The Olympus TG-6 has long been celebrated for its compact design and exceptional macro photography capabilities underwater. Rugged, waterproof, and easy to use, it has become a favorite among snorkelers, divers, and adventure photographers. However, despite its many strengths, the TG-6 has traditionally faced limitations when it comes to wide-angle photography, particularly underwater.
One key reason for these limitations is the TG-6’s lack of full manual control. Unlike DSLR or mirrorless cameras, which allow photographers to manually set shutter speed, aperture, and ISO, the TG-6 relies heavily on automatic settings. Underwater, this can lead to less-than-ideal exposure choices. The camera tends to select slower shutter speeds and wider apertures when zoomed out, which can lead to motion blur or overly exposed images—especially when shooting in the low-light conditions often found beneath the surface.
The TG-6’s behavior changes depending on how zoomed in or out it is. When zoomed in, it tends to pick faster shutter speeds and smaller apertures, which are more suitable for capturing fast-moving marine life or scenes with higher contrast. However, zooming in also narrows the field of view, which defeats the purpose of capturing expansive underwater landscapes or large subjects such as sharks, shipwrecks, or coral reefs. As a result, underwater photographers often found themselves in a bind: they could either shoot close-up and get decent exposure or shoot wide and risk poor image quality.
This challenge limited the TG-6’s effectiveness as a wide-angle camera and left many users wishing for a solution that could harness the camera’s potential while overcoming its automatic limitations. That solution arrived in the form of the Olympus FCON-T02 fisheye converter lens and Ikelite’s custom housing and dome port—two innovations that revolutionized how the TG-6 can be used underwater.
Introducing the FCON-T02 Fisheye Lens: Expanding Creative Possibilities
The Olympus FCON-T02 fisheye converter lens is a powerful accessory that brings new life to the TG-6’s wide-angle photography capabilities. It is a circular fisheye lens, meaning that when used at its widest zoom setting, it creates a spherical or circular image within the rectangular frame of the TG-6. This circular fisheye effect is typically only available on high-end DSLR or mirrorless systems, making its availability for a compact camera both unique and exciting.
One of the most versatile features of the FCON-T02 is its ability to change the field of view depending on the zoom level. When fully zoomed out, the lens provides a dramatic circular fisheye effect. As you begin to zoom in, this effect transitions to a more traditional fisheye perspective, filling the frame with a wide-angle view that still retains characteristic fisheye curvature and distortion. This middle range is where the FCON-T02 truly excels, offering optimal sharpness, dynamic range, and exposure performance underwater.
Zoom in further and activate the macro autofocus mode on the TG-6, and the FCON-T02 transforms yet again—this time into a macro lens. It’s capable of capturing 30mm equivalent macro images while still allowing proximity to subjects, all within the same housing. This versatility allows photographers to switch between multiple styles of underwater photography—wide, fisheye, and macro—without swapping lenses or gear mid-dive.
Another notable benefit is the FCON-T02’s inherent waterproof design. It is rated for use down to 20 meters (66 feet) on its own. However, when used with the Ikelite housing and dome port, the entire system is capable of diving to depths of 60 meters (200 feet). This makes it ideal for recreational and even some technical diving situations, providing peace of mind in deeper waters.
The lens also provides the ability to capture a greater dynamic range underwater. Because it allows more ambient light to enter the frame, it creates a more natural look to underwater scenes, especially when sunlight is involved. The results are images that capture the complexity and beauty of underwater environments in a way that is both creative and detailed.
The Ikelite Dome Port: Enhancing the TG-6's Underwater Capabilities
To unlock the full potential of the FCON-T02 lens underwater, the lens needs a proper dome port that can accommodate its large optical surface and curvature. This is where the Ikelite dome port for the Olympus FCON-T02 comes into play. Designed specifically to integrate with the Ikelite housing for the TG-6, the dome port creates an ideal optical environment for the fisheye lens to perform at its best.
The dome port attaches to the front of the TG-6 Ikelite housing by replacing the original flat port. This process is straightforward and does not require tools, although in some cases, a strap wrench may help remove the original port. Once removed, the dome port simply screws on, and the FCON-T02 lens fits securely inside. This creates a fully sealed, dive-ready system that supports both wide-angle and fisheye shooting.
One of the key benefits of the dome port is its ability to preserve image sharpness, particularly in the corners of the frame. Traditional wide-angle wet lenses tend to produce some blurring or chromatic aberration around the edges, especially when used with compact cameras like the TG-6. In contrast, the dome port maintains excellent optical clarity across the entire frame, creating professional-quality wide-angle images.
