At Ultralight, we believe our gear is only as good as the underwater photographer, cinematographer, or camera assistant it supports and no one showcases that better than our Brand Ambassadors. To give you a closer look at their images, stories, and the passion behind their work, we asked each Ambassador a series of thoughtful questions about their backgrounds, favorite rigs, and what inspires their photography and filmmaking. It’s our way of sharing not just how Ultralight gear is used, but also the creativity and spirit of the people who bring it to life.

Please share a little about yourself and the journey that brought you to where you are today.

Julian Gunther.  Born in Rio de Janeiro, Brazil, but immigrated to Houston, Texas, as a young child.  Split time growing up between Rio and Houston.  Equally fluent in English, Portuguese, and Spanish.  I have a Bachelor's in Journalism and Zoology from the University of Houston

What things in life helped you get where you are today?

My parents took me to the Monterey Bay Aquarium when I was about 6 years old, and it changed my life.  My mind was blown, everything was so interesting and beautiful, and I immediately wanted to explore more.  My parents also took me to other zoos, aquariums, national and state parks, and other wildlife sanctuaries whenever possible.  In particular, my father shared his love of nature with me, and he always focused on making it interesting and fun.

What level diver are you and where do you like to dive?
Master/Rescue diver.  My favorite dives are all in cold or temperate waters.  Some of my favorite dive locations are in Monterey, California, and the outer Channel Islands in Southern California.

How did you get into underwater photography? What sparked your passion?

I picked up my first DSLR as a middle school photographer for my school’s newspaper and yearbook.  Somehow, it just made a lot of sense to me, the correlation between shutter speed, ISO, and f-stops.  As I got older, I learned more about composition, etc. When I started scuba diving, I wanted to share a lot of the stuff I saw with my friends who didn’t dive, so I started lugging an early GoPro and SeaLife camera whenever possible.  I was never satisfied with my images and knew I could do better.  Then I saw that famous image from Brian Skerry of the Southern Right Whale and a diver from southern New Zealand, and my mind was blown.  I wanted to shoot images like that and knew I wanted to commit to learning and practicing.  I got my hands on an old Nikon D60 and housing and started shooting, and after a short while, I noticed my shots were getting better.  Now, by comparison, they were still garbage, but I was happy with the progress, so I kept trying.  I also started going on paid expeditions to go see specific animals (usually sharks), and I would take advantage to ask as many questions as possible from more experienced photographers.  I’d say 99% of them would answer even my dumbest questions and would show/explain their answers.  I really have to give a lot of credit to Andy Murch at Big Fish Expeditions and the whole crew at Backscatter in Monterey for indulging me when I was first starting out.

What were some of the biggest challenges you faced when starting out?

Time, money, and patience.  Underwater photography equipment isn’t cheap!  Also, there wasn’t much good diving in Texas, so I would often have to travel to California, Mexico, or Florida on weekends, requiring additional time and money.  Once I started making more friends throughout the industry, it got easier as I could plan further ahead to do the dives/locations that I wanted to do, and also I learned about cyclical patterns of wildlife, so I could more easily time peak seasons for various animals.  Patience is still something I battle with.  I used to get frustrated with conditions or with not having my camera set up properly before a dive (including settings), but I gradually learned that careful planning can go a long way.  For example, now I always set up my camera the night before a dive, with new batteries and everything.  I test it once before I go to sleep, then again in the morning to make sure everything is set how I wanted it.

Can you share a memorable moment or experience from your underwater adventures?

One of my first trips to Guadalupe Island (maybe 2008), and I had just purchased my underwater housing for my Nikon D60.  I was super excited and figured I was going to come back with National Geographic caliber footage.  I spent three days, over 20 hours in the cage, at Guadalupe, and shot over 2,000 photos.  I thought they looked great in the LCD.  I uploaded them onto my computer and every single photo...every single one...was out of focus.  I had left the lens on manual focus.  I learned an important lesson on that trip about double-and-triple-checking your gear before a dive, and also that I should upload/backup photos after every day, on multi-day trips.

Another fun experience was at Revillagigedo (maybe 2010).  I was diving at a site called “El Canyon”.  It wasn’t a particularly interesting dive, we didn’t have any big Mantas, sharks or any other megafauna during the dive, and visibility was ok, not great.  As I floated during my safety stop, I just zoned out and stared at my watch as the time ticked down.  Suddenl,y my dive buddy, who was floating directly in front of me, starts gesturing wildly and pointing behind me.  I figured it was a Manta or a shark, but nope, it was a mother Humpback, her calf, and male escort, heading straight for us.  They swam right up to us and circled us a few times before going their way.  The lesson from that dive was to always be alert, sometimes extraordinary things happen when you least expect them to (which has happened many times since).

What are your favorite locations or dive sites for underwater photography, and why?

Monterey, California, is very high on my list due to the different sites, the diversity of life, the diversity of underwater environments, and that many of the sites are shore dives, so you can do many different ones in a single day.  Monastery Beach in Carmel (just south of Monterey) is extraordinary, but it is highly condition-dependent and can be deceptively dangerous.  The payoff though, is amazing from the dense kelp canopy that is populated by Sea Lions and Harbor Seals, to the steep drop at the edge of Carmel Undersea Canyon, where you can literally dangle your legs over the edge.  There is always something to photograph at that site, even if it is something as simple as the Blacksmith Fish swimming amongst kelp while illuminated by sun rays.  Recently I’ve started exploring a lot in South America and have found some amazing freshwater locations in the Pantanal and Amazon.  Crystal-clear rivers full of large fish, caiman, anacondas, capybaras, etc, all swimming among and through fallen trees, foliage, and other vegetation.  Looks like something out of early 20th-century adventure films or Indiana Jones movies.

What camera setup do you currently use for underwater photography?

Sony A1 Mirrorless with a Nauticam housing.  My go-to lens is the Sony FE 16-35mm f2.8, I usually use that in combination with a Nauticam WACP-2 dome.  If I have really clear conditions, I may also use a Sony FE 14mm f1.8 lens, with that same dome.  On occasion, I will throw on an adapter and also use a Canon 8-15mm fisheye.

What type of underwater photography do you prefer and why?

I alternate between close-focus wide-angle (CFWA) and just regular wide-angle.  I love CFWA if you can get a large subject (like a whale or shark) in very closely and have them looking directly at the camera.  I just think it brings out something extra about the subject, you get the idea that it is more than just large and that something is behind its size, its thinking, and rationalizing.  However, shooting animals that large from that close requires a bit of stable nerves and confidence.  I can tell you from experience, it can be a bit disconcerting to have a 50+ ton whale looking directly at you from only a couple of feet away.  Not that the whale would mean to do you harm, but if it moves suddenly or takes greater interest in you, you’ve got to be prepared to move fast.

Do you prefer artificial or natural light and why?

I prefer artificial lighting because it can control the illumination, and I don’t have to worry as much about my positioning in relation to the sun.  Plus, I can focus on illuminating the subject fully.  However, that said, I am often forced to shoot my subjects using ambient light so as not to disturb them or due to local regulations/permits.  That is challenging because you not only have to focus on getting the subject composed how I would like, but often times I’m also moving to keep the sun in the position thats most beneficial for shooting...and often the wildlife may not feel like cooperating, so we play a game of cat-and-mouse where the animal goes where it chooses and I try to keep the sun in the best position possible.

