Close-Focus Wide-Angle (CFWA)

Also known as: CFWA, close-focus wide-angle, wide-angle macro (WAM)
Category: Photography technique
Related techniques: Wide-angle photography, Macro photography, Split/over-under photography

Overview

Close-focus wide-angle (CFWA) is a technique in which the photographer uses a wide-angle lens — typically a fisheye or ultra-wide rectilinear — and positions the camera as close as possible to a relatively small foreground subject, often only centimeters from the dome port. The result is a dramatic image that fills a large portion of the frame with the near subject while simultaneously capturing the environment, background water, distant reef, divers, or sunlight in the remaining “negative space.” The technique produces images with a sense of depth, scale, and environmental context that neither pure macro nor traditional wide-angle photography can achieve on their own (^[1]).

As Mike Veitch described it in his 2011 Wetpixel tutorial “The Near and Far”: “close focus wide angle (CFWA for short) is the term used for a style of photograph involving a very wide angle lens and getting as close to a subject as possible.” He explained that “the great thing about most wide angle lenses is the fact they are capable of focusing mere centimeters away from the end of the port. What does this mean to the underwater shooter? Simple, you can fill half the frame with your main subject and have plenty of room to enhance the ‘negative space’ with another subject to maximize the impact of the photo” (^[2]).

The closely related term “wide-angle macro” (WAM) is sometimes used interchangeably with CFWA, though WAM more specifically refers to using wide-angle optics to photograph truly macro-sized subjects at high magnification within a wide-angle scene. Douglas Seifert popularized the WAM abbreviation when describing images made with the INON Micro Semi-Fisheye Relay Lens UFL-MR130 EFS60 (commonly known as the “insect-eye” or “bug-eye” lens), which he used to land DIVE Magazine’s November 2010 cover. Eric Cheng noted that “Douglas always refers to it as the ‘WAM,’ for wide-angle macro” (^[3]).

History

Early Roots

CFWA is not a new technique. As Alex Mustard noted in his influential 2010 article “Thoughts on Mini Domes,” small dome ports — the essential enabler of CFWA — had a “small, but loyal following” long before they became commercially available. He wrote that “Several of my friends in BSoUP have been using them almost exclusively for the last 20 years or more. Which is how I was introduced to them.” This dates the technique’s roots in the UK to at least the late 1980s in the film era. Mustard himself used a custom-made mini-dome on his Subal F100 film housing (^[4]).

Mustard provided an important historical correction: “all the early dome ports were mini-domes. Big domes were too expensive and difficult to make. And they weren’t called mini-domes back then, simply domed portholes (port is an abbreviation of porthole, by the way) as they were the only size available. The innovation photographers wanted back then was actually to make them bigger, to overcome some of their optical issues. Photographers getting over-excited about mini-domes as the latest invention should take note!” (^[5]).

In his 2014 Nauticam 140mm dome review, Mustard traced dome port history further back: “In the early 1960s both Schulke and Starck pioneered the use of hemi-spherical domes, independently. Realising the limitation of their small domes sourced from boat compasses, they dreamed of larger domes if only they could be made” (^[6]).

The Nikonos 15mm lens, combined with its close-focus capability, was a foundational CFWA tool in the film era. Veitch noted that “with a rectilinear lens such as a Nikon 12-24mm (and diopter) or the classic Nikonos 15mm, it’s possible to get 15cm from the lens” (^[7]).

The Digital CFWA Revolution (2009–2012)

The real explosion of CFWA came with the convergence of three factors in the late 2000s:

1. The Tokina 10-17mm fisheye zoom became the essential CFWA lens for DX (APS-C) format cameras. Its ability to focus very close to the dome port, combined with the zoom range to control field of view, made it the most versatile option. Barry Guimbellot explained the appeal: “Marty Snyderman showed me the Tokina 10-17 mm lens he purchased and then let me try it on my camera. Instantly, I was sold on the lens as wide angle photography is my passion.” Adding a 1.4x teleconverter (typically the Kenko 1.4x) extended the working distance while maintaining close focus, a combination championed by Mustard and widely adopted. Guimbellot noted that the teleconverter gave “more working distance when shooting timid creatures” and “gives me the full range of the lens, instead of only working the 17mm side” (^[8], ^[9]).