Another major advantage is the ability to shoot over-under shots—also known as split shots or half-and-half images—where the frame captures both underwater and above-water elements in a single photo. This is only possible with a dome-shaped lens port, and it opens up exciting new creative possibilities for underwater photographers. From capturing snorkeling scenes with reef life below and clouds above, to shooting divers surfacing with boats in the background, the options are endless.
However, users should be aware of one minor issue: when sunlight hits the dome at certain angles, slight internal reflections may appear. These can manifest as soft flares or ghosting effects within the image. Fortunately, they are typically faint and can be removed in post-processing using standard image editing tools. This small inconvenience is far outweighed by the benefits the dome port offers.
In terms of exposure control, the dome and FCON-T02 setup allow the TG-6 to operate more effectively. Because the zoom level affects how the camera selects shutter speed and aperture, users can dial in more ideal settings for underwater photography simply by adjusting the zoom. For example, zooming in slightly to exit circular fisheye mode results in faster shutter speeds and narrower apertures, which help reduce motion blur and increase depth of field. This flexibility means you don’t need full manual controls to get professional-looking images from the TG-6.
Practical Use Cases and Real-World Examples
The Olympus TG-6, paired with the FCON-T02 lens and Ikelite dome port, has already demonstrated its effectiveness in real-world diving environments. This setup has been successfully used in a variety of underwater photography scenarios, ranging from tropical reef snorkeling to cold-water cage diving with great white sharks.
One example comes from Loreto, Mexico, where a snorkeler used this system to capture vibrant reef scenes in shallow waters. The combination of the wide fisheye field of view and high dynamic range allowed for beautiful lighting in both the water column and on the reef floor. Settings such as 1/160 shutter speed, ISO 200, and f/3.5 were used, showing the TG-6’s ability to handle bright, clear waters with ample natural light.
In another case, a photographer aboard the Socorro Vortex liveaboard captured dramatic images of great white sharks while cage diving off Guadalupe Island. Here, the camera was set to a standard fisheye field of view, avoiding the circular effect while still delivering excellent image sharpness and subject clarity. Settings like ISO 200, 1/200 shutter speed, and f/3.6 were effective at freezing fast movement and capturing detail in both the shark and surrounding water.
These examples demonstrate the adaptability of the system. Whether shooting in calm, shallow reef zones or high-action big-animal dives, the TG-6 and FCON-T02 combo is capable of producing consistently high-quality images. It’s also compact and lightweight, making it easy to handle underwater—even for beginner photographers.
One particularly useful application is the macro capability of the FCON-T02. By zooming in and switching the TG-6 to macro autofocus mode, users can shoot close-ups of small marine life without removing the fisheye lens or housing dome. Although the resulting images won’t be as magnified as those taken with the TG-6’s dedicated microscope mode, they still offer excellent clarity and a unique perspective. This is ideal for divers who want to capture both wide reef scenes and individual subjects like nudibranchs or shrimp during the same dive.
Lighting is another area where the system excels. When paired with an Ikelite RC1 TTL converter and DS-series strobes, photographers can achieve perfect exposure and even dramatic black backgrounds. TTL (through-the-lens) metering ensures that the flash output is automatically adjusted based on the camera’s settings, taking the guesswork out of strobe control and reducing the chances of overexposed highlights or underexposed shadows.
Circular Fisheye Mode: A Creative and Immersive Perspective
The circular fisheye mode is one of the most visually distinctive ways to capture underwater imagery. With the Olympus FCON-T02 mounted on the TG-6 and zoomed out, photographers can achieve a full circular fisheye effect. This means the image produced is a circle, surrounded by black edges, creating an otherworldly and immersive feel. While circular fisheye photography is often considered a niche or artistic form of photography, it is extremely powerful when used creatively in the underwater environment.
Traditionally, circular fisheye lenses have been reserved for professional-grade DSLR or mirrorless camera systems, often costing hundreds or thousands of dollars. Now, with the TG-6 and FCON-T02, this genre of photography is accessible to hobbyists and intermediate-level photographers who want to explore new creative avenues.
Underwater, the circular fisheye view presents a perfectly symmetrical field of view, capturing everything from top to bottom and side to side in a 180-degree arc. This makes it ideal for photographing reef structures, kelp forests, or symmetrical formations like coral heads, dome ceilings in caves, or spiraling schools of fish. The curvature in the image adds a dynamic quality that cannot be replicated with standard lenses.