Do you have any favorite techniques for that you can share?

Always get closer.  Always.  Now the disclaimer is, get as close as is SAFE.  I can’t tell you how many times I’ve been shooting an animal and I keep trying to get closer and closer, and then when I review my photos later, inevitably it's the last one in the sequence that is usually the best (since it's the closest).  So again, get as close as possible while being safe.

How do you stay updated on the latest techniques and technologies in underwater cinematography?

I read a lot on Wetpixel/Waterpixel, there are a lot of great informative videos on YouTube and ask questions.  If you see an interesting photo on social media, send the photographer a message asking questions.  If it's from a store or business, send them a message too.  Most people are happy to answer and engage.  If you see an interesting photo in print or media, same, find the photographer on social media and send them a note, see what they say.  As they used to say in those old Saturday morning PSA’s “reading is power”.

What’s your favorite piece of gear from Ultralight and why?

I love my colored clamps and arms, but the game changer for me is my ULCS Large Underwater Camera Sled Tray Kit – CSK SLDL. That thing is a game-changer.  I often use comically large domes, and my camera would rock on boats, and the underside of my domes would get scratched up.  I first used the camera sled kit at Tiger Beach, and it was amazing.  I could rest my camera on the boat without it rocking or getting scratched.  Since then, I have packed it on every single trip I’ve been on.

What inspires your underwater photography?
I’m fascinated by non-traditional and lesser-photographed animals.  Everyone has seen amazing photographs of Humpback Whales, Dolphins, etc, but how many amazing photos exist of Greenland Sharks (one I’m hoping to capture), Anacondas, Freshwater Stingrays, etc. All these animals inhabit fascinating environments and are as interesting as any other, more commonly photographed organism.  Admittedly, many of these “non-traditional” animals inhabit areas that aren’t as easily accessible, but I believe that if we can provide captivating photos/videos of them, then the general public will be more interested in them, and that will help promote further conservation.

How do you approach composition underwater, considering movement and marine life behavior?

I try to think of how to bring in light and the whole environment into play.  I’ve gotten bored with photos that just have a subject and blue/green water.  I try to figure out how it could be possible to shoot a Sea Lion, swimming through kelp with the sun’s rays coming through the canopy...or a whale swimming across the seafloor with the surface shimmering above it.  I consider the environment that I will be shooting in (shallow water, river, etc) and how to still have the animal as the main focus of the shot, but also bringing in the surrounding environment to add background/backstory to the shot.

What’s your favorite type of marine subject to photograph, and why?

Tough one, but right now it would either be Blue Sharks or Southern Right Whales.  I love the serpentine swimming nature of Blue Sharks, coupled with how the light changes across their skin’s surface.  You can get hues of green, blue, aquamarine, orange, and all kinds of other colors you wouldn’t expect.  It also doesn’t hurt that they are very deliberate and will swim right up to you.  With regards to the Southern Right Whales, I’ve been fortunate to lead professionals on trips to Patagonia for the past several years and shoot them, under government permit.  The whales are very sociable and large, very large.  Again, they inhabit cold water that often has poor visibility, so if you can get clean shots of them, it is exceptionally rewarding.  In addition, their conservation and recovery is an amazing story that I never get tired of sharing.

Have you ever encountered any unexpected or dangerous situations while underwater?

I think we’ve all had a few encounters that I’ve felt less-than-comfortable in, but I keep those mainly to myself.  Also, I didn’t force this issue.  Once I realized behavior was changing and I wasn’t comfortable, I simply exited the water.  If you learn about animals’ behavior, how you should react, and how to read an animal's body language, you can generally avoid potentially uncomfortable scenarios before they happen. 

What challenges do you face as an underwater cinematographer, and how do you overcome them?

There are two types of challenges, those you can control and those you can’t.  Wave/offshore conditions and visibility are examples of those you can’t control.  In the case of wave/offshore conditions, all you can really do is try and build in a buffer.  So on some shoots, we throw in an additional 2-3 days on top of what we expect, so we can hopefully get our full time on the water.  If it works out that conditions are great the entire time, we have even more opportunities to “get the shot.”  Challenges we can control are things like gear setup.  As I said previously, I like to set up my gear the night before, so I can make sure everything is working.  I can check everything is sealed properly, I can make sure I put batteries in, I put memory cards in, I took the lens cap off, strobes are firing properly, camera settings can be adjusted and the knobs are all working and in sync, etc...by the way, everything I just listed, I’ve either forgotten or had issues with when I was more novice and didn’t realize until I was many feet below the surface.  A long, long time ago, I had a school of about 200 Hammerheads swim past me, and that was also when I realized I’d forgotten to insert a memory card!  That also goes for dive gear.  Connect your regulator to your tank the night before to make sure the tank has air and the regulator is providing air.  It’ll take about 30 seconds to do and will save you a lot of hassle if you suddenly realize your tank is half empty or you need an O-ring.  If you’re diving early in the morning, the last thing you want to do is search for an O-ring or tank refill while a Giant Pacific Manta has shown up unexpectedly.

Do you use your photography to promote ocean conservation? If so, how?

I do.  I supply photos and videos, free of charge to local researchers and give them permission to use them for either research or fundraising purposes.  I know how difficult it is for many scientists to secure funding, so I’m happy to help them with anything that can be done to secure fundraising or in the production of their educational materials.  In addition, a lot of times I am a guest in their geographic areas, so its the least I can do to thank them for allowing me to share in the research environments.

Are there any conservation projects or initiatives you’re passionate about?

The Southern Right Whale protections in South America.  The ICB (Instituto Conservacion de Ballenas) in Argentina is doing an incredible job with Southern Right Whales in Argentina.  They work in conjunction with, and often together with, the local populace to keep track of the local whales.

How do you think underwater photography can contribute to marine conservation efforts?

Not everyone has the time, money, opportunity, physical capacity, etc, to go out and see animals in their wild environment.  It's not easy.  Believe me, I know all about being weathered-out, having no-shows, crap conditions, etc...but if I can come back with one (or hopefully more) good shots or an animal in its environment, then perhaps it shows people that there is more to the ocean (and rivers) than just coral reefs and everything deserves protection.  A couple of years ago, I took a photo of an Anaconda that went viral, and I was very proud.  Here is a photo of a giant snake, which typically instills fear, and the reactions were overwhelmingly positive...and it helped not only to show that “non-traditional” animals can also be interesting, but also to promote conservation and interest in less commonly-known environments, in this case, the South American Pantanal.

What’s the best piece of advice you’d give to someone just starting out?

The gear is less important than the person using it.  If you can’t afford the top-of-the-line camera, don’t worry about it; get what best suits your price range.  It's like driving, just because you can afford an F1 race car, doesn’t mean you’ll be able to drive it like an F1-caliber driver.  Get a camera and shoot, and shoot often.  Shoot in your backyard, local park, wherever.  Learn to adjust settings by practicing.  I still take my camera to local state parks whenever I have free time.  Even though I like to think I know how to operate my camera pretty well, it still doesn’t hurt to go and practice.  Plus, you can try different settings in a low-stress environment.  Believe me, it’ll pay dividends if/when you are on a later shoot and clouds roll in, and you already have muscle memory to instantly change your settings.  In addition, I think people often underestimate the shots you can get of local creatures.  I had a shot of an American Alligator that ran in National Geographic online, which I took about 40 minutes from my house, on a random Thursday, when I decided to go to Brazos Bend State Park.  A camera is a tool, like a hammer or drill.  You need to learn how it functions before you can expect to use it properly.

