both for its distinctive colours and for the Mdina signature and paper labels.

Mdina Glass opened their original Ta’Qali factory in 1968.

If you want to use this photo of Red Molten Glass, go to Alamy.
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Photo Comments:

Taking this photo made me think how digital is maturing so that it really rivals the quality of film photography.

Don’t get me wrong.

I know that they’re not directly comparable and that digital pictures have different qualities but I’ll try to explain.

When I was 13 I got my first 35mm camera. It was an Adox Polo.

I stayed with 35mm for many years but eventually moved up to medium format using Rollei, Yashica and Bronica camera.

I had a number of reasons.

I liked the extra quality but I had also become interested in stock photography and of course I soon realised that the camera club approach didn’t apply.

By the camera club approach I mean producing great images with an emphasis on aesthetic criteria such as good composition with concepts such as golden sections and the rules of thirds.

Stock photography was different.

The idea was to compose very loosely so that the buyer could crop for vertical or horizontal format and could crop and could arrange the elements in the picture to suit him or herself – perhaps fitting with the typography of a magazine for instance.

Now to do this you need a lot of picture area to maintain quality.

Trying to use small parts of a 35mm frame simply wouldn’t do.

And then came digital.

My first DSLR was a Canon 350D – the camera that really brought serious digital to the masses maybe.

Still with six magapixels there were severe restraints on cropping.

Now I use a Canon 5D Mark 11.

21 megapixels doesn’t produce a picture the size of the old medium film format but it still leaves plenty of room for cropping.

My picture of the molten glass was taken in fairly rushed circumstances and handheld in fairly poor light.

In the circumstances I decided to use the central autofocus spot on my camera and spot metering to concentrate on the molten glass itself.

This has resulted in a “Bullseye” shot where the main subject is bang in the middle.

Still, with 21 mexapixels to play with I think that once again it should be possible for a buyer to crop this shot.

I’m one of those photographers who always says “Don’t get fixated with megapixels”.

Still, there are circumstances where megapixels do matter.

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Stock photography by John Rocha at Alamy

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