One must, however, be aware of some technical nuances. Because the TG-6 is zoomed all the way out in circular fisheye mode, the camera is likely to choose lower shutter speeds and wider apertures. This combination can lead to more motion blur, especially if the subject or photographer is moving. Lower shutter speeds are also more sensitive to camera shake, which means steadiness is essential.
Another consequence of wider apertures is a shallower depth of field. This means parts of the image, especially at the edges or in the background, may appear less sharp. While this can add to the dreamy effect of a circular fisheye photo, it may not be ideal for capturing fine details. Additionally, underwater conditions such as surge, buoyancy fluctuations, and visibility can further complicate the use of slower shutter speeds.
Because this mode captures so much ambient light, it can often result in a brighter-than-expected exposure if artificial lighting is not balanced correctly. When using a strobe or continuous light source, it’s important to keep in mind that the broad field of view may cause uneven lighting. The center of the frame will likely be brighter, while the corners may fall into shadow if not properly lit. Proper strobe positioning is key—try angling the strobes out and slightly back to achieve even coverage.
Despite these technical considerations, the circular fisheye mode is one of the most engaging and artistic ways to photograph underwater. The unique perspective draws the viewer in, often making them feel like they are peering through a porthole into an alien world. When executed well, it produces images that stand apart in any portfolio.
Standard Fisheye Mode: The Sweet Spot for Optical Performance
As the TG-6 is zoomed in slightly from its widest setting, the FCON-T02 transitions from a circular fisheye to a full-frame fisheye view. This is where the lens truly shines. The image fills the entire frame, delivering a wide-angle perspective that retains some fisheye curvature but is more optically balanced and refined. This field of view is often considered the optimal setting for the FCON-T02 in terms of both image quality and usability.
In this standard fisheye mode, the TG-6 selects better exposure values—usually a faster shutter speed and a slightly narrower aperture. These settings help reduce motion blur and increase depth of field, producing crisper, more detailed images. This is the mode most divers will likely use for wide-angle underwater photography, as it strikes the best balance between artistic distortion and technical clarity.
The standard fisheye mode is ideal for a variety of underwater subjects. From coral reefs and large schools of fish to wide seascapes and wrecks, this perspective allows you to capture the full scene without cropping or cutting off important elements. It is especially effective when photographing larger marine animals, such as sea turtles, manta rays, or sharks, as it allows you to get close to your subject while still fitting it entirely within the frame.
Getting close is one of the most important principles in underwater wide-angle photography. Water absorbs light and color rapidly, especially reds and yellows. The closer you are to your subject, the more color, contrast, and detail your photo will retain. The standard fisheye field of view allows you to work within just a few feet of your subject while still encompassing their entire form in the image. This proximity also improves lighting efficiency, allowing your strobes to reach and illuminate your subject more effectively.
This mode also benefits from better corner sharpness, especially when paired with the Ikelite dome port. Unlike flat ports, which can introduce distortion and blur toward the edges, a properly matched dome port maintains even focus and sharpness throughout the frame. The Ikelite dome port was specifically engineered for use with the FCON-T02 and has been tested to perform exceptionally well at this zoom range.
Photographers who enjoy storytelling through imagery will appreciate this field of view, as it allows for more dynamic compositions. You can use leading lines, foreground elements, and background scenery to create depth and scale in your images. With a fisheye lens, close foreground subjects appear dramatically larger, while the background appears to recede—an effect that can be used to your advantage when composing shots of divers, marine life, or natural structures.
Strobe placement is also easier in this mode compared to the circular fisheye mode. Because the image fills the frame, you have more control over where light falls and can fine-tune your exposure more predictably. Try placing your strobes wide apart and angled slightly outward to avoid hotspots and backscatter. In clear water, double strobes can help achieve even coverage across the wide frame.
Macro Mode with FCON-T02: Versatility in a Single Lens
The most surprising feature of the Olympus FCON-T02 is its ability to capture macro images, even with the dome port attached. This capability adds significant versatility to the TG-6 setup. Traditionally, underwater photographers need to choose between wide-angle and macro configurations before each dive, as switching lenses underwater is not practical. With the FCON-T02, you can capture both within the same dive by simply adjusting the zoom and enabling macro autofocus mode.