What are common mistakes new underwater photographers make, and how can they avoid them?

Spending all their energy towards purchasing the best equipment that money can buy, and not about learning or educating themselves about the photographic process.  I can’t tell you how many times I’ve had people ask for advice and they’ve shown me their professional-level gear, and all the settings are off or they have the wrong lens, etc I’m not saying to buy inferior gear, but I am saying don’t overdo your budget.  Underwater photography is expensive, and it takes a lot of time, effort and patience to learn.  No one gets good at it in a year, or even two.  I’ve been doing it for almost 15 years now and still feel I have A LOT to learn.  Do a lot of research before purchasing gear, you’ll save a lot of headaches and money.

Any recommended resources (books, courses, workshops) for learning underwater cinematography?

Youtube.  Amidst all the nonsense on social media, there are a lot of surprisingly good tutorials on YouTube, and in particular, I love that you can stop them are replay the parts you might need a little more help with. To this day, I still go on YouTube on a regular basis to see if I can’t find an answer to a question or if I’m trying to customize gear.  In particular, GoAskErin has some amazing free and paid photo editing tutorials, and the crew at Backscatter also has a lot of excellent, free content.  Otherwise, I’d recommend going to YouTube and searching for your camera model and any questions you may have.  You’d be amazed at what comes up.  Also, if you are on a boat dive and see someone else with a camera and you have questions, try asking them.  I still do it sometimes, and if people ask me, I’m happy to help.  You’d be amazed at how welcoming most high-level and pro shooters can be.  Most want you to be able to go home with a shot/video that you are happy with, and will be willing to show you some settings and tricks.

What’s next for you in your photography journey? Any exciting projects or goals?

This year I’ll be spending a lot of time down in South America.  I’ll be spending time in the Amazon, the Pantanal, and in Patagonia shooting a lot of different wildlife.  I think that South America is often overlooked and has many interesting environments and fascinating animals, so I’m happy that a lot of my travels will focus on there for the foreseeable future.  I’m also hoping to finalize some trips to shoot Greenland Sharks and/or Snow Leopards, but there are some time constraints involved with those, so they may be a little further off (I hope not, though).

What does being an Ultralight brand ambassador mean to you?

I appreciate being able to represent a product that I had already purchased and have used for years.  I have ULCS products that I purchased over 10 years ago that I still use on a regular basis.  My dad always told me to not go cheap on your tools and get the best quality, and I think ULCS is exactly that.  So when someone asks me about my gear, I can tell them about ULCS authentically and from the position as an ambassador and a regular customer.

How did your partnership with Ultralight come about?

I reached out to ULCS, and Ken immediately got back to me.  I felt kind of bad because I didn’t think the response was going to be that quick, and I think I was going on a three-week expedition to South America the very next day!  We had a series of calls after I got back, and here we are!

Has working with Ultralight influenced your underwater photography?

It's funny because I’ve never really shared my gear, my setup, or anything, but I do it now more often, and the response is overwhelmingly positive.  I never realized how many people were curious about different setups and customization.

What excites you most about being a brand ambassador for this company?

I love that ULCS asks for feedback and ideas for gear.  I’ve had some things that I wanted to adapt to my setup, and Ken and I discussed it, and he gave some very interesting feedback, which I had not considered.  I’m looking forward to discovering new problems and seeing what kind of interesting solutions that ULCS can come up with, haha.

Has working with Ultralight influenced your workflow and creative process?

It's definitely lessened my headaches and concerns about my gear.  A prime example is the UCLS Camera Sled, which I mentioned previously.  I viewed the scratches to my dome’s shade as a necessary evil that just comes with the territory, but ULCS showed me that they could all be avoided with the sled.  They’ve also shown me different lighting setup options that I wished were possible but had never considered feasible.

What unique features of Ultralight do you find most valuable?

Quality and durability, without hesitation.  A friend of mine bought some knock-off clamps and arms, and they bent after the first or second use (I’m not exaggerating).  Again, I’ve got some ULCS products that are approaching 15 years old, and I don’t recall ever having to throw anything away for breaking or anything.  Solid quality.

Can you share a project where this gear significantly impacted your work?

Patagonia, Bahamas, California...and that’s just in the past 12 months.  All three had days with surgy conditions, and the sled held my gear steady on the boat without rocking and rolling.  Also, I love the ULCS triple clamp (AC-TCS).  We did night dives in both the Bahamas and California, and that allowed me to mount red focus lights on my arms, so that I could turn off all my lights and let the animals come in close, while allowing me to both watch their approach and ensure my camera had ample light to focus before I depressed the shutter button.

Do you get to test or provide feedback on new gear before it’s released?

Unfortunately, I haven’t taken advantage of that benefit yet, but I fully intend to!

• What advice do you have for photographers who want to work with brands?

Go with a brand you would use regardless of it you did or did not have a partnership.  Don’t go with whatever immediately comes around.  You’ll appreciate it more when it's something you actually use and can vouch for, plus your recommendation will be genuine.  Anthony Bourdain had a fantastic quote about how he chose who to partner with: “What’s good for you in the short run is not necessarily good for you in the long run. You’re starting out as a writer, you’ve written one book and a TV show, and then somebody offers you a million dollars to represent an anti-diarrhea medication. That’s a lot of money in a short run, but you’re always that guy with the shits.”

Thank you, Julian, for taking the time to share more about yourself and your work with us. We definitely picked up a few new things, and I’m sure our customers did too. It’s always great hearing how someone finds their way into a field they love—the wins, the lessons, and everything in between.”

For more information about Julian, you can find him at his website, Julian Gunther Photography, and Instagram.

At Ultralight, we believe our gear is only as good as the underwater photographer, cinematographer, or camera assistant it supports and no one showcases that better than our Brand Ambassadors. To give you a closer look at their images, stories, and the passion behind their work, we asked each Ambassador a series of thoughtful questions about their backgrounds, favorite rigs, and what inspires their photography and filmmaking. It’s our way of sharing not just how Ultralight gear is used, but also the creativity and spirit of the people who bring it to life.

Please share a little about yourself and the journey that brought you to where you are today.

Hi, I am Ryo Minemizu from Osaka Japan. From 1990 to 1997, I worked as a diving guide in Ōsezaki, diving almost every day and completing around 800 dives per year.

What level diver are you and where do you like to dive?

I am a NAUI Instructor and really like diving in Kume Island, Okinawa, Osezaki Shizuoka, JAPAN, and West Palm Beach, Florida, USA

How did you get into underwater photography? What sparked your passion?

