Despite being physically quite close to the subject, the ratio of subject-size-in-frame to distance-to-subject is usually still quite small (the angle of view for macro lenses is generally much smaller than what the focal length at infinity would suggest).
So for us, macro shots tend to have two characteristics: 1.) perspective is approaching an isometric drawing 2.) usually narrow depth of field.
These shots on the other hand were made with a very wide field of view and focus stacking produces a deep depth of field. I'm sure that if you worked out the angles and distances in e.g. the violin shot then the ratios will be basically the same as your typical 2.5 story architecture shot or subway architecture done with something in the 14-20mm FF range. Because the photographer went to great lengths to make it look like that.
There's also other cues, like the height of the camera relative to the floor and ceiling of the room, and of course the light.
So for us, macro shots tend to have two characteristics: 1.) perspective is approaching an isometric drawing 2.) usually narrow depth of field.
These shots on the other hand were made with a very wide field of view and focus stacking produces a deep depth of field. I'm sure that if you worked out the angles and distances in e.g. the violin shot then the ratios will be basically the same as your typical 2.5 story architecture shot or subway architecture done with something in the 14-20mm FF range. Because the photographer went to great lengths to make it look like that.
There's also other cues, like the height of the camera relative to the floor and ceiling of the room, and of course the light.