2. Commercial mini-dome ports arrived from multiple manufacturers almost simultaneously in early 2010. As Mustard observed: “Right now, commercial mini-domes seem like London buses. You wait ages for one to turn up and then three come along at once. They are now available in a range of flavours from Aquatica to Zen!” Key products included:

   • Zen 100 dome — Used by Mustard for his comparative tests (^[10])
   • Aquatica Mini Dome 100 — Announced March 24, 2010 with BK-7 coated glass, 100mm diameter, specifically designed for the Nikon 10.5mm, Sigma 10mm, and Tokina 10-17mm fisheyes. Priced at $699, rated to 90m/300ft (^[11])
   • Nauticam 4.33” acrylic mini dome — Released mid-2010 as a “small acrylic dome port for close focus wide-angle and travel use” (^[12])
   • UnderWater Camera Stuff 5” modular domes — Released April 2011 in two versions tuned for specific lenses: one for the Tokina 10-17mm/Nikon 16mm, another for the Canon/Sigma 15mm. Available for $350 with deluxe shade or $300 with standard shade, compatible with Ikelite housings (^[13])

3. Barry Guimbellot’s DIY mini-dome article on Wetpixel in March 2010 showed that photographers could build their own CFWA dome ports for a fraction of commercial prices. Guimbellot designed and machined a small dome for his Nexus housing after finding that his “large dome port would not let me get as close as I wanted for shooting close focus wide angle. Even more frustrating was the price of a small dome port.” He researched the nodal point of the Tokina lens and designed “what I thought to be the perfect ratio of port diameter and arc radius for the lens curvature,” machining it with Kress Technologies in Dallas. The dome could be purchased for $360 including lens shade. Guimbellot used it to photograph “3 inch nudibranchs, but still have the DOF to render a diver in the background” (^[14]).

Martin Edge’s fourth edition of The Underwater Photographer (2010), reviewed on Wetpixel by Steve Williams, devoted new sections specifically to CFWA. Williams noted: “There has been a revival of interest recently in Close Focus Wide Angle (CFWA) and super macro, the increased awareness of both techniques the result of equipment improvements that make it easier now for photographers to attempt” (^[15]).

At DEMA 2011, Mustard delivered a presentation titled “Domes without the Drone” at the Imaging Resource Center, covering “the practical pros and cons of various types of domes available, together with situations in which one type may be preferable over another.” He later noted he “was asked to talk on the subject of mini-domes” and aimed to “make the talk interesting and accessible as well as help people understand this popular accessory” (^[16]).

The Full-Frame Era (2014–2018)

The transition to full-frame cameras introduced new challenges for CFWA. As Mustard explained in his comprehensive 2014 review of the Nauticam 140mm dome: “The bigger your sensor the bigger your dome port needs to be to give good corner sharpness with wide angle lenses underwater… mini domes are troublesome on full frame cameras. The main problem is that the corners of the frame go completely blurred.” He determined that “140-150mm (approx. 5.5-6”) is the sensible lower limit with a fisheye on full frame,” noting he had “long concluded” this and commissioned a custom 150mm acrylic dome in 2010 which remained an active part of his kit (^[17]).

Mustard documented the relationship between sensor format and dome size requirements: “Smaller formats use shorter focal length lenses (with more depth of field) for the same angle of coverage.” He used different dome sizes for each system: “I use an 80mm dome with the 8mm on the 2x crop, a 100mm port with the 10mm on the 1.5x crop and a 150mm port with the 15mm on the 1x crop. This for me is the lower limit of acceptable quality” (^[18]).