Soon after I began diving, I wanted to learn what the creatures I encountered were, and I felt compelled to document their beauty through underwater photography so that others could appreciate them as well. My first attempt was with a Fujifilm disposable camera placed inside a waterproof case. However, the results were far from what I had imagined. I then tried using a Nikonos V camera that was available at my workplace, but achieving proper focus and exposure proved difficult, and I still wasn’t satisfied with the outcome. Around the time I decided to take underwater photography more seriously, I was fortunate to meet someone who kindly lent me an SLR camera and housing made by Aquatica. Diving and photographing with that setup was a turning point, it made me realize that I wanted my own equipment. That experience led me to purchase my first Nexus housing, marking the true beginning of my journey as an underwater photographer.

What were some of the biggest challenges you faced when starting out?

When I started underwater photography around 1990, it was still the era of film cameras. It’s hard to imagine now, but underwater photography was limited to a maximum of 36 shots per roll of film, so I remember setting my own rule for how many shots I could take of a single subject and pressing the shutter carefully one by one. Of course, since it was a film camera, I couldn’t see the results until the film was developed. It took about an hour by car to get to the nearest photo shop, and even if I asked for reversal film processing, the fastest turnaround was about a week. So it usually took about ten days from shooting to actually being able to see the photos. I also remember very well that, as I was still young at the time, most of my salary was quickly spent on film and developing costs every time.

Can you share a memorable moment or experience from your underwater adventures?

I have dived into the ocean countless times, and every experience has been irreplaceable—from encountering mysterious larval fish drifting in the darkness of the midnight sea to meeting a friendly minke whale that approaches and looks straight into my eyes. Every dive brings new discoveries and emotions, and the ocean never shows the same expression twice. In those moments, I feel the cycle of life and the preciousness of existence not through words, but deep within my heart.

For me, the ocean is not only a place to search for unknown creatures, but also a place that teaches the beauty and fragility of life. Capturing and sharing those fleeting moments through my camera is what I believe to be my life’s true purpose.

What are your favorite locations or dive sites for underwater videography, and why?

My favorite sea is the Sea of Japan. Surrounded by the ocean on all sides, Japan is an island nation stretching approximately 3,000 kilometers from Hokkaido in the north to Okinawa in the south. In winter, you can dive beneath drifting ice off the Shiretoko Peninsula in Hokkaido, while in subtropical Okinawa, vibrant coral reefs extend across the seafloor. Japan also has four distinct seasons, bringing remarkable changes to the underwater environment throughout the year. This diversity allows for an incredible variety of diving experiences within a single country.

What camera setup do you currently use for underwater photography?

I have three cameras I like to use, and the complete setups are below.

CAMERA 1 varies depending on what I am doing

• Canon R5 camera
• Nauticam NA R5 housing with 180° Straight Viewfinder
• Ultralight TRI-TRAY universal camera tray, TR-HB universal L-bracket, BA-AQN slim universal base plate mount, DB-EXT Adjustable Double Ball Arm
• Two MARELUX Apollo II 2.0 strobes
• When shooting wide video the lens is RF15-35mm F2.8 L IS USM
• 230mm Optical-Glass Wide Port II + Focusing Extension Ring 70 with lock & Focus Knob II, NA Atomos Ninja V
• Two Weefine WF Solar Flare 12000 lights
• When shooting macro video the lens is EF-EOS R Mount Adapter + EF-S 35 mm F2.8 MACRO IS STM
• Macro Port 12+ Extension Ring 10
• Two RGBlue SYSTEM02 Tricolor lights
• When shooting macro the lens is RF100mm F2.8 L MACRO IS USM
• Macro Port 94L
• Two RGBlue SYSTEM02 Tricolor lights

CAMERA 2

• Canon  R7 camera
• EF-EOS R Mount Adapter lens with EF8-15mm f/4L Fisheye USM (for Wide and Video)
• Nauticam NA-R7 housing with Full Frame Angle Viewfinder 32°/ 1:1
  N100 to N120 40mm Port Adapter+230mm Optical-Glass Wide Port II
• Two Weefine WF Solar Flare 12000 lights
• Two INON Z240 Type4 strobes
• Ultralight clamps

CAMERA 3

• Canon XF400 camera
• Nautilus custom-made housing
• Two Weefine WF Solar Flare 12000 (Twin)
• Ultralight TR-DM medium single-handle underwater camera tray, TR-HB universal L-bracket

Do you prefer macro or wide-angle photography and why?

I like both wide-angle and macro photography. The reason is that macro photography allows me to capture the charm and details of each subject, while wide-angle photography enables me to convey the entire landscape and its atmosphere. I believe both are essential for photographic and video expression.

Do you prefer strobes or natural light and why?

In shallow waters less than 10 meters deep, where sunlight reaches, I enjoy capturing images that make use of natural light and express its beauty. On the other hand, in deeper areas, using strobes in most cases allows for a more faithful reproduction of a subject’s true colors. With the advent of digital photography, post-processing has become far more versatile, making it possible to photograph light-sensitive organisms using continuous lights or natural light and later restore their colors during editing.

Do you have any favorite settings or techniques for capturing sharp, vibrant underwater images that you can share?

To capture clear and vividly colored underwater photographs, it is essential to get as close to the subject as possible. By minimizing the distance between the subject and the camera, you can reduce the effects of suspended particles and water coloration. In addition, accurate color reproduction depends on matching the strobe’s light color with the camera’s color temperature. The key is to know the color temperature of your strobes and adjust the camera’s settings accordingly.

How do you stay updated on the latest techniques and technologies in underwater photography?

I regularly follow the manufacturers’ websites and social media accounts to stay updated on the latest equipment.

What’s your favorite piece of gear from Ultralight and why?

Ultralight offers a wide range of cleverly designed camera accessories. For example, when I want to position a strobe in a specific spot, I can always find the perfect part for that setup from Ultralight. My favorite piece of equipment is the TRI-TRAY Universal Camera Tray and Sled/Skid Kit. For example, it keeps the camera stable even on a rocking boat, preventing it from tipping over. It also allows me to add a variety of accessories depending on how I configure it.

What inspires your underwater photography? Do you have a specific theme or style?

What I most want to convey is the brilliance of life. It means that every living creature, no matter how small or overlooked, has equal value. Even those that few people ever notice are deeply connected to one another and constantly strive to maintain balance in their world. Nature is truly magnificent, and there is little room for human interference. By learning about their existence and the way they live, we gain countless insights and lessons from them.

How do you approach composition underwater, considering movement and marine life behavior?

When composing a shot underwater, I first make an instant decision about which part of the subject I want to capture the moment I encounter it. If the subject is moving, it is important to read its behavior and sense what it might do next. Of course, this does not always go perfectly, but by observing the situation the subject is experiencing, I try to anticipate its next movement and adjust my composition instantly while shooting.

What’s your favorite type of marine subject to photograph, and why?

For the past quarter of a century, I have been deeply engaged in photographing planktonic life. I have focused on documenting larval fishes and invertebrate larvae, many of which have forms that no one has ever seen before, as well as gelatinous organisms such as jellyfish and the hidden relationships among planktonic species. Through this work, I have helped uncover many mysteries of marine life, but what has been revealed so far is only a small part of what remains unknown. There are still countless discoveries and opportunities ahead. Every time I enter the ocean, the anticipation of encountering an unknown creature or witnessing a never-before-seen moment is immense. It could even lead to a discovery of great scientific significance.

