{"id":2715,"date":"2011-07-23T22:57:00","date_gmt":"2011-07-23T17:57:00","guid":{"rendered":"http:\/\/calamur.org\/gargi\/2011\/07\/23\/the-thirty-day-project-day-18-macros\/"},"modified":"2011-07-23T22:57:00","modified_gmt":"2011-07-23T17:57:00","slug":"the-thirty-day-project-day-18-macros","status":"publish","type":"post","link":"https:\/\/calamur.org\/gargi\/2011\/07\/23\/the-thirty-day-project-day-18-macros\/","title":{"rendered":"The Thirty Day Project – Day 18 – Macros"},"content":{"rendered":"

Macro<\/a><\/strong>, in photography, is an extreme close up. They also can be a pain to shoot because the slightest movement in the object leads to a blurred image. the interesting facet of macro photography is that the image is usully many times the size of the original object.<\/p>\n

Macros can be of anything. My first exposure to macro photography – actually macro filming – was almost 15 years ago. We were filming a project – the client was Bajaj, and the brief was to show the audience – mainly roadside mechanics – the correct way of fixing a 2 wheeler. It took us for ever to shoot. There were multiple issues. Firstly the object – usually a tiny nut or bolt – had to be lit up. Usually this was made of steel and would reflect light. You had to account – in terms of light- for the human hand bringing an implement – a spanner, a screwdriver – to fix that object. Given that the human hand is flesh and blood, dark and doesn not reflect light – you needed to compenate in terms of lighting. And then, because the camera would focus on such a small field, the slightest movement would lead to the shot going out focus. And just when everything would be correctly aligned the client would walk across the frame and say -but this is not what i want. That project taught me two things<\/p>\n