To activate this function, zoom the TG-6 in and switch the autofocus mode to “Macro AF.” This allows the lens to focus at closer distances, making it possible to photograph small subjects like nudibranchs, shrimp, or even textures like coral polyps and sand ripples. While the macro images produced with the FCON-T02 are not as magnified as those captured in the TG-6’s Microscope mode, they still offer excellent detail and clarity.
There are several advantages to using this macro mode. First, it eliminates the need for swapping lenses or switching housings between dives. This can save time and reduce the amount of gear needed on a dive trip. It also allows photographers to be more responsive and flexible. If you set out intending to shoot wide-angle reef scenes but encounter a rare macro subject, you can still capture it effectively without missing the opportunity.
This versatility is particularly valuable on liveaboards, where multiple dives per day are the norm, and conditions or subject availability may change rapidly. Instead of committing to one lens type per dive, the FCON-T02 allows you to adapt your shooting style on the fly.
However, there are limitations to keep in mind. Because the FCON-T02 is a wide-angle lens by nature, it does not provide the same extreme magnification as a dedicated macro or microscope lens. Subjects need to be relatively large for this mode to be effective—think along the lines of small fish, seahorses, or large nudibranchs, rather than tiny shrimp or eggs.
Care must also be taken not to bump into the subject or scratch the dome when working up close. The curved surface of the dome port can distort the apparent distance between the camera and the subject. Maintaining control of your buoyancy and approaching slowly are critical to protecting both your subject and your equipment.
Lighting in macro mode is also crucial. Since the subject is close to the lens, light falloff happens quickly. Using diffused strobes or focusing lights can help illuminate your subject evenly. The Ikelite RC1 TTL converter is especially helpful here, as it enables the camera and strobe to communicate and adjust flash output automatically. This simplifies shooting and increases the chances of getting a well-exposed image without extensive manual tweaking.
Shooting black backgrounds is also much easier in this mode. By minimizing ambient light and using a fast shutter speed with a small aperture, you can isolate your subject against a dark background. This adds drama and emphasis to the subject while reducing distractions in the frame.
Real-World Shooting Tips and Techniques
Having the right gear is only part of the equation. Using it effectively requires an understanding of the conditions, lighting, composition, and settings that produce great underwater images. With the Olympus TG-6, FCON-T02 lens, and Ikelite dome port, there are a few specific techniques that can help you get the most out of your underwater photography sessions.
One of the first things to remember is buoyancy control. Whether you're shooting wide-angle, fisheye, or macro, staying stable in the water is essential for sharp images. Practice hovering motionlessly while framing your shots. This is especially important when using slower shutter speeds or focusing up close. Any movement can blur the image or spook your subject.
When shooting wide or fisheye, try to shoot slightly upward whenever possible. This allows you to include the water’s surface, sun rays, or silhouettes in your composition, which adds contrast, light, and atmosphere. It also helps the camera's metering system balance the exposure more effectively between light and shadow.
Composition is another area where wide-angle lenses can shine. Look for strong foreground elements, such as coral fans or rocks, and position them near the bottom third of the frame. Use the remaining space to showcase your subject or background. Leading lines, like coral arms or schools of fish, can draw the viewer’s eye through the image.
Pay attention to strobe positioning. When using a fisheye lens, the extreme angle of view means your strobes can easily appear in the frame or create hotspots. To avoid this, position your strobes slightly behind the dome and angle them outward. This minimizes backscatter and provides a more even light distribution. For macro, bring the strobes in closer, with diffusers, and keep them slightly above the subject.
Always review your images during the dive. The TG-6 allows you to quickly scroll through your photos, zoom in to check focus, and adjust your exposure settings accordingly. Don’t be afraid to experiment with different zoom levels to find the sweet spot for each scene. The camera’s auto settings respond differently depending on zoom level, so understanding how this affects exposure will help you capture more consistent results.
Finally, make use of natural light when possible. In shallow water or bright conditions, sunlight can add stunning rays and highlights to your images. Try timing your dives to coincide with midday sun for the best ambient lighting, especially for over-under shots.
Over-Under Photography: Mastering Split Shots with the Dome Port
One of the most visually striking types of underwater photography is the over-under, or split-shot image. These photos show both the underwater and above-water environments in a single frame—such as a diver beneath the waves and a boat on the surface, or a coral reef below with a tropical island above. The Olympus TG-6, paired with the FCON-T02 lens and Ikelite dome port, is uniquely suited for this technique.
