Magic Filter

Manufacturer: Magic Filters (Alex Mustard & Peter Rowlands) Type: Ambient-light color correction filter Year introduced: 2005 Website: www.magic-filters.com

Overview

The Magic Filter is an underwater color correction filter developed by Alex Mustard and financed into production by Peter Rowlands. Launched in August 2005, it was designed specifically for digital SLR underwater photography, providing vibrant ambient-light color from the surface down to 15 meters without the need for strobes. The filter was born on the Wetpixel forums and became one of the community’s most distinctive homegrown products, remaining in production for over two decades (2005–2026). (^[1])

The filter emerged from Mustard’s idea for a “fisheye compatible underwater filter” which he brought to Rowlands, who then financed the production. As Mustard wrote in 2018: “One such idea was a fisheye compatible underwater filter that we developed into the Magic Filter and Peter financed into production. We still sell them 12 years on.” (^[2])

How It Works

Unlike previous underwater filters that attempted to perfectly counteract seawater’s color-filtering effect (which varies considerably with depth), the Magic Filter takes a fundamentally different approach. It adjusts the mix of colors reaching the camera’s sensor to produce a color balance that is easily corrected by the camera’s digital white balance function. (^[3])

The key insight is that since reds and oranges disappear from the underwater spectrum quickly, the Magic Filter provides a better mix of light for the camera’s white balance function to utilize. Unlike the camera’s white balance feature alone — which alters the mix of light already collected by the sensor — the Magic Filter alters the mix of light before it enters the lens, giving the white balance system more color information to work with. (^[4])

The filter results in approximately one stop of light loss. If using the camera’s meter, no exposure adjustment is needed because the camera is already metering through the filter. (^[5])

White balance procedure: The photographer sets a custom white balance underwater at shooting depth, pointed in the shooting direction. White balancing at the subject (rather than using a grey card held close to the lens) generally produces the best results. White balance should be reset when depth or direction changes significantly. (^[6], ^[7])

Products & Versions

Original Magic Filter (2005)

The original Magic Filter was sold as pre-cut optical quality gel sheets sized to fit popular SLR lenses, including fisheyes and ultra-wide zooms. This was a key differentiator — existing underwater filters (such as the UR Pro line) were incompatible with the wide-angle lenses most popular with underwater photographers. The gel was placed behind the front element, inside the underwater housing port. (^[8], ^[9])

The filter was a combination of standard off-the-shelf filter materials (not a proprietary chemical formulation), designed for tropical blue waters. (^[10])

Auto-Magic Filter (2006)

In August 2006, the Auto-Magic Filter was launched specifically for digital compact cameras. It was designed to work with the camera’s automatic settings — the user simply turns off the flash and shoots. This removed the need for manual white balance, making filter photography accessible to point-and-shoot users. (^[11])

A separate “Point and Shoot (PAS) Magic Filter” variant was also developed for cameras without manual white balance capability, working at 5-17m depth. (^[12])

External-Mounted Solid Filter (2011)

In April 2011, Magic Filters released an external-mount version using their formula as a solid filter for the first time. Available in a variety of screw thread sizes, this was the first version that could be added or removed from the lens underwater — a significant practical advantage over the internal gel design. The solid filter was suitable for both still photography and video in blue waters. (^[13])

History

Development (2003-2005)

The concept of using filters with digital white balance for ambient-light underwater photography was explored in a 2003 Wetpixel article by Craig Jones titled “Filters and Ambient Light Photography,” which established the foundational principles. Mustard took the concept further, specifically developing a filter that worked with the wide-angle fisheye lenses favored by underwater photographers. (^[14])

In July 2005, the Magic Filter scored its first magazine cover on UwP Magazine Issue 25 (the “25th anniversary issue”), and Peter Rowlands also demonstrated the filter in his panorama article in the same issue. (^[15])

Commercial Launch (August 2005)

The filter went on sale in August 2005, announced on the Wetpixel forums by Mustard himself. The initial response was enthusiastic — orders shipped worldwide within days, with users in the Cayman Islands, Bali, Bonaire, and the Red Sea reporting results within the first weeks. Mustard emphasized the product was “about sharing a solution that works with our peers rather than being a money making product.” (^[16], ^[17])

Mike Veitch published the first independent review on Wetpixel in October 2005, praising the filter’s versatility. Notably, Veitch found that the filter worked well not only in its designed ambient-light scenarios but also in combination with strobes when white balance was properly set — an unexpected bonus that meant photographers did not need to leave strobes behind when using the filter. (^[18])

DEMA 2008 and Shooting Magic DVD

At DEMA 2008 in Las Vegas, Mustard and Rowlands shared booth #3049 with Wetpixel, demonstrating Magic Filters and previewing the Shooting Magic DVD. (^[19])

The Shooting Magic DVD was released in late 2008/early 2009 — a 90-minute instructional guide filmed by Rowlands in the Red Sea. It followed Mustard over six dives (three with a DSLR, three with a compact camera), demonstrating technique, white balance procedures, subject selection, and post-dive image review. The DVD was priced at just 15 GBP plus postage. Steve Williams reviewed it for Wetpixel, calling it “a must have guide” and noting: “Many of the benefits of shooting filters that had somehow escaped me in the past are immediately obvious when you watch the DVD. ‘Hey, he’s not lugging strobes around.’ ‘There is no backscatter, none.’ ‘He can fire as many shots as fast as he wants.’” (^[20], ^[21])

Adoption for Video (2009-2010)

As DSLR video capabilities emerged (particularly with the Canon 5D Mark II in 2008-2009), the Magic Filter found a second life as a video tool. Fergus Kennedy’s early Canon 5D Mark II underwater video in the Red Sea was shot “mostly with natural light and a Magic Filter.” (^[22])