The Nikonos RS 13mm fisheye lens conversion project, led by Andrej Belic and completed in September 2012, provided another CFWA option. Belic adapted the legendary underwater lens (originally produced 1992-1996) to work electronically with modern Nikon DSLRs in Nauticam, Seacam, and Subal housings. The lens was “known as the epitome of optical excellence in underwater wide-angle photography” and its built-in small dome front element functioned similarly to a mini-dome, making it naturally suited to CFWA. Borut Furlan later refined the conversion with a completely new approach for Seacam housings in 2014 (^[19], ^[20]).

By 2021, Mustard was still using the converted Nikonos 13mm for CFWA: “I use it when I don’t have my Nikonos 13mm with me, and value a very close focus view over ultimate image quality” (referring to his use of the 4” dome as an alternative) (^[21]).

Modern CFWA: Wet Lenses and Conversion Optics (2018–present)

The introduction of Nauticam’s MWL-1 (Macro Wide-Angle Lens) in October 2018 represented a paradigm shift for CFWA. Priced at $1,850, the MWL-1 was a water-contact conversion lens designed to be used with a 60mm full-frame equivalent macro lens, providing a 150-degree field of view. It could “focus from the lens’ front element to infinity” and could “be attached and removed underwater” via either an M67 flip mount or bayonet fitting. The key innovation: “Ultra wide angle and macro perspectives are now available on the same dive — even with full frame DSLR systems” (^[22]).

Jack Connick’s 2019 field review for Wetpixel praised the MWL-1 as “a game-changing wet mount wide angle lens.” He noted it “focuses down onto its very small dome for CFWA” and described it as enabling “a great opportunity to tell a story, creating a series of photos with different points of view.” Connick tested it with a Nikon D850 in Indonesia, calling it “the real hidden beauty of the MWL, its small size for travel and diving. It can replace a large 9” glass dome port, 90 mm extension, zoom gear, and large camera lens!” He recommended f/16 for optimal performance, consistent with Nauticam’s recommendation (^[23]).

In January 2021, Mustard and Adam Hanlon devoted a Wetpixel Live episode to “Mini Dome Port Primer,” responding to a community discussion thread, covering “small dome ports’ pros and cons” and noting they “offer some unique creative possibilities, reduced cost, and portability advantages, and have limitations that should also be considered” (^[24]).

In June 2021, Mustard and Hanlon devoted another Wetpixel Live episode to “Wide Angle Macro Tools,” discussing the gear for “what may well be the next trend in underwater photography: Close Focus Wide Angle” and “the competing requirements of having a system that provides optically acceptable results, can focus very close, but is small enough to allow strobes to be positioned to light subjects very close to the port” (^[25]).

The Nauticam EMWL (Extended Macro Wide-Angle Lens), introduced in late 2020, pushed WAM capabilities further with a modular system of interchangeable objective lenses (60-degree, 110-degree, 130-degree, and from 2022, 160-degree). Mustard reviewed the 160-degree objective in September 2022, writing that it “is designed for extreme WAM (Wide Angle Macro) imagery, where a small subject is photographed at macro levels of magnification, but within a wide angle scene.” He found that the 160-degree lens “simply makes the EMWL better at what it is designed for” with “excellent” sharpness, producing the “famous ‘bug-eye’ view” while enabling CFWA images at slightly longer distances. He also tested it for “acceptable quality CFWA images in addition to its party-trick WAM images” and was pleased with the results (^[26]).

The Laowa 15mm f/4 Wide Angle Macro lens, supported by Seacam port solutions from 2019, offered a different approach — a rectilinear wide-angle lens with true 1:1 macro capability built in, eliminating the need for conversion lenses. Seacam produced a “unique port for the Laowa 15mm f/4 Wide Angle Macro” featuring “a small dome with a built-in shade” (^[27]).