Over-under shots require a dome port to be effective. A flat port cannot push the water’s surface far enough from the lens to capture both scenes sharply. The dome acts as a water line splitter, allowing part of the lens to remain submerged while the other part stays above water. This is what makes split-level compositions possible.
To successfully shoot over-under images, one needs to consider several key factors. The first is calm water. Choppy or wavy conditions make it difficult to keep the dome steady at the waterline. A calm sea or lake is ideal for controlling the balance between above and below. If you're snorkeling, try to steady yourself by floating motionless or anchoring with fins. Divers may need to ascend to just below the surface and carefully position the camera to find the horizon.
Lighting is another major consideration. The brightness levels above and below water can be drastically different. Above the surface, the sky may be very bright, especially in sunny conditions, while underwater can appear much darker due to rapid light absorption by water. Balancing the exposure is often a challenge.
To manage this, shoot during the golden hour—shortly after sunrise or before sunset—when the light is more evenly distributed. If that’s not possible, use strobes to light the underwater portion while letting the natural light expose the surface scene. Some photographers slightly underexpose the above-water portion to retain detail in the clouds or sky, then recover shadows in post-processing.
Focus also plays a critical role. Since the scene includes two very different focal planes—one above and one below—depth of field becomes important. The FCON-T02 lens, especially at its standard fisheye setting, provides excellent depth of field, meaning both parts of the scene can appear sharp if the correct aperture is chosen. Narrowing the aperture (using a higher f-stop like f/8 or f/11) increases depth of field, helping both foreground and background stay in focus. However, the TG-6 doesn’t allow manual aperture control. You can still influence this by adjusting the zoom level and lighting to encourage the camera to select smaller apertures.
Avoiding water droplets on the dome above the surface is another small but important detail. Use anti-fog or water-repellent solutions before the dive to prevent droplets from forming. Alternatively, keep the dome submerged and raise it quickly to the surface just before shooting, letting water sheet off naturally.
Compositionally, balance the two halves of the image. Don’t split the frame directly in the center unless you want a symmetrical look. Often, placing the horizon in the upper or lower third creates more dynamic images. Experiment with foreground elements—such as coral or a diver’s hand reaching up—and background subjects like a sunset or coastline.
With practice, the Olympus TG-6 and its accessories can produce stunning over-under images that rival results from professional DSLR systems, all in a compact, travel-friendly package.
Understanding Light Behavior Underwater
To capture compelling underwater images, you must understand how light behaves beneath the surface. Water affects light differently than air, and these changes directly impact exposure, color, contrast, and white balance. Mastering this knowledge helps you use the Olympus TG-6 setup more effectively.
One of the primary challenges is light absorption. Water absorbs light rapidly, starting with longer wavelengths. Red disappears first, followed by orange, yellow, and green. By the time you’re more than 10 meters deep, most natural reds and oranges are gone. This is why underwater photos often look blue or green without artificial lighting.
To counteract this, strobes or video lights are essential. They restore the lost colors by reintroducing full-spectrum light directly onto the subject. The TG-6 performs well with strobes, especially when paired with Ikelite’s TTL circuitry. TTL (Through-The-Lens) allows the camera and strobe to communicate for accurate flash output, simplifying exposure and ensuring color accuracy.
Refraction is another important factor. Because light travels slower in water, it bends (or refracts) when it enters the lens. This can make objects appear about 25% closer and larger underwater than they are. While this isn’t usually a problem for photography, it’s important to consider when composing shots, especially close-ups.
Dome ports are designed to correct for refraction and help maintain a wider field of view. They also reduce optical distortion at the edges and make the camera’s image sensor behave more like it would in the air. This contributes to the sharp corners and minimized blur when using the FCON-T02 with the Ikelite dome.
Backscatter is another common issue underwater. It occurs when light from a strobe reflects off particles in the water and back into the lens. This creates a speckled, snowy effect that can ruin an otherwise great photo. To reduce backscatter, keep strobes positioned away from the camera and angle them outward. Try to get as close to your subject as possible to reduce the amount of water and particles between you and the subject.
Ambient light also drops off quickly with depth, which can affect shutter speed. The deeper you go, the less available light you'll have, and the slower your camera may set its shutter. If this results in motion blur, consider increasing ISO or using a strobe to compensate.