At the 2010 Digital Shootout on Little Cayman, the Magic Filter was widely used for 5D Mark II video shooting. Multiple participants from Backscatter shot their footage with a Magic Filter and Sigma 15mm lens. The characteristic sign of Magic Filter video shooters was “all white fins used for white balancing.” (^[23])

Continued Production

By 2018, Mustard noted that they were “still selling them 12 years on,” indicating continuous production from 2005 through at least 2017. (^[24]) Magic Filters ceased trading in 2026 upon Rowlands’ retirement, ending over two decades of production. (per Alex Mustard, 2026-06-09)

Applications & Technique

The Magic Filter excels in several specific shooting scenarios:

• Shallow reef wide-angle: The primary use case — capturing colorful reef scenes in the top 2-15m without strobes, eliminating the blue/green cast that dominates unfiltered ambient-light images. (^[25])
• Large subjects at distance: Solving the problem of strobe fall-off on subjects too large or distant for artificial light (e.g., large corals, reef walls, swim-throughs). Veitch noted the filter brought out color on walls “at least 20 feet away,” something strobes could never accomplish. (^[26])
• Split/over-under shots: Particularly effective for half-underwater, half-above-water images in shallow water. (^[27])
• Model/diver photography: Providing even lighting across both foreground subject and background — a perennial challenge with strobes due to fall-off. (^[28])
• Video shooting: Widely adopted for DSLR underwater video from 2009 onward, where continuous lighting would otherwise be required. (^[29])
• Snorkeling and freediving: Freedom from heavy strobe arms made the filter ideal for active, mobile shooting. (^[30])

Complementary Filter Technique

In 2007, James Wiseman published an article on Wetpixel extending the filter concept by pairing a magenta filter on the lens with a complementary green filter on strobes. This allowed foreground strobe lighting to appear natural while the background benefited from the filter’s color correction. Mustard commented positively on the technique, noting it also had the beneficial side effect of darkening water relative to the foreground. (^[31])

Limitations

• Depth range: Designed for the surface to 15m; produces reasonable results to 17m but is ineffective deeper due to insufficient red light in the ambient spectrum. Experiments with stacked filters at 36m showed marginal results and required high ISO. (^[32], ^[33])
• Optimal range: Works best between 2 and 9m. Below 1m, no filter is needed; above 2m the filter is not necessary. (^[34])
• Water type: Designed for tropical blue water. Less effective in green water or highly turbid conditions. Mustard noted: “in dark UK waters there isn’t so much light so filters can be tricky.” (^[35])
• Lighting conditions: Requires good ambient light — bright sun produces the best results. Performance suffers in overcast conditions or limited visibility, though can be compensated by using strobes with appropriate white balance. (^[36])
• White balance dependency: Requires frequent manual white balance adjustments as depth and direction change. Incorrect white balance produces overly red or overly blue images. (^[37])
• Gel fragility: The original gel filters were easily scratched during cutting and installation. Multiple users reported damage from handling. (^[38])
• Film incompatibility: Does not work with daylight-balanced slide film at any depth — the approach is entirely dependent on digital white balance adjustment. (^[39])

Community Reception

The Magic Filter generated enormous community engagement on the Wetpixel forums. Within days of launch, users were posting results from locations worldwide — Cayman Islands, Red Sea, Bali, Bonaire, UK waters, Maldives. Mustard started an “International Magic” thread to collect results from different regions. (^[40], ^[41])

The community’s enthusiasm was notable for several reasons:

1. Affordability: The filter was inexpensive compared to other underwater photography accessories, removing the financial barrier to experimentation.
2. Simplicity: No strobes, no arms, no sync cords — just the filter and the camera.
3. Novel results: The images looked distinctly different from strobe-lit underwater photography, with even color across the entire frame and no backscatter.
4. Creator accessibility: Mustard actively participated in every forum thread, answering questions and helping users troubleshoot white balance issues.

Some skepticism existed outside the Wetpixel community, particularly on ScubaBoard, where discussions were “very anti” the product initially. Mustard chose to stay out of negative external discussions, letting the results speak for themselves. (^[42])

Mike Veitch’s independent review was significant in establishing credibility, confirming the filter performed as advertised and discovering the unexpected strobe compatibility. Comments on the review came in for over a decade, with a user in 2016 writing: “A really excellent article — very informative. I wish I had read this before traveling to the Galapagos; a red filter and no strobes would have been ideal for shooting video of hammerheads.” (^[43])

Legacy

The Magic Filter was significant in the history of underwater photography for several reasons:

• Community-born innovation: Unlike most underwater photography gear which comes from established manufacturers, the Magic Filter was conceived by a working photographer and community member, developed collaboratively through Wetpixel discussions, and launched directly to the community that inspired it.
• Rethinking available light: The filter changed how the community thought about ambient-light underwater photography. Before the Magic Filter, available-light shooting was largely seen as a compromise; afterward, it became a deliberate creative choice with its own aesthetic.
• DSLR video transition: The filter proved prescient when DSLRs gained video capabilities in 2008-2009, becoming an essential tool for the first generation of underwater DSLR videographers.
• Complementary technique development: The filter inspired further innovation, including James Wiseman’s complementary filter technique (2007) and broader experimentation with filter-strobe combinations.
• Accessible underwater photography: By removing the need for expensive strobe systems, the Magic Filter made quality wide-angle underwater color photography accessible to photographers who could not afford or did not want to manage complex lighting rigs.

The product also represented a successful collaboration between Mustard (the photographer-inventor) and Rowlands (the experienced businessman who had run Ocean Optics for decades), combining technical innovation with practical production and distribution.

References

Wetpixel Live