Equipment

Lenses

The choice of lens is the most critical equipment decision for CFWA. Key options documented in the Wetpixel archive include:

• Tokina 10-17mm f/3.5-4.5 AT-X DX Fisheye Zoom — The definitive CFWA lens for APS-C cameras. Its zoom range allows the photographer to control field of view without changing position, and it focuses extremely close to the dome port. Often paired with a Kenko 1.4x teleconverter for increased working distance. Multiple professionals in the 2015 “Ask the Pros: Wide-Angle” series named it their preferred fisheye. The lens was also widely adapted to Micro Four Thirds via speedbooster, where community members found “no difference in IQ between Tokina (with 0.71x speedbooster) and Canon (with 1x glassless adapter) on MFT” (^[28], ^[29]).

• Nikon 10.5mm f/2.8G DX Fisheye — A close-focusing fisheye ideal for CFWA on DX bodies; used extensively by Mustard for his mini-dome tests. He filled the frame with a sea urchin “smaller than half a tennis ball” using it at 10mm on the Tokina 10-17mm (^[30]).

• Canon/Nikon 8-15mm f/4L Fisheye Zoom — The full-frame fisheye zoom. For CFWA on APS-C or MFT bodies (via adapter), it provides a similar zoom range to the Tokina with better optical quality. Community members noted it is “only useful at 15mm” on full frame for CFWA but excellent with a 1.4x teleconverter. Used with 4” domes (Zen DP-100) or Nauticam 140mm dome (^[31], ^[32]).

• Sigma 15mm f/2.8 EX DG Fisheye — The preferred full-frame fisheye for many professionals, including Julian Cohen and Jean Bruneau. Cohen noted he preferred “the Sigma as it focuses much closer than the Nikon” 16mm (^[33]).

• Nikon 16mm f/2.8 AF Fisheye — A classic fisheye with a minimum focus distance of 0.25m from the sensor plane, which Mustard demonstrated was insufficient for true CFWA. Mustard noted: “Most wide angle lenses will actually give you a larger subject magnification with a standard dome than a mini-dome (this is quite a surprise to many people)” — except for very close-focusing lenses like the Tokina 10-17mm or Nikon 10.5mm (^[34]).

• Olympus/Panasonic 8mm f/1.8 Fisheye (Micro Four Thirds) — A fixed focal length fisheye offering “10cm” minimum focus distance. Mark Kirkland used it behind a Precision 4” dome for UK diving: “I can get in really really close - almost touching the dome. It’s perfect for me as I’m shooting the UK which means lower vis and smaller subjects” (^[35]).

• Nauticam MWL-1 — A wet-mount conversion lens that converts a 60mm macro lens to a 150-degree wide-angle, enabling CFWA and macro on the same dive. Optimal at f/16 on full-frame (^[36], ^[37]).

• Nauticam EMWL — A modular extreme macro wide-angle system with interchangeable objective lenses (60-degree through 160-degree). The 160-degree objective (2022) is “the most powerful option in the range” with a small front element that “boosts subject to size, while also letting us get the lens right down to the smallest subjects.” Mustard recommended f/18-f/20 for maximum depth of field (^[38]).

• INON UFL-MR130 EFS60 (“Bug-eye” / “Insect-eye”) — A micro semi-fisheye relay lens that produces extreme wide-angle macro images. Douglas Seifert used it to produce DIVE Magazine’s November 2010 cover, though Mustard commented after seeing the printed magazine: “the lack of detail and sharpness in the reproduction is very poor. This is no-way the fault of the photographer, but it suggests that the ultimate quality of this lens is very lacking” (^[39]).

• Laowa 15mm f/4 Wide Angle Macro — A rectilinear wide-angle with built-in 1:1 macro capability, supported by Seacam port solutions (^[40]).