White balance is another critical concern. The TG-6 has several underwater white balance modes that are tailored to different depths and water conditions. In shallow, natural light, the “Underwater Wide” mode works well. For deeper dives, or when using strobes, “Underwater Macro” or “Custom White Balance” may give better results. Custom white balance can be set by aiming the camera at a white or neutral gray surface and letting it calibrate based on ambient light.
Understanding these principles and adjusting your technique accordingly will dramatically improve the quality and consistency of your underwater photography with the TG-6 system.
Post-Processing and Image Enhancement
Even with the best techniques and equipment, post-processing remains an essential part of underwater photography. The ocean is a complex, dynamic environment, and your images will often benefit from careful editing to correct exposure, restore color, and enhance details.
Start by shooting in RAW whenever possible. Although the TG-6 saves files in JPEG by default, it can be configured to shoot RAW in certain modes. RAW files preserve more detail, offer greater dynamic range, and provide flexibility in post-processing.
In software like Adobe Lightroom or Capture One, begin with white balance correction. Underwater images often have a blue or green color cast, especially in ambient light. Adjust the temperature slider toward red and yellow tones until the image regains natural skin tones, coral colors, or fish markings.
Next, adjust exposure and contrast. Underwater images often appear flat due to diffuse lighting. Increase contrast and clarity to add depth and dimension. Pay attention to histogram values to avoid clipping highlights or crushing shadows.
Color correction is especially important. Use the HSL (Hue, Saturation, Luminance) panel to target specific colors. Boost reds, oranges, and yellows—colors that often fade in underwater images—while moderating blues and cyans to balance the scene.
Sharpening is useful for bringing out textures, especially in coral or fish scales. Apply sharpening selectively, and consider masking to avoid sharpening noise in out-of-focus areas like the water column.
For over-under shots, you may need to treat the above and below portions of the image differently. Use gradient filters or local adjustment brushes to balance exposure, color, and contrast across the frame. The sky might need reduced highlights, while the underwater section may benefit from increased shadows and clarity.
If backscatter is present, use spot removal or clone tools to eliminate distracting white spots. In severe cases, frequency separation techniques or AI-based denoising tools may be necessary.
Finally, crop and straighten your image to enhance composition. Fisheye lenses naturally distort perspective, so consider slight adjustments to horizon lines or radial distortion correction if desired. However, avoid over-correcting the fisheye look, as it is part of the artistic appeal of the lens.
A well-processed underwater image should be vibrant but natural, clear but not over-sharpened, and true to the mood of the scene you experienced. Consistent post-processing will elevate your underwater photography from documentary to art.
Ideal Camera Settings for Different Environments
Because the Olympus TG-6 does not offer full manual control, understanding how to influence its automatic decisions is crucial. Below are optimized settings and techniques for various underwater environments when using the TG-6 with the FCON-T02 and Ikelite dome port.
Shallow Reef (0–10 meters)
In bright, clear water with abundant sunlight:
-
Mode: Underwater Wide or Aperture Priority
-
ISO: 100–200
-
Shutter: 1/125 – 1/250 (auto-selected)
-
White Balance: Underwater Auto or Custom
-
Use strobes sparingly; rely on ambient light.
-
Ideal for wide-angle reef scenes or over-under shots
Mid-Depth Diving (10–25 meters)
In moderate light and visibility:
-
Mode: Underwater Wide
-
ISO: 200–400
-
Shutter: 1/80 – 1/160 (auto-selected)
-
Use dual strobes with diffusers.
-
KeepZoomm between circular and standard fisheye.
-
Watch for backscatter and position strobes wide.e
Deep Diving (25–40 meters)
In low-light conditions:
-
Mode: Underwater Macro or Custom Scene
-
ISO: 400–800
-
Shutter: 1/60 – 1/125
-
Use full-power strobes and consider a red filter.s
-
Stay close to subjects to reduce color loss.
-
Use macro AF if zoomed in for small subjects.
Macro Photography (Any depth)
For capturing small creatures:
-
Mode: Underwater Macro
-
ISO: 100–400
-
Use Macro AF and zoom fully i.n
-
Strobes essential; aim them low and tight.
-
Use a focus light for precision.
Over-Under Photography (Surface level)
In calm surface conditions:
-
Mode: Program or Aperture Priority
-
ISO: 200
-
Shutter: 1/250
-
Use a dome port and aim for bright, balanced scenes.
-
Custom white balance recommended
-
Use strobes angled slightly down to light the underwater scene.