Have you ever encountered any unexpected or dangerous situations while doing your photography underwater?

About thirty years ago, it was still a time when weather forecasts could not predict conditions only a few hours ahead. While on assignment at the Shiretoko Peninsula in Hokkaido, I went beach diving with a local guide. After about forty minutes underwater, I tried to exit, only to find that the sea had turned extremely rough and the coastline had completely disappeared from view. The only place to get out was the rocky area where we had entered, so I had no choice but to brace myself and move through the raging waves. At that moment, I was engulfed by a massive wave and thrown violently against the rocks. The port of my Trieste camera housing broke in half, and both my regulator and mask were ripped away. Struggling helplessly in a cloud of white bubbles, unable to breathe, I was suddenly struck by another powerful wave that threw me onto the rocks. As soon as I managed to draw a breath, I realized that I had somehow survived. In that moment, I truly thought my life was over. Since that experience, I have never left weather judgment to others. I have learned to recognize even the slightest changes in weather myself, make careful predictions, and plan every dive with safety as the top priority. At that time, as a young photographer just starting out, the physical pain was nothing compared to the heartbreak of seeing my housing destroyed beyond repair and my camera flooded.

What challenges do you face as an underwater photographer, and how do you overcome them?

Since the advent of digital cameras, underwater photography has become much easier than before. With a large-capacity memory card, the number of photos you can take underwater is practically unlimited, and you can check your images immediately after shooting. As a result, underwater photography has become far more accessible. Today, even amateur photographers can easily obtain high-performance cameras and capture beautiful images, leading to an era where underwater photos are everywhere. In addition, new photo-selling platforms have emerged, allowing amateurs to earn small amounts of money, and these sites are now flooded with royalty-free images. Consequently, the value of rights-managed works like those we create is being threatened. In reality, the cost of underwater photography, including diving and equipment expenses, is several times higher than that of shooting on land, yet the market price for underwater images remains the same. This situation is truly unreasonable. In other words, photographers can no longer make a living by producing underwater images that anyone can take. For this reason, underwater photographers must now strive to create images and expressions that do not yet exist in the world. While location and technique are important, social media trends clearly show that the demand for video will continue to grow far beyond that for still images.

Do you use your photography to promote ocean conservation? If so, how?

I am particularly focused on the issue of marine plastic pollution. I include related photographs in magazine features and engage in awareness-raising activities through radio appearances, lectures at schools, and gallery talks at my photo exhibitions.

Are there any conservation projects or initiatives you’re passionate about?

The conservation effort I am most passionate about is beach cleanups. Whenever I travel to Okinawa for photography, I always visit a nearby beach and clean it by myself. Each time, I see changes in the amount and type of litter, and I constantly ask myself how we can reduce it. Although I have not yet found a definitive answer, I strongly feel that eliminating the use of disposable plastics is the first step. This issue cannot be solved by individual consumers alone. It requires leadership and direction from companies and governments to guide society as a whole. Through my photography and outreach, I hope to help more people understand this reality and inspire them to take action.

How do you think underwater photography can contribute to marine conservation efforts?

For most people, the condition of the ocean is not something they think about in their daily lives. In fact, many either know little about it or simply have no interest at all. Some divers care deeply about the marine environment, but unfortunately, not all of them do. I am fortunate to be able to dive and document the underwater world through photography and video. The reason I began taking photographs was to share the ocean with others. I believe it is my mission to show not only its beauty but also its reality. My hope is that people will first take an interest in my photographs, and from there, we can start thinking together about the problems facing our oceans, even with those who have never experienced diving.

What’s the best piece of advice you’d give to someone just starting out?

Never give up. Just keep going. That’s all.

What are common mistakes new underwater photographers make, and how can they avoid them?

First and foremost, you need to be an excellent diver. You must be able to breathe naturally, just as you do on land, and maintain perfect neutral buoyancy without kicking the seafloor or even thinking about it. Without solid diving skills, it is impossible to take good underwater photographs or videos. Before picking up a camera, it is essential to master your diving techniques. Starting photography without sufficient diving ability will not produce good results. Even if you happen to capture a beautiful image by chance, if your actions during the process damage the environment, it completely defeats the original purpose of underwater photography.

Any recommended resources (books, courses, workshops) for learning underwater photography?

I started underwater photography on my own, so I am not sure what learning resources are available. However, we now live in an age where you can freely view the work of top photographers anytime through social media. I think the best way to start is by studying and imitating the work of photographers you admire. As you continue to do so, you will eventually discover your own original approach that no one else can replicate.

What’s next for you in your photography journey? Any exciting projects or goals?

I am currently working on the production of a Japanese nature documentary, and my first goal is to make it a success. I have also just begun a project to publish two large-format books that will compile the photographs I have taken over many years. Many researchers are involved in this project, so it will likely take several years to complete, but I am determined to see it through and share it with the world. Another goal of mine is to hold another photo exhibition in New York.

What does being an Ultralight brand ambassador mean to you?

To create original underwater photographs and videos, it is sometimes necessary to take a different approach or use unconventional methods. In such cases, Ultralight products provide inspiration for the shooting techniques I want to achieve and offer equipment that makes my work more comfortable and efficient. By using these products in my fieldwork, I have been able to accomplish shots that were previously impossible to capture.

How did your partnership with Ultralight come about?

I have actually been using Ultralight arm products since around 1995 and have always admired their strength and durability. Whenever I needed to purchase new arms or accessories, Ultralight was always my first choice. When I was looking for a custom-made sled for my video camera, a friend told me that Ultralight had released the new Universal Camera Tray System. I contacted Ultralight, and Ken Kollwitz personally responded. After receiving the product, I integrated it into my video camera system and sent Ken some photos. He really liked them, and since then, we have occasionally kept in touch. When the improved L-bracket was completed, Ken immediately informed me. I installed it into my new mirrorless camera system, which weighs up to 14 kilograms, and tested it right away. It provided even greater stability than before, and I am extremely pleased with it.

Has working with Ultralight influenced your photography?

In my case, the configuration of my underwater camera system constantly changes depending on the purpose of each shoot. Ultralight offers a wide range of products developed from years of experience and creative insight, allowing me to adapt to any shooting situation and enhancing my creativity in producing my work.

What excites you most about being a brand ambassador for this company?

One of the greatest advantages is being able to test new products at an early stage. Even if I do not use them immediately, there will eventually come a time when they can be applied to future shoots. Having hands-on experience and understanding their capabilities in advance is extremely valuable. Moreover, Ultralight always responds sincerely to our feedback and continues to put great effort into developing even better products. I can truly say that Ultralight is an indispensable partner in the creation of my work.

Has working with Ultralight influenced your workflow and creative process?

Thanks to Ultralight’s arms and trays, I gained greater flexibility in positioning lights and strobes, which made new angles and lighting setups possible. This freedom in equipment configuration has encouraged new forms of expression and more experimental shooting. In addition, handling the housing has become much easier both on land and underwater, and the reliability of the equipment allows me to stay fully focused on the creative process while shooting.

What unique features of Ultralight do you find most valuable?

