AC-AQD04 Quick-Disconnect Arm: Faster Accessory Changes Underwater
As underwater photographers, we seem to acquire lots of gear, and much of it needs to be carried on every dive. That's where a short, quick-disconnect arm like the AC-AQD04 comes in handy.
Whether you're switching from a strobe to a snoot, removing a focus light, or changing accessories between dives, having a system that is both secure and easy to use can make all the difference.
Quick Changes Without Tools
The AC-AQD04 is a 4-inch arm featuring a simple integrated quick-disconnect mechanism that allows compatible accessories to be attached or removed in seconds. Simply press the release button to disconnect and snap the accessory back into place when needed. It can even be operated with one hand.
No tools. No fumbling with clamps. No unnecessary downtime.
Ideal for Lights, Snoots, and Accessories
The AC-AQD04 is perfect for mounting accessories that you may want to remove or reposition during a dive or shoot, including:
The quick-disconnect design allows you to adapt your system as conditions change while maintaining the reliability and strength Ultralight products are known for.
Built the Ultralight Way
Like all Ultralight Camera Solutions products, the AC-AQD04 is manufactured in Oxnard, California using aircraft-grade aluminum (6061), 316 Stainless Steel and precision machining. Designed for years of dependable service in demanding underwater and topside environments, it delivers the durability professionals and enthusiasts expect from Ultralight.
Modular and Versatile
The AC-AQD04 integrates seamlessly into existing Ultralight arm systems, making it easy to add quick-disconnect functionality without redesigning your entire setup. Whether you're building a compact macro rig or a large video system, the AC-AQD04 provides additional flexibility while keeping your equipment secure.
Designed for Real-World Use
Photographers and cinematographers are constantly refining their setups to improve efficiency and streamline their workflow. The AC-AQD04 was developed in collaboration with Ultralight Brand Ambassador Andrea Michelutti to make accessory changes faster and easier while maintaining the rugged reliability that has made Ultralight a trusted name for more than 30 years.
As an award-winning underwater photographer, Andrea knows that opportunities often appear without warning. His ability to quickly adapt his lighting and accessories to match the subject has contributed to his success in numerous underwater photography competitions. The AC-AQD04 was developed to help make those equipment changes fast, secure, and effortless.
Precision Machined. Made in the USA. Backed by a Lifetime Warranty.
Check out our YouTube video on the AC-AQD04
Read our Brand Ambassador, Andreaย Michaeltte's blog on the AC-AQD04 and how it has helped his photograpghy.
Blog by: Ultralight Brand Ambassador, Andrea Michelutti
I like a setup that lets me react fast, because underwater things change in a second. Every underwater photographer knows the feeling: you drop in rigged for macro, and suddenly a pelagic swims by. Or you are set up for wide-angle, and you spot the most perfect, tiny nudibranch. The ocean doesnโt care about your setup; that is why my main goals underwater are speed and adaptability: I hate missing a shot because Iโm busy unscrewing gear.
Here is how I keep the wet lenses ready on the arms
With my compact camera and my Ultralight Camera Solutions gear, Iโve built a rig that lets me switch from macro to wide-angle in a matter of seconds. I achieve this by keeping my additional wet lenses mounted directly on my ULCS arms. Instead of fumbling in my BCD pockets and risking scratches, I can switch them rapidly when the situation changes.
Lighting must be equally adaptable: thatโs why I keep a snoot mounted above the camera, within reach.
The ULCS AC-AQD04 quick release allows me to detach it in moments to shoot from different angles, pan by hand, or hand it to an assistant. No twisting, no struggling, just unclip and go.
Even when I keep the snoot mounted, I need total control over the light direction. This is where the Ultralight Cutout Clamps make a huge difference. Standard clamps can sometimes limit how far you can fold an arm, but the cutout design gives me an extra range of motion: it allows me to position the torch or the snoot at extreme angles that would otherwise be completely impossible.
Cutout Clamps for torch and snoot
This is the quick-release system for the snoot
To optimize everything and avoid tangles, I also wired my fiber optics directly along the arms. Two fibers are attached to one port, constantly connected to the two strobes on the sides of the housing. A third fiber sits on the other port, permanently connected to the snoot. If youโve ever tried to plug and unplug fiber optics underwater with cold hands, you know how frustrating it can be. This setup allows me to use the snoot and the strobes simultaneously without ever having to touch the cables.