• Nikonos RS 13mm f/2.8 (converted) — The legendary underwater fisheye adapted by Andrej Belic (2012) and Borut Furlan (2014) for modern DSLRs. Its built-in small dome front element functions as an integrated mini-dome. Still in active use by Mustard for CFWA as of 2021 (^[41], ^[42]).

Dome Ports

Mini-dome ports (approximately 100mm / 4” diameter, typically hemispherical) are the key hardware enabler for CFWA. As Mustard defined them: “A mini-dome is small dome port usually around 100mm or 4” in diameter and typically hemispherical in shape” (^[43]).

Advantages documented by Mustard:

• “Their real advantage is that their small size makes it much easier to position (small) strobes close to the port. This greatly improves the quality of lighting we can achieve in true close focus wide angle (CFWA) and wide angle macro (WAM) shots. However, this important advantage only becomes significant when camera to subject distance is less than about 100mm or 4”.”
• “The small physical size of the port allows us get the lens physically closer to the subject, therefore making it even larger in the frame.”
• “They are smaller, lighter and (usually) cheaper than standard domes.”

Drawbacks Mustard documented extensively:

• Mini-domes “create a virtual image that is closer to the camera and more curved than a standard-sized dome, which limits depth of field and makes corner sharpness harder to achieve.”
• “The problems are mainly seen the corners because lenses are designed to focus on a flat plane.”
• The advantage of getting physically closer “is only realised with a very close focusing lens (like the Tokina 10-17mm or Nikon 10.5mm). Most wide angle lenses will actually give you a larger subject magnification with a standard dome than a mini-dome.”

(^[44], ^[45])

Dome size by format (from Mustard’s 2014 review):

(^[46])

Key mini-dome products:

• Zen 100 (Zen Underwater) — Used by Mustard for his 2010 tests; introduced the era of commercial mini-domes for DX cameras (^[47])
• Aquatica Mini Dome 100 — BK-7 coated glass, 100mm, $699, rated to 90m. Announced March 2010 at Beneath the Sea show (^[48])
• Nauticam 4.33” acrylic dome — Released mid-2010 for close focus and travel (^[49])
• Nauticam 140mm optical glass dome — Mustard’s recommended minimum for full-frame fisheye CFWA. Used it to win “two categories in the British Wildlife Photography Awards” (^[50])
• UnderWater Camera Stuff 5” modular domes — Lens-tuned domes for Ikelite housings, $300-350. A customer reported using it on “12 of 15 dives” over other ports (^[51])
• Zen DP-100 (4” glass) — Used by community members for Canon 8-15mm CFWA on Micro Four Thirds (^[52])
• Guimbellot custom dome — $360 for Nexus housings, available through Barry’s company and later via Nauticam adapter (^[53], ^[54])

Lighting

Strobe positioning is the most technically demanding aspect of CFWA. As Veitch explained: “In traditional wide angle photography, we set our strobe arms out wide to ‘edge light’ the subject while avoiding backscatter. If you were to move in close and take a photo without adjusting the strobes you may be surprised just how dark that photo turns out! In close focus photography, having the arms out wide doesn’t work. With the dome scant inches from the subject, the light from the strobes would miss the subject entirely” (^[55]).

Veitch prescribed: “A superior way of lighting a close subject is to bring the strobes right in to the dome port and pointing them slightly outside of parallel to the lens. Not only does this avoid shadows, it also cuts down on backscatter around the edge of the frame. If using a fisheye lens, be careful when using this technique, it’s important to bring the strobes behind the plane of the camera in order to avoid strobe flare” (^[56]).

Mustard identified this close strobe positioning as the “real advantage” of mini-domes: “their small size makes it much easier to position (small) strobes close to the port. This greatly improves the quality of lighting we can achieve in true close focus wide angle (CFWA) and wide angle macro (WAM) shots” (^[57]).

Fiber-optic snoots offered additional precision for CFWA lighting. Eric Cheng documented an innovative system at Blue Heron Bridge in September 2010, where a diver named Shen from Reef Photo & Video had attached “LocLine arms” to the ends of Ikelite strobes with “fiber optic cables” inside — a system Cheng called “Ingenious!” The rig was specifically described as “his close-focus wide-angle rig” (^[58]).