These guidelines help you get the most from your TG-6 system across different dive scenarios. The key is to anticipate lighting conditions, set up your gear accordingly, and adjust on the fly as needed.
Mastering Advanced Techniques with the FCON-T02 Fisheye Lens
Embracing the Creative Curve of the Fisheye Look
The FCON-T02 fisheye lens introduces a unique, curved visual aesthetic to Olympus TG-6 photography. The exaggerated curvature of subjects at the frame’s edges often becomes a point of both technical consideration and creative expression. Mastering this distortion allows photographers to take intentional control over the composition, transforming ordinary subjects into compelling scenes with a sense of spherical space and movement.
Advanced users often take advantage of this distortion to enhance the storytelling of their photographs. For example, in marine photography, curved reef lines or the spherical inclusion of divers and aquatic life can create dramatic, almost surreal perspectives. Topsiders may use the lens to encompass large structures, sweeping interiors, or dynamic action moments like skateboarding or cycling.
The key to success lies in subject placement. Keeping the most important elements near the center minimizes distortion, while pushing subjects toward the edges accentuates it. Whether used to capture symmetry or to embrace distortion as a visual tool, the FCON-T02 allows for bold experimentation.
Close Focus Wide Angle (CFWA) Techniques
One of the most powerful tools in underwater and macro photography is Close Focus Wide Angle (CFWA). This technique is especially potent with the TG-6 and the FCON-T02 fisheye lens. The concept involves getting as close as possible to a subject—such as coral, a nudibranch, or even a tiny crab—while still incorporating a wide background view. The result is an image that feels immersive, layered, and rich in context.
CFWA photography benefits from the TG-6’s exceptional close-focusing capabilities. By setting the camera to underwater wide or microscope mode and combining that with the fisheye lens, photographers can fill the foreground with a sharp, high-detail subject while capturing background elements that frame or contrast it.
Success in CFWA often comes down to lighting and depth of field. Underwater strobes or diffused lights help separate the subject from the background. The FCON-T02’s depth of field, when managed carefully, ensures that both the foreground subject and the wide environment remain in acceptable focus.
Over-Under Shots (Split Shots)
Another hallmark of wide-angle photography is the over-under or “split” shot—a single frame capturing both the underwater world and the surface above. With the FCON-T02, the Olympus TG-6 becomes capable of producing striking over-under compositions. The wide field of view helps ensure both environments are captured, while the waterproof build of the TG-6 makes these shots possible without housing complications.
Successful over-under shots depend heavily on water clarity, lighting, and lens positioning. Photographers should aim to keep the lens perfectly half-submerged, often assisted by calm surface water and precise framing. Shooting in burst mode or bracketing exposures can help capture the perfect balance between top and bottom light levels.
Some users enhance results by fitting third-party dome ports over the lens to better manage refraction and lens placement. Though not a native function, these accessories expand the creative potential when using the FCON-T02.
Lighting the Scene: Natural Light vs. Strobes
Lighting is essential in wide-angle photography. While the FCON-T02 lens allows users to capture expansive compositions, the available light—especially underwater—can make or break image quality. Natural light offers a soft, even spread but fades quickly with depth. Relying solely on sunlight can result in blue-toned, low-contrast images unless shooting in shallow, clear water.
Artificial lighting, such as underwater strobes or constant video lights, becomes essential for many wide-angle scenes. With proper positioning and diffusers, users can light subjects evenly while avoiding harsh reflections or hotspots. Fisheye lenses, due to their ultra-wide coverage, require careful lighting angles to avoid uneven exposure across the frame.
Above water, golden hour photography benefits immensely from the FCON-T02. The wide field of view captures large swaths of sky, horizon, and foreground, making sunrise and sunset landscapes deeply expressive. Use of neutral density filters and tripods can help with dynamic range challenges when shooting high-contrast outdoor scenes.
Editing and Post-Processing Fisheye Photos
Correcting or Enhancing Distortion
One of the most common post-processing decisions with fisheye photography is whether to correct or embrace distortion. Modern software platforms such as Adobe Lightroom, Capture One, or Olympus Workspace provide lens correction tools that can reduce the fisheye effect, making images appear closer to rectilinear wide-angle photos.
However, many photographers choose to retain the curved lines as part of their stylistic identity. In these cases, post-processing focuses instead on contrast, exposure, and vibrancy. Enhancing these elements can strengthen the immersive feeling that fisheye photography delivers.
