This article examines the Swedish photo-grapher Lennart Nilsson’s wide-angle imagery in its production and circulation contexts from the mid-1960s to the 1980s. It focuses in particular on a sample of photographs, labelled “fish-eye” because of the specific nature of their distorted perspective, which he produced for magazines, books and films during this period. The aim is to shed light on how these pictures contributed to stimulating an alternative mode of spectatorship, the view from below, challenging the viewing position created by the traditional linear perspective of painting and photography. The author shows how an immersive and transparent experience of the images could exist side by side with its apparent opposite: the hypermediated experience of the same type of image. It is also suggested that Nilsson’s fish- eye photographs have been important in naturalizing a specific way of seeing foetal life in contemporary visual and media culture.