What I value most about Ultralight products is their durability and reliability. Equipment used for underwater photography must continue to function smoothly even when constantly exposed to harsh conditions such as saltwater corrosion and salt buildup. Ultralight products perform flawlessly for many years, maintaining the same quality as when they were first purchased. Their robustness and the fact that they require minimal maintenance are among their greatest strengths. I am also impressed by the company’s fast product development and its dedication to incorporating feedback from users.

Can you share a project where this gear significantly impacted your work?

During the filming of an NHK nature documentary, many scenes required focusing on marine life while floating in midwater with strong currents, as well as achieving delicate lighting. In such conditions, the flexible adjustment system of Ultralight’s arms and trays proved extremely useful. When setting up, I pay particular attention to maintaining proper underwater balance of the camera, and thanks to the highly stable and versatile components, I was able to keep the camera steady at all times. This allowed me to smoothly adjust composition and lighting, resulting in more natural and visually striking footage that was highly praised by the production team.

Do you get to test or provide feedback on new gear before it’s released?

I receive gear that I believe will be useful for my work and provide feedback based on the results and impressions from actual use during my shoots. If I ever have the opportunity to test equipment before its official release, I would be more than happy to try it and share my feedback.

What advice do you have for photographers who want to work with brands?

When it comes to working with brands, I believe the most important thing is that your photography and filmmaking must be genuine. Before asking anything from a brand, you should first consider whether your work truly conveys the value of nature, living creatures, and the technology that helps you capture them.

For me, it is always about what my images make people feel. If there is honesty in your expression, brands will naturally resonate with your work and vision.

A relationship with a brand should not be a transaction but a bond built on trust. Use the equipment thoroughly, speak from real experience, and share both the strengths and what could be improved. That sincerity becomes the foundation of a lasting partnership.

Above all, keep your passion alive. Passion speaks louder than words and has the power to move people. I believe that is what creates a true partnership between an artist and a brand.

Thank you, Ryo, for taking the time to share more about yourself and your work with us. We definitely picked up a few new things, and I’m sure our customers did too. It’s always great hearing how someone finds their way into a field they love—the wins, the lessons, and everything in between.”

For more information, you can find Ryo at his photography website, Instagram, YouTube, and Facebook

As a diver and underwater photographer myself, I know just how critical it is to have the right gear — especially when conditions aren't ideal. Whether you're trying to lock in a macro shot on the ocean floor or capture smooth footage on a windy ridgeline, stability matters.

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At Ultralight Camera Solutions, we're proud to offer these seven tripod kits because we believe they're the best tools out there for content creators who shoot both above and below the surface. Each one is thoughtfully designed to give you the control, comfort, and durability you need — so you can focus on the shot, not the setup. 

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Experience the Advantages of ULCS Tripods Firsthand

Whether you're diving deep, hiking high, or filming fast-paced content on the go, ULCS tripod kits offer the stability, comfort, and rugged performance you need to capture it all. Each tripod has a specific strength — now it's just a matter of choosing the one that fits your filming style best. If you don’t find what you need, please contact us. We are always here to help!

By: Ken Kollwitz

Crystal Blue Resort is an excellent resort for divers, especially photographers, and more on that later. The resort is located in Anilao, Philippines, in Mabini, Batangas. It sits at the base of a hill like most of the resorts in the area and is easy to get to from almost anywhere in the world. From US West Coast cities like Los Angeles or San Fransico, it is a 14-hour non-stop flight to Manila, and from there, it is a 2.5-hour van ride. That’s easier than getting to some Caribbean Islands unless you live on the East Coast. The ride down to the resort from the main road is one of the steepest I have been on. It’s incredible how easy the drivers make it look. It’s even a challenging road to walk but worth the sightseeing along the way.

The resort has 16 rooms; most have two queens, and a few have one queen plus two larger family rooms. Being built on a hillside, everything has different levels. The main office is at the middle level of the resort. Above it is the two separate family rooms, and above those are eight rooms along with eight more above those. The rooms are all spacious, fully air-conditioned, with queen-size beds, bathrooms, and showers. They have a garden or ocean view, and all have a sitting area outside.

The stairway leading to the rooms is well lit and covered with a vine-type plant, making it a pretty ascent up to your room and back. The main level is also where the vans drop you off and pick you up.

Just across from and below the main office is a circular stairway leading up to a cozy, covered, open-air area with chairs, couches, fans, and awesome views. This area seems always overlooked and is a great place to read a book or relax between dives. Still in the middle of the resort, and just below the office is a walkway leading to the lecture room and the dining area. The lecture room has tables and seats for about 20 people, and this is where you will learn all you can during any photo workshops held throughout the year.

My third favorite area is the open-air dining area, where breakfast, lunch, and dinner are served. Not only is the food great with plenty of options, but the ambiance is even better. There’s something nice about enjoying the fresh air, spectacular sunsets, and views of Balayan Bay and beyond and talking with the other guests. The staff is all wonderful as well, and I have to congratulate them because they wear many hats and work long hours. They are incredibly courteous and helpful and sometimes seem to know what you want before you know it. Many have been with the resort for years, and about 18 of them live on the property. Something I find unique about the resort is that they have 3 to 4 extensive gardens high up on the hillside above the property. Here, they grow a number of the items the chefs use for cooking, and one of my favorites was the homegrown Mango.

Below the lecture room is my second favorite area, the camera room, because if I am getting my camera ready, I know the best part is about to happen. For photographers, Crystal Blue has one of the best camera rooms you will ever find. Each person gets their own station with lots of room and plenty of electrical outlets to charge all the stuff we bring. The camera room has an environmentally controlled atmosphere making it the perfect place to do camera repairs and setup for diving. The camera room also has a his and hers bathroom, which can be extremely nice after long dives. Once you have everything ready to go, you only need to carry your camera between the camera room and the dive deck below, which is my favorite area. Why the dive equipment area? Because DIVING is next on the agenda.

Like the rest of the resort, the dive equipment area is well laid out and organized, making life easy for everyone. It is also at the bottom of the stairs. As you get to the bottom of the stairs the tank filling area and compressor room are immediately to your left. All scuba cylinders are filled with Nitrox and stored in designated areas for each boat in front of the compressor room. This is where your tanks are set up and kept to make it easy for the crew to load each boat. To the left of the compressor room is the storage cubbies for each person with boxes for your loose gear, and further to the left is the camera rinse and drying area, equipped with low-pressure air nozzles. Directly in front of the stairs are the hanging gear racks for suits and wet stuff that each person is assigned to depending on the boat they will be on, and to the right of the stairs is the gear rinse area and showers.

The staff at Crystal Blue are excellent. They are all friendly and ready to help take care of everything to ensure you have an excellent trip. If you need something carried or have questions, don’t hesitate to ask.

All dives are from dual outrigger-style Banca boats with a maximum of four divers to one guide per boat. Typically, two dives are offered in the morning and two in the afternoon, which will keep you plenty busy, and in your spare time, you can look at all the beautiful pictures you took during the day. October to May/June is the dry season and is regarded as the best dive season in Anilao. The water temperature averages 80-83F with excellent visibility, and topside temperatures run between 80F-95F.