The Retra Reflector, reviewed by Mike Bartick in 2020, was noted as maintaining “excellent coverage, making it perfectly suited for macro, wide, and close focus-wide angle techniques” while boosting strobe output by “2/3rds to a full stop” and producing faster recycling times (^[59]).

For the EMWL system, Mustard noted a unique approach: “I use my strobes as my focus light with the EMWL because their aiming light turns off for a second after firing so it does not show up in my images” and that “my strobes are on very low power because they are so close to the subject” (^[60]).

Technique

Subject Selection

CFWA subjects are distinctly different from macro subjects. Veitch listed the ideal characteristics: “a readily approachable medium sized object such as an anemone, soft coral, or certain species of fish such as lionfish or crocodilefish.” He emphasized that “one of my favourite subjects are anemones with their myriad of colours and personable resident clownfish. The size of anemones is perfect for CFWA and when they are balled up in feeding position they make for a brilliant foreground. Other subjects that lend themselves well to CFWA photos include soft corals, sea fans, and hard corals” (^[61]).

Mustard demonstrated how small subjects can be with the right equipment: he photographed a sea urchin “smaller than half a tennis ball, with the Tokina 10-17mm on its widest setting at 10mm, yet I was able to fill the frame with it” using a mini-dome (^[62]). Guimbellot photographed “3 inch nudibranchs, but still have the DOF to render a diver in the background” with his custom dome and 1.4x teleconverter (^[63]).

For the EMWL, Mustard noted the key was “the right subject”: non-moving and territorial subjects that “will allow a close approach.” Successful subjects included “nudibranchs, shrimps, crabs, red Irish lords (a sculpin that looks a lot like a small scorpionfish), and sea anemones” (^[64]).

In UK cold waters, Mark Kirkland found small domes ideal for CFWA “as I’m shooting the UK which means lower vis and smaller subjects,” demonstrating catshark images that he believed could not have been achieved with a larger dome (^[65]).

Composition: The “Near and Far”

The defining compositional principle of CFWA is the “near and far” approach — a compelling foreground subject paired with a background element. Veitch recommended shooting vertically: “When shooting vertically, there is a whole lot of blue to work with. The blue background in and of itself is a nice complement to a colourful subject but it also lends itself very well to additional elements. Two of the easiest elements to add to the background are sun rays or a diver silhouette” (^[66]).

Veitch offered a practical tip for combining CFWA with pelagic action: “One thing I keep in mind when I am diving in areas where ‘Mr Big’ can be found is: ‘what would make an interesting foreground?’ By knowing where a large piece of soft coral or sea fan is located, I can be in position to include it in the foreground of my photo when that manta or shark swims by. Although a shark on its own might be too small to fill the frame, I now have a two part photograph with a near and far subject. This photograph is visually more appealing than either subject would be on its own” (^[67]).

Regarding how close to get, Veitch noted: “What surprises many new shooters is exactly how close you need to get to a subject to fill the frame… With the ever more popular fisheye lenses, the focus is so close that you have to be careful not to bump your subject with the dome port! Getting this close to subjects means they fill the frame enough to be THE main subject and do not suffer from distracting bits of coral around the edges” (^[68]).

Exposure and Metering

Veitch emphasized metering the background separately from the subject: “When metering for the background exposure there is one thing to keep in mind: meter the background, not the subject. First, compose your photo and set your f-stop based on the distance you will be from the subject. Next, back away a touch and aim the camera at the background in order to set the shutter speed correctly. ‘Backing away’ is important due to the amount of light the main subject cuts off from the lens. This blocking will create a false reading in the camera and either under or over expose the background” (^[69]).