Here is the permanent fiber optic routing
This configuration gives me total creative freedom. For example, I can shoot with the two side strobes to light the subject from the front, while simultaneously backlighting it with the snoot to get a dramatic, creative effect.
A result achieved using front strobes and backlit snoot simultaneously
Double snoot
This setup gives me the kind of versatility I really want underwater, and lets me shoot completely different subjects on the same dive. A perfect example is my photo Ad Astra: It was a cloudy day, what in Italy we call โcielo a pecorelleโ. I was originally shooting macro, but when I saw the rays of light, I converted to wide-angle instantly. I was lucky, but also ready: the jellyfish was perfectly positioned in front of the sun, looking like a starship going โAd Astraโ.
Ad Astra
Moving with the full rig underwater
Looking at the rig in these behind-the-scenes shots, it might seem difficult to move around with so much gear. In reality, you get used to it very quickly. Thanks to the lightness of the Ultralight arms and clamps I donโt need a lot of floats to keep the rig close to neutral. When the arms and clamps hold everything solidly in place without slipping, and the quick releases let you swap components effortlessly, a complex setup actually becomes very intuitive to handle underwater. Less bulk, more stability, and much easier to handle than it looks.
If you have any questions about the rig or the ULCS parts I use, just drop me a mail through the contact section on my website: www.andreamichelutti.net, or message me on Facebook or Instagram.
The Ultralight CTK-DWTK Camera Dome Weight Trim Kit is designed to give underwater photographers perfect balance and stability when using dome port housings that tend to float upward. This lift can cause arm and hand fatigue and make it difficult to line up the perfect shot.
The fully adjustable trim system can be positioned both horizontally and vertically and attaches securely to the housing with a plate that wonโt damage the underside mounting pad. When weights (not included) are placed correctly, it delivers precise weight distribution to reduce front-heavy rigs, improve trim, and enhance control during dives.
Our first field tester for the CTK-DWTK was Mark B. Hatter. Since then, weโve had additional photographers test it on a variety of camera rigs, and the response has been overwhelmingly positive. Every tester came back with the same impression: the CTK-DWTK was a true game changer for stability, handling, and overall usability in the water
Below is Mark's report on the Ultralight dome trim kit.
The CTK-DWTK Camera Dome Trim Weight Kit has added a new dimension of subject opportunities back into my shooting arsenal. The next time the boat is briefing us on schooling hammerheads in Cocos or spawning Bumphead parrotfish in Palau, I wonโt be using hope as a strategy to shoot skittish subjects with my fisheye kit; Iโll be shooting a 16-35mm lens behind my super dome, horizontally balanced with my CTK-DWTK Camera Dome Trim Weight Kit.
If youโre a full-frame sensor shooter and are like me, I suspect that most of your shooting is either with an ultra-wide-angle fisheye lens behind a dome port or a narrow field of view telephoto macro lens behind a small, flat port. From a subject and convenience point of view, it seems that most of my subjects fall into one of these two categories.
However, my lack of interest in shooting an intermediate lens, like the venerable 16-35mm zoom, is more sinister than simply a matter of choice. My no-love, mostly-hate relationship with this lens stems from how it behaves when rigged behind a super dome port underwater.
Let me explain: Fisheye lenses are physically short and do not require much port extension when deployed. And many shooters use the so-called โmini-domesโ with their fisheye lenses because it is easier to balance the camera kit for underwater use than with a super dome.
However, for overall corner-to-corner sharpness, the 9-inch super dome is superior to a mini-dome, but at a minor cost: a slightly nose-up buoyancy attitude due to the extra volume behind the glass. When shooting the super dome with my fisheye lens, itโs something Iโve learned to live with.
But simply employing either the fisheye or macro kit arrangement hamstrings my ability to effectively shoot a wider range of subjects that fall between the 180-degree field of view or the one-to-one shooting realm. Think sharks, whales, mantas, or any subject that is too skittish to allow close approach, large or small. These subjects, which fall into the โrectilinear wide angleโ category, are often best tackled with a 16-35mm range lens with best performance, again, coming from behind a super dome.