In underwater photography, white balance adjustment is often necessary. The TG-6 allows for custom white balance during shooting, but fine-tuning is best handled in RAW editing workflows. Using color calibration tools and local adjustments, users can restore natural tones, bring out coral colors, or manage deep blue hues without sacrificing clarity.
Cropping and Composition Refinement
Wide-angle shots can sometimes introduce compositional clutter, especially with the curved distortion. Post-processing offers opportunities to crop out distracting edges or reframe the image with a stronger visual narrative. Since the TG-6 allows shooting in high-resolution JPEG and RAW, photographers have flexibility for minor cropping without noticeable quality loss.
Cropping also helps with correcting horizon tilt, realigning vertical lines, and centering subjects. For over-under shots, straightening the waterline can significantly improve balance and symmetry.
Enhancing Dynamic Range and Detail
Fisheye images often include both brightly lit and shadowed areas, especially in over-under or CFWA scenarios. HDR blending or selective exposure adjustments can bring out hidden detail in both extremes. Sharpening tools, texture sliders, and clarity adjustments can help enhance subject definition without adding noise or artificial sharpness.
Advanced users may employ gradient filters, masking tools, and radial adjustments to guide viewer attention toward the subject, gently fading out less important regions. These subtle post-processing touches contribute greatly to the final visual impact.
Community Use and Notable Examples
Olympus TG-6 and FCON-T02 in the Field
Around the world, photographers—both hobbyists and professionals—have integrated the Olympus TG-6 with the FCON-T02 into their workflows. Its portability, ruggedness, and cost-effectiveness make it a popular choice in diverse environments. From coral reefs in Southeast Asia to alpine lakes in Europe and forest macro scenes in North America, this setup has proven itself under demanding conditions.
User communities and forums are full of example shots that showcase the lens’s versatility. Whether it's a stunning shot of a diver silhouetted by sunlight from beneath or a creative urban architectural curve taken at ground level, the fisheye field of view adds flair and depth to countless scenarios.
Noteworthy Applications in Marine Biology and Citizen Science
Beyond creative pursuits, the TG-6 and FCON-T02 also support scientific and educational goals. Marine biologists, dive researchers, and citizen science programs utilize this combo for reef surveys, habitat documentation, and biodiversity tracking. The ability to capture expansive underwater environments with accurate detail is especially valuable for comparing growth, damage, or species interaction.
The GPS functionality and underwater color reproduction tools available in the TG-6 further enhance this capability, making it a useful tool not just for photographers, but for data gatherers and conservationists.
Accessories and Expansions for Maximum Potential
Lens Adapters, Trays, and Lighting Mounts
To maximize the use of the FCON-T02, many photographers invest in accessories such as:
-
Underwater trays and arms to stabilize the camera
-
Cold shoe mounts and ball mounts for attaching strobes or video lights
-
Float arms to offset the weight of lighting gear
-
Dome lens protectors to preserve optical clarity
-
Anti-fog inserts and lens hoods for changing climates
Each accessory can enhance usability in different conditions. For instance, using a wide handle tray with dual light arms can dramatically improve image quality by enabling side lighting and reducing backscatter.
Third-Party Domes and Customizations
While the FCON-T02 is powerful on its own, some photographers experiment with third-party domes to improve water interface performance. Domes help minimize refraction and increase clarity, especially for over-under images. However, users must ensure compatibility, waterproof integrity, and image clarity through testing and reviews.
Some advanced users also add custom color filters or wet lens magnifiers for mixed shooting styles. Although such experimentation requires caution, it reflects the community's growing creativity and desire to push the TG-6 platform further.
Conclusion
The Olympus TG-6, when paired with the FCON-T02 fisheye lens, becomes a remarkably powerful yet compact imaging system capable of producing awe-inspiring wide-angle photographs. Whether capturing the bustling life of a coral reef, sweeping landscapes under golden skies, or creative fisheye perspectives of urban scenes, this combination offers exceptional versatility and creative freedom.
From entry-level users exploring wide-angle for the first time to professionals using the TG-6 for fieldwork and documentation, the value of the FCON-T02 lies in its ability to open up new visual frontiers. It transforms the TG-6 into a lens-based storytelling tool—one that doesn’t just document a scene but immerses the viewer into it.
As photographers continue to experiment with lighting, composition, post-processing, and accessories, the possibilities continue to expand. With the FCON-T02, Olympus has given TG-6 users a portal into the world of wide, exaggerated, and immersive photography—one frame at a time.