The diving is excellent and varied throughout the area. With Anilao being a Marine Protected Sanctuary and one of the Philippines' best spots for underwater macro photography, it doesn’t get much better.  There are world-class dive sites within minutes of the resort. The Anilao area has much to offer and not only the macro photography and muck diving it is known for. It also has some spectacular reefs that are equally good for wide-angle photography. You can also observe schools of various fishes, some hard and soft coral, sponges, and many colorful crinoids. 

As a side note, both times I have been at the resort I had some business in Manila to take care of. It’s a long day but coming back the scenic route is totally worth it. It’s is much longer but beautiful and a great way to see the real Philippines. Here you get more of an idea of how Filipinos live, work, and play. The drive itself takes you through the town of Tagaytay in Luzon which is located at the top of a mountain that has spectacular views of the countryside and the Taal Volcano surrounded by Taal Lake.

From here the road takes you to the Taal Basilica, which sits at the top of a hill in the town of Taal. It was built in 1575 with coral stones and adobe and is Asia’s largest church. It looks big from the outside, but you have no idea how big it is until you step through the massive front doors. Inside, it is amazing, from the architecture and the hand-painted decorations to the religious icons.

Afterwards, it’s about a 60-minute drive to the resort, where a cold drink and dinner will be waiting for you. A trip to the Crystal Blue Resort should be on every underwater photographer's list of places to explore.

Since our inception in 1995 as Ultralight Control Systems, we've evolved into Ultralight Camera Solutions while maintaining our unwavering dedication to customers and excellence. Manufacturing top-notch underwater and cinematography camera accessories from 6061 T6 aircraft-grade aluminum with Type III anodizing and utilizing 316 stainless steel hardware, our products are engineered to endure extreme conditions.

Based in Oxnard, CA, USA, our facility proudly manufactures everything using US-sourced materials and hand assembly, ensuring the highest quality American-made goods. Each product is meticulously hand-packaged, a testament to our commitment to craftsmanship, even if it means higher costs compared to lesser alternatives flooding the market.

Our loyal customers attest to the longevity of Ultralight products, some relying on them for over two decades—a testament to their enduring quality, unlike many budget alternatives.

Backed by a lifetime warranty, we stand by our promise of excellence, addressing any issues with respect and efficiency, as every customer deserves. When seeking top-tier underwater and cinematography camera accessories, consider Ultralight Camera Solutions—we strive to earn your trust and respect with every purchase.

Guest blog images and text by Frank Lewis

In the 14 years since DWF (Dive with Frank) first learned to scuba dive I’ve met a lot of great folks in the scuba world.  One of the guys near the top of the list is Ken Kollwitz, owner of Ultralight Camera Solutions (ULCS).  I met Ken in Southern California my very first year scuba diving and his optimism and great energy is simply contagious and really something I strive for.

ULCS has been around since the 1990s producing camera and lighting solutions, and Ken took over the reins in 2020 (after working with the previous owners for nearly a decade), continuing to innovate and come up with new ways to solve problems for underwater photographers.  Their products are used by underwater photographers (as well as above water cinematographers) of all levels…from novices to seasoned professionals.

DWF has been using a SeaLife DC2000 Pro Duo setup (camera, enclosure, strobe, video light) for over five years and I have been pretty happy with the setup. Actually, I’m a big fan.  But about a year ago I got my hands on a set of ULCS trays, arms, and clamps; basically a replacement for the tray and light setup for my SeaLife kit.

Before I started using my ULCS kit, I thought of it the same way I thought of the ice maker in my freezer.  It's a little lavish and ultimately not necessary…but now that I have actually used it, it’s MANDATORY for me!

The utility and versatility of the ULCS setup is really head and shoulders above the standard kit I had been using.  There are shots that I simply COULD NOT have gotten with my old kit.  I took it down to Cozumel and Roatan and was able to get my lights and strobes into positions that just aren’t possible with the standard kit.  My lights have a greater range of movement in general and the equipment is tough.  I am not worried about the quality of this gear or damaging it.

DWF just got back from a photo workshop in Anilao, Philippines, and during that workshop, I was able to simply swap in a new clamp and longer arm to use my brand-new snoot.  I was able to attach the snoot to my camera setup and use it with a minimum of hassle.  I wouldn’t have been able to do that with my standard kit from SeaLife.  My ULCS system can attach and utilize non-SeaLife strobes, remote strobes, extra video lights at “weird” angles and more.

I’ve really only scratched the surface with my current ULCS kit.  The only thing that I know for sure is that when I upgrade my camera my ULCS kit is coming with me!  It’s really nice to be able to incrementally upgrade my own kit and get full integration with new equipment.

If you’re looking for a new camera tray, clamps, or arms I really recommend that you give ULCS gear a hard look!  You can find ULCS in select dive shops selling photography equipment as well as the ULCS website, Backscatter, and Blue Water Photo.  They also have brand ambassadors all over the world, so you don’t need to take my word for it.  I’m just a dude who likes taking photos underwater…and who keeps trying to get better at it!

As an added bonus, this gear is made in America, and they have a rock-solid warranty.

Ultralight Camera Solutions understands the integral role GoPro and action cameras play in our daily lives, no matter our interests or activities. That's why we're committed to simplifying your experience by providing high-quality camera products crafted from American-made materials. Our products are meticulously hand-assembled and packaged at our warehouse in Oxnard, CA.

Our range of products offers versatility, allowing you to enhance your setup without redundant purchases. Whether you need single or double-handle trays like the TR-GP, TR-GPD, or TR-GPDXL (pictured below) or our latest innovation, the TR-GPDW wing tray, also pictured below. Unlike our other trays, the TR-GPDW boasts a unique design that positions the camera upfront, providing ample space for stable underwater shots—a perfect match for GoPro flip filters.

In addition to trays, we offer convenient accessories like the AD-HS-GP hotshoe mount that seamlessly attaches to your camera's coldshoe mount, and the AD-GO ball mount adapter, easily clampable for seamless integration with your equipment.

Take your filming to new heights with our GoPro/action camera kits. Our popular GPK-LWT wing tray kit and GPK-PTGLC handheld unit ensure smooth maneuverability on the go. For those seeking innovation, our GPK-SMCGO kit featuring a Cardellini clamp opens up endless possibilities. This versatile clamp, widely used in the cinema industry, grips securely onto objects up to 1 ½” in size, effortlessly adapting to your needs. We have added a ball mount, clamp, and AD-GO adapter to it, creating one extraordinary kit.

I've even utilized the GPK-SMCGO for capturing close-up footage of birds in action!

For enhanced filming stability on land or sea, explore our selection of compact tripod kits, such as the TPK-MGP-06 or TPK-SGP-03. The MGP-06 features 6" long legs, while the SGP-03 uses 3" legs. Both are swiftly foldable and conveniently portable, fitting snugly into any backpack. Equipped with an action camera tripod mount, they offer versatility and ease of use.

At Ultralight, we champion creativity and personalization, empowering you to design solutions tailored to your specific requirements. Do you need guidance or have a unique vision in mind? Feel free to reach out and contact us. Elevate your GoPro experience with Ultralight's premium mounts and trays, all proudly manufactured, assembled, and packaged in the USA with materials sourced domestically, backed by a lifetime warranty.