But the issue which makes the super dome a bit of a pain in front of a fisheye lens is amplified significantly when shooting the 16-35mm lens, which requires a longer port extension, typically 70mm in length. Itโs the longer port extension that amplifies the nose-up buoyancy aggravation and has driven me to mostly shelve my 16-35mm kit for underwater shooting.
Indeed, my attitude toward not using my 16-35mm kit is so strong that Iโve literally only employed it for surface shooting whales for the last two years. On the surface, the nose-up buoyancy is a benefit, as the floating rig is at no risk of sinking or causing fatigue during long swims.
However, for full-on underwater use, my near-neutral-buoyant, vertically oriented rig drives me crazy, to the point where I hope skittish subjects, like a shark or a manta, will come close enough for me to grab with my fisheye kit. This is not the most efficient or productive way to shoot.
When I visited the Ultralight Control Systems (ULCS) DEMA booth two years ago, I was discussing my grievance with the owner, Ken Kollwitz. โThere needs to be some commercial method available to shooters of cantilevering a counterweight at the end of the super dome to offset the nose-up attitude of the camera kit,โ I complained. โEven if near-neutral buoyant, my rig is hard to shoot with a single hand and fatiguing over the course of the dive. I just wonโt use it while diving anymore.โ
Happily, this past November, when I visited Kenโs booth at DEMA, he had taken my concerns to the engineering drawing board. The result was a fully adjustable bracket assembly that bolts to the bottom of the camera housing with an arm that can be adjusted vertically and horizontally to fit virtually any camera/dome kit combination on the market, allowing the mounting of a weight at the end of the horizontal bracket. The weight can either be permanently or temporarily mounted, depending on the needs of the user. Travel weight-conscious shooters will appreciate the velcro strap provided in the kit to mount the lead, which is always provided to divers at destinations.
I was hot to get my hands on one and wanted to buy the only unit he had to display at his booth. But I had a secondary issue: the bolt hole was US standard in his demo bracket, and I needed a slightly larger bolt hole to allow mounting on my Seacam housing. Ken generously offered to set me up after the show.
About a week later, I received the CTK-DWTK Camera Dome Trim Weight Kit for Underwater Camera Housings in the mail from ULCS with the larger hole bracket and all manner of stainless steel machine screws to put my bracket to a practical test. Ultimately, I established that one kilo of lead fastened to the end of the bracket, adjusted to sit under the sunshade, was just about perfect in the pool test I conducted in my backyard.
The cantilevered weight held the camera kit near horizontal underwater, a dramatic improvement over the vertical attitude my kit reverts to sans the weight.
It was time to put the bracket to the acid test; a trip to Komodo this past March, where swirling currents and all manner of intermediate subjects would demand the use of my formerly shunned 16-35mm outfit in a balanced, horizontal orientation.
The results were liberating! The cantilevered one-kilo lead weight held my kit horizontally in the saltwater, and the slightly negative buoyancy enabled easy one-hand shooting. Finally, I was able to maximize the virtues of the 16-35mm kit, shooting everything from manta rays to close focus subjects like anemonefish and a pair of Halimeda ghost pipefish, at 35mm, one-handed!
I think the CTK-DWTK Camera Dome Trim Weight Kit is a game-changer. But donโt take my word on it, check out the video and images provided courtesy of my dive buddy Kevin Kurtz during our Komodo adventure.
Mark travels all over the world and is a trip leader for Bluewater Photo. Read more about Mark HERE.
Weโre excited to be back at the Long Beach Scuba Show this year. As a longtime scuba exhibitor, this is one of our favorite events because it brings together divers, photographers, and industry professionals all in one place. Weโd love for you to stop by and see what weโve been working on.
Long Beach Scuba Show 2026
Where: Long Beach Convention Center in SoCal
Booth #310
When: May 30โ31, 2026
Youโll find Ultralight Camera Solutions (ULCS) at Booth #310, a corner booth near the entrance. Itโs a great chance to come by early, ask questions, and try out our gear. Owner Ken Kollwitz will be there to greet visitors, share his passion for diving and underwater photography, and discuss the latest Ultralight innovations.
The Long Beach Scuba Show is Americaโs largest consumer dive expo. That means youโll see a wide mix of people: new divers just getting started, experienced underwater photographers, and professionals whoโve been shooting for decades.