Typical CFWA settings from the “Ask the Pros” series: f/8 to f/16, shutter speed near sync speed (1/125 to 1/200), ISO 200-400, manual strobe control. Julian Cohen recommended “f13 for full frame or f8 for crop sensor to get good depth of field, 1/125, ISO 200” as his starting point (^[70]).

For the MWL-1, Connick and Nauticam recommended f/16 as optimal; “the shots soften quickly with the high-resolution D850 below that” (^[71]).

For the EMWL, Mustard favored “f/18-f/20 (to maximize DoF), with the ISO around 320-640 to help capture the ambient light” and noted that “shutting the aperture makes it more of a challenge to achieve a balanced light image” so he would “favor shooting the lens on sunny days, and towards the middle of the day for maximum ambient light levels” (^[72]).

The Magazine Cover Secret

Veitch offered a practical observation: “Ever wanted to get one of your photos on the cover of a dive magazine? If you look carefully at any cover of Scuba Diver Australasia magazine, the vast majority of wide angle covers feature close focus shots and they are all shot vertically! One thing a cover photo needs is a lot of space at the top of the shot and the wide view of a CFWA photo provides this perfectly. By positioning the subject in the middle to bottom third of the photo there is plenty of negative space at the top and bottom of the frame to add either a secondary far subject, or if luck is on your side, the title of a magazine!” (^[73]).

Douglas Seifert’s INON “bug-eye” DIVE Magazine cover (November 2010) demonstrated this principle with a compact camera setup — a clownfish in an anemone shot with the INON UFL-MR130 EFS60 lens (^[74]).

Community Discussion

The Wetpixel forum featured extensive CFWA discussions spanning many years:

• “What are the advantages of small domes?” (2021, 38 replies) — Adam Hanlon initiated this thread which became the basis for the Wetpixel Live mini-dome episode. Contributors shared systems ranging from Panasonic 8mm/4” dome combinations to full-frame Canon 8-15mm setups, with Phil Rudin noting he “moved from 100mm to 140mm in 2016 when I started shooting Canon 8-15 fisheye zoom with Sony full frame” (^[75]).

• “Compact CFWA setup” (2023, 25 replies) — A photographer returning after 10 years sought the most compact possible CFWA system. The community identified the Tokina 10-17mm, Canon/Nikon 8-15mm, and Panasonic/Olympus 8mm as the three main fisheye options, plus wet lenses (MWL-1 and EMWL) as alternatives. One contributor noted the EMWL is “probably the best close focus wideangle solution out there but it also is damn expensive” (^[76]).

• “Advise please: port/lens options for close focus wide angle photography” (2022, 8 replies) — Discussion of Canon 8-15mm behind 4” domes vs. 140mm dome on full-frame Canon mirrorless, with Adam Hanlon noting the Tokina 10-17mm “cannot be used on Nikon mirrorless as it is a screw drive lens” (^[77]).

