The Whipple Museum holds a collection of prototype and production cameras of a very unusual kind. Equipped with ‘fish-eye’ lenses, these cameras, based on the design of biochemist and amateur meteorologist Robin Hill, were designed to take “whole sky” photographs, capturing in one image cloud cover from horizon to horizon. This essay examines the reception of new photographic perspectives enabled by Hill’s camera. In doing so, it indirectly reveals the imagined futures of meteorological research on clouds shortly after the First World War. The reception of Hill’s camera shows how it coincided with attempts to remake cloud study, namely by considering clouds primarily in relation to weather systems at the scale of the “whole sky” rather than individual specimens. These novel practices entwined new technologies with new regimes of communication and labour between centralized meteorological offices and dispersed, often amateur contributors. By contextualizing the cloud camera’s reception within these social and institutional networks, we can relate its technological capacities to their problems of representation and communication.