With over 250 exhibitors, seminars, training opportunities, and even a try-dive pool, itโs one of the few places where the entire dive community comes together in one room.
For us, thatโs what makes it worth being there. As scuba experts and dive experts, we value the chance to talk directly with the people who use our underwater camera gear in the real world โ not just dealers, but divers and shooters at every level.
At ULCS, we design underwater gear for divers at every stage. Whether youโre just getting started or refining a professional setup, weโll have underwater kits, components, and accessories that can fit your system and grow with you over time.
Weโll be showcasing a full range of:
One of the biggest advantages of visiting us at the show is the ability to actually handle the gear. You can test configurations, see how components connect, and get a better understanding of how everything works together before making a decision.
This year, weโll also have three newer camera accessories on display that we developed in response to real-world feedback from dealers and photographers.
Weโve introduced a quick-release adapter, a camera dome weight trim kit, and a stabilizing plate for video and still photography. These werenโt theoretical ideas. They came directly from people running into the same issues over and over again.
Each one of these new products improves balance, control, and efficiency underwater โ three qualities that make a real difference when youโre trying to get the perfect underwater shot. Weโre so excited to introduce you to them at the Long Beach Scuba Show so you can see them up close for yourself.
ULCS has always been a Southern California company. And that matters to us, especially at a show like this. Our owner, Ken Kollwitz, has been diving the local waters for over 30 years, and many of our products were developed and tested right here on those dives.
Supporting local events like the Long Beach Scuba Show is our way of giving back to the community that shaped who we are. When you visit our booth, youโre not just talking to a brand. Youโre connecting with dive experts who share your experiences and passion. We dive the same waters, face the same conditions, and provide the best gear to elevate your underwater photos and videos.
When you visit us at the show, youโll be able to:
We want people to walk away from our booth feeling confident in what theyโre buying.All of our underwater photography and cinematography parts are made in the USA, built to last, and backed by a lifetime warranty. That means youโre not replacing gear every season, but investing in something built to withstand the tests of time. It also means youโre supporting a SoCal small business thatโs part of the same local dive community that you are.
If youโre planning to attend the Long Beach Scuba Show, make sure to stop by Booth #310. Whether youโre building your first setup or refining an existing one, weโre always happy to talk through options and help you find what works best.
Weโll see you in Long Beach.
ย Join us at the Crystal Blue Resort for the Ultralight WAM Jam. This workshop, run by Ultralight's Brand Ambassador, Mike Bartick, will cover wide-angle macro (WAM), close focus wide-angle, lighting, composition, and more. The trip is from October 1 to 10, 2026. This will be a 10-night/11-day trip you will not want to miss!
Topics covered will be:
Cost is $2995.00 double occupancy (single rates available) and includes:
Ultralight Camera Solutions organizes the trip, and sign-ups are done through Channel Islands Dive Adventures, both owned by Ken Kollwitz.
Please visit the WAM Jam link to sign up and learn more about the trip and other important details. Also, please don't hesitate to contact Ken for more information by email, info@ulcs.com, or call (805) 469-7288
Anilao is a Marine Protected Sanctuary and one of the Philippines' best spots for underwater macro photography. Crystal Blue has world-class dive sites within minutes of the resort's house reef. Anilao isn't only about macro photography and muck diving. There are also thriving reefs, with plenty of wide-angle subjects and scenery to help sharpen your skills for the next 10 days. You can also observe schools of various fish, some hard and soft coral, sponges, and many colorful crinoids.
All dives are conducted from dual outrigger-style Banca boats, with a maximum of four divers per guide. Plus, we will have two extra guides to help throughout the workshop. With the valet-style diving they offer, and no crowds on the boats, it just can't get any easier. Two dives are offered in the morning and two in the afternoon. From June to October, the dry season prevails, making it the best dive season in Anilao, with water temperature averaging 82-84ยฐF.
Crystal Blue Resort is an excellent resort with wonderful staff. It is built on a hillside, so some stair climbing is required. The upper area comprises two levels, with rooms above the main office; each level offers several room types. All are spacious, fully air-conditioned, with queen-size beds, bathrooms, and showers, and have a garden or ocean view. The main office, lecture room, and open-air dining area are located in the central area of the resort. Meals are served three times a day and are delicious, with plenty of options for everyone.