Notable Practitioners

• Alex Mustard — The foremost authority on CFWA optics and technique in the Wetpixel community. His “Thoughts on Mini Domes” (2010) provided the technical foundation, his Nauticam 140mm dome review (2014) established full-frame guidelines, and his EMWL 160-degree review (2022) documented the state of the art. Co-host of the 2021 “Wide Angle Macro Tools” and “Mini Dome Port Primer” Wetpixel Live episodes. Delivered the “Domes without the Drone” presentation at DEMA 2011 (^[78], ^[79], ^[80]).
• Mike Veitch — Author of the definitive CFWA tutorial “The Near and Far” (2011). Professional photographer and trip leader based in Indonesia who wrote the “In Focus” underwater photography column for Scuba Diver Australasia from 2006-2009. Originally from Vancouver, B.C., Canada (^[81]).
• Barry Guimbellot — Pioneered accessible DIY CFWA dome ports with his March 2010 article on building a mini-dome for the Nexus housing/Tokina 10-17mm combination. His $360 domes were later available through adapters for other housing brands including Nauticam (^[82], ^[83]).
• Douglas Seifert — Championed the INON “insect-eye” lens for extreme wide-angle macro, producing what Eric Cheng called “possibly the first cover image” with the lens for DIVE Magazine’s November 2010 issue. Has “a history of using new and crazy gear to capture images destined for covers” (^[84]).
• Jack Connick — Owner of Ocean Optical Sales in Seattle. Authored the comprehensive 2019 field review of the Nauticam MWL-1, demonstrating its CFWA capabilities on the Nikon D850 during the “Forgotten Islands Photo Expedition to Indonesia” (^[85]).
• Mike Bartick — Tested modern CFWA equipment including the Retra Reflector and Nauticam MWL conversion lens systems from Anilao. Demonstrated CFWA with a “60mm lens with a flip-down 22mm wide angle conversion lens” (^[86]).
• Martin Edge — Underwater photography educator whose textbook The Underwater Photographer (4th edition, 2010) helped codify CFWA technique for a broad audience (^[87]).
• Andrej Belic — Led the Nikonos RS lens conversion project (finalized September 2012), adapting the legendary 13mm fisheye for use in modern housings, providing another CFWA option (^[88]).
• Borut Furlan — Refined the Nikonos RS 13mm conversion for Seacam housings with a “completely new approach” in 2014 (^[89]).
• Bill Libecap (UwCameraStuff) — Produced lens-tuned 5” modular domes for Ikelite housings from 2011, also sold Barry Guimbellot’s dome with Nauticam adapter (^[90]).

Key Articles and Publications

• “The Near and Far” by Mike Veitch (August 2011) — The definitive Wetpixel CFWA tutorial, covering subject selection, strobe positioning, composition, and metering. Part of Veitch’s “In Focus” series adapted from Scuba Diver Australasia (^[91]).
• “Thoughts on Mini Domes” by Alex Mustard (March 2010) — The technical reference for mini-dome optics, comparing mini-dome and standard dome performance with the optical theory behind virtual image formation (^[92]).
• “DIY Small Dome Port for CFWA” by Barry Guimbellot (March 2010) — The pioneering article on building a custom mini-dome for the Tokina 10-17mm on Nexus housings (^[93]).
• “Field Review: Nauticam 140mm dome” by Alex Mustard (November 2014) — Comprehensive dome port theory for full-frame CFWA, establishing 140-150mm as the sensible minimum dome size for FX fisheyes (^[94]).
• “Wetpixel Asks the Pros: Wide-Angle Part 1” (May 2015) — Eighteen professional photographers share their wide-angle techniques, with multiple references to CFWA and fisheye/mini-dome combinations (^[95]).
• “Domes without the Drone” by Alex Mustard (DEMA 2011) — Filmed presentation on practical dome port choices, with emphasis on mini-domes (^[96]).
• “Wetpixel Live: Mini Dome Port Primer” (January 2021) — Alex Mustard and Adam Hanlon discuss small dome port pros and cons (^[97]).
• “Wetpixel Live: Wide Angle Macro Tools” (Ep 156, June 2021) — Mustard and Hanlon discuss CFWA gear evolution, calling it “the next trend in underwater photography” (^[98], ^[99]).
• Review: Nauticam MWL-1 by Jack Connick (February 2019) — Field review of the wet-mount conversion lens that enabled macro-to-CFWA switching on a single dive (^[100]).
• “Field Review: Nauticam EMWL with 160 Degree Lens” by Alex Mustard (September 2022) — Review of the extreme WAM system’s widest objective, demonstrating both WAM and CFWA capabilities (^[101]).
• “The Underwater Photographer” by Martin Edge (4th edition, 2010) — The standard underwater photography textbook, with new sections on CFWA technique (^[102]).
• “Nikonos RS lens project finalized” by Andrej Belic (October 2012) — Adapting the legendary RS 13mm for modern DSLRs (^[103]).

References

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