Draw­ing on the ex­per­tise of pho­tog­ra­pher Bryce McQuil­lan, we look at the style of macro pho­tog­ra­phy and what makes it so in­trigu­ing

First of all, what is ‘macro pho­tog­ra­phy’? Well, you know those im­ages of what-shouldbe-su­per-tiny crit­ters that ap­pear as gi­gan­tic crea­tures in pho­tos? They are ex­am­ples of macro pho­tog­ra­phy — the cre­ation of im­ages of small items to make them ap­pear larger than life size. They tend to show an in­cred­i­ble amount of de­tail — of­ten more than the naked eye can see from just ob­serv­ing the ob­ject in its usual en­vi­ron­ment. You’ll be fa­mil­iar with macro pho­to­graphs that in­clude such things as ul­tra-close-ups of a fly’s eye, a close-up im­age of a cen­tre of a flower blos­som, or maybe a rain droplet. They tend to be beau­ti­ful, ed­u­ca­tional, and some­times they look like they’d be very tricky to master. Which is where Bryce McQuil­lan comes in. McQuil­lan is a Ro­toru­abased pho­tog­ra­pher who has been shoot­ing for six years (nine years ac­tu­ally, but he mod­estly said that it took a while to start un­der­stand­ing the re­sults that he was achiev­ing).

There are many uses for macro pho­tog­ra­phy — for ex­am­ple, show­ing prod­ucts off in

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