The lower level has a camera room, bar, and dive area. For all the photographers, Crystal Blue has one of the best camera rooms you will ever find. It has ample space, charging, and storage at each station, in an environmentally controlled environment. There is no need to carry your camera anywhere except between the camera room and the dive deck below.
Like the rest of the resort, the dive area is well-organized, making life easier for everyone. It has storage cubbies with boxes for your loose gear, with the suits and hard gear stored in an area for your assigned boat. There are camera and gear rinse areas, as well as a camera-drying area with low-pressure air nozzles. All scuba cylinders are filled with Nitrox and stored in an area designated for your boat. The staff are friendly and will take care of everything to ensure you have an excellent trip.
Arrive at one of the three Manila airport terminals (MNL) on the morning of October 1, 2026. After you get your bags and head outside, you will be greeted by staff from the Crystal Blue Resort. The land transfer to the resort takes approximately 2.5 hours in a large, air-conditioned van, accommodating 4-5 well-equipped photographers with dive gear. Group transfers will be coordinated with Ken from CIDA and arranged with Crystal Blue staff based on each guest's arrival time. Once at the resort, you can relax and get situated for the upcoming ten days of non-stop photo fun.
On October 9, 2026, it will be time to say goodbye to all your new & old friends. Then, early the next morning, on October 10, 2026, it will be time to depart the resort by van for the airport.
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. Itโs 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.
My name is Stanislav Stelmakhovich. I was born in 1985 in USSR, where I spent much of my early life. However, over the past several years Iโve become truly nomadic, constantly working across the world in places like South Africa, Tonga, Mexico, Indonesia, and Montenegro. These regions have become my second home, and I now spend almost the entire year traveling between them on marine filming expeditions.
Itโs interesting to reflect on what led me here. I grew up in the Soviet Union, where almost all children had the same toys and books. But I happened to own three special books โ about whales, sharks and rays, and wild cats. These shaped my imagination deeply. Decades later, I find myself photographing the very creatures I discovered as a child.
As a child, I was also profoundly moved by Jacques Cousteauโs Odyssey. The music and visual storytelling stayed with me for life โ and today, I strive to create cinematic moments that inspire others in the same way.
What kind of diver are you, and what do you prefer to film underwater?
Iโm a certified Advanced scuba diver, and I use scuba mainly when working with sharks and rays. But when it comes to filming whales and dolphins, I rely on freediving.
My personal best is 4 minutes breath-hold and 35 meters, and Iโve maintained this level comfortably for years. I rarely dive deeper, as I prefer to shoot in natural light, and deeper waters strip away volume and color โ especially when filming large marine mammals.
This year, Iโm completing my certification as a freediving instructor. I want to guide expedition guests into the water safely and naturally, without scaring marine animals or ourselves.
What inspired your passion for underwater cinematography?
It all goes back to childhood fascination, but as an adult, I found that underwater cinematography offered something unique: a moment of contact and trust between human and animal.
Iโve had incredible interactions with humpback whales, sperm whales, and dolphins, and the most magical moments happen when they initiate the encounter.
There is a unique kind of humility in floating before a massive animal that chooses to approach you. These moments are unforgettable, and I document them not only for film but for advocacy โ to help others feel what I feel and care about the ocean as I do.
Favorite filming locations and why?
One of my favorite places is Tonga, where regulations are strict and encounters are intimate. Only four swimmers plus a licensed guide are allowed in the water with humpbacks at one time.
Itโs one of the few places where ecological integrity and powerful storytelling can go hand in hand.
I organize expeditions there annually, working with a team to film exclusive footage that we later propose for larger projects with major production companies.
What gear do you use, and how do you stay current?
Right now I film primarily with the Canon R3, which I love for its 6K RAW capability in a compact, ergonomic body.
It allows me to capture footage suitable for National Geographic, BBC, and Netflix, while also staying light and agile underwater.
We are now transitioning fully to Canon, and I also frequently use GoPro and Insta360 cameras for immersive angles, behind-the-scenes content, and social media.
I closely follow new technologies. Tools like the Canon R3 give us cinema