I have been shooting underwater pictures for at least 20 years now and I own a company, Ultralight Camera Solutions that makes underwater camera accessories but that doesn’t mean I know what I am doing when it comes to underwater photography. I have taken some classes and workshops for underwater photography throughout the years and learned a few things about getting close, shooting upwards, and trying to get good composition of the subject and foreground. Even with this, I still struggle at times with my ability to get better. To top it off, in 2023, I upgraded my camera, housing, and strobes because they were old and outdated years ago. The problem is that this sure didn’t help any. It only made things harder and set me back a few notches.

The last workshop I did was with my Nikonos V, and if you know what that was, you know it was a long time ago. Fast forward to modern times, specifically to 2023, when I updated all my camera equipment. Sometimes, it works to start anew, and sometimes, it does not. For me, there was a learning curve, but I still had camera setting and strobe lighting issues that plagued me up till I participated in my first real photo workshop, Critterhunt, at the Crystal Blue Resort in Anilao, Philippines. This was a 10-day workshop held every May and totally worth it. This year, it was May 20-30, 2024, followed by a Blackwater workshop from May 30 -June 7.  Next year’s Critterhunt will be May 18-28, 2025.

Both were a big success not only for me but the other attendees as well. I have to say Mike Bartick, Bruce Shafer, and Walter Marti did an EXCELLENT job. The workshops were so much more compressive than I ever thought they would be, and I wasn't the only person to think this. From the lectures, photo reviews, diving, eating, and keeping my camera ready for the next dive, it seemed like I was busy from dusk to dawn, but it was all WORTH it. Now I feel confident I am on the path to recovery.

There were fifteen of us for Critterhunt and ten for the Blackwater workshop. Twelve of the participants were in a group organized by Channel Islands Dive Adventures, and the others arrived individually.  Ultralight Camera Solutions sponsored the event and supplied some GREAT swag bags and gift certificates. Ultralight also provided some camera accessories to try out, along with T-sticks and cutout clamps, which were very popular. The other side benefit for Ultralight was the suggestions and ideas for new and existing products we now have. Some of our best new selling products are from other people’s suggestions and ideas, which we are always happy to hear.

The workshop was organized in what I would call three main parts: diving, photo review, and editing. Mike Bartick did an hour of compressive and super helpful photo reviews in the morning, followed by two dives, one hour of detailed Lightroom editing by Bruce Shafer, and topped off with 1-2 more dives. We did this for eight days. It was a super busy schedule, and I went away with a much better foundation for underwater photography than ever before.

There were people with simple point-and-shoot cameras such as Sealife and Olympus TG series to mirrorless and DSLR rigs. For some, they went from not knowing much about their cameras to leaving with BIG smiles because of all they learned. Others had a good review with some positive reinforcement, and for me, I was somewhere in between going home with some excellent skills for me to continue with.

Mike spent plenty of time on each photo we submitted. He provided excellent information on the behavior of each critter, what he liked about each image, and how to photograph it better next time. The next day, the process would repeat all over again.

Bruce is exceptionally at using Lightroom for editing. He was there to share what he thought were the main parts of it that you would need to edit, store, and organize your images. Unfortunately, I have never used Lightroom, so I only sat in on the first lecture and did my own editing using the free windows 11 program. I did take away a few things, and the biggest one was not only that I should shoot in RAW but also why and the advantages of doing so.

If this sounds like something you would like to do, join the fun next year. Critterhunt will be May 18-28, 2025. Channel Islands Dive Adventures has eight rooms reserved, and Ultralight Camera Solutions will again sponsor the event. Read more about the Crystal Blue Resort in my next upcoming blog.

We've fielded inquiries about why we don't produce aluminum tripod mounts for GoPro or action camera housings. Much of this query boils down to a key factor: aluminum isn't designed for repetitive bending, as it can lead to cracking or breakage. A simple example is an aluminum can pull lid; if you bend it back and forth as it's designed, it will eventually break.

While other manufacturers offer aluminum tripod mounts, reports of some breaking for the above reasons underscore the challenges with this material.

Here are some differences between plastic and aluminum mounts:

• Lightweight: Plastic mounts tend to be lighter than their aluminum counterparts, which can be advantageous for weight-sensitive activities. However, for a small part like a tripod mount, the difference in weight may be negligible.
• Cost-effectiveness: Plastic mounts are usually more budget-friendly than aluminum ones. However, aluminum mounts could be a cost-effective and more durable option in the long run.
• Impact resistance: Both plastic and aluminum mounts can be engineered to be impact-resistant, ensuring durability in demanding conditions.
• Corrosion resistance: Plastic mounts typically incorporate stainless steel nuts, while aluminum mounts are threaded, eliminating the need for additional nuts. However, both materials face potential corrosion issues when paired with attaching bolts due to dissimilar metals.
• Water resistance: Both plastic and aluminum mounts are corrosion-resistant, making them suitable for wet environments without the risk of rust.
• Durability: Aluminum mounts generally offer superior durability compared to plastic ones, providing better resistance to impacts and rough handling.

For Ultralight Camera Solutions, manufacturing tripod mounts from aluminum could align with our commitment to quality and could offer a more durable and cost-effective option. Additionally, aluminum mounts could be available in various colors to suit individual preferences. However, the risk of breakage due to the material's limitations remains a concern, which may outweigh the potential benefits.

Ultralight Camera Solutions stands as a premier provider of top-notch underwater photography equipment, serving professionals and enthusiasts alike. Our products are proudly made, assembled, and packaged in the US using domestic materials, backed by a lifetime warranty.

Spread the love! We're not stuck in the 1960s anymore, where love was abundant but often unspoken. Leap ahead several decades to a time when many of us explore the depths, capturing the beauty beneath the waves with underwater cameras, smartphones, strobes, lights, action cameras, GoPros, and more. Just as plants flourish with water, our camera setups grow, evolving into elaborate configurations with multiple lights, strobes, perhaps a smartphone or action camera, and often dive computers. While there's nothing wrong with this progression, it's essential not to overlook the unsung heroes behind these setups: the accessories.

So, what does spreading love have to do with all this? A whole lot! When most people share their underwater pictures on social media, they're quick to mention or hashtag the gear they used: camera models, housings, lights, and more. Yet, one crucial element often remains unsung. The below is a good example and one of MANY. To share the love, even more, hashtags for all the manufacturers would be nice.

None of the equipment mentioned could produce stunning images without the essential accessories that hold it all together, allowing us to easily maneuver and adjust when needed Here's a challenge: next time you're diving, try using all your gear without any accessories and see how hard it all becomes. It's best to secure everything with lanyards first to prevent some costly equipment from taking a plunge to the ocean floor.

Many overlook the significance of accessories in achieving that perfect shot or video. While Ultralight Camera Solutions specializes in manufacturing camera accessories, their importance should never be underestimated. So, the next time you share your images or videos, please spread your appreciation and mention the companies behind your camera accessories. I assure you, they'll be grateful for the recognition!

Ultralight Camera Solutions is a leading provider of high-quality underwater photography equipment catering to professionals and enthusiasts alike. Our products are all manufactured, assembled, and packaged in the US with US materials and have a lifetime warranty. With a commitment to innovation and excellence, Ultralight continues to push the boundaries of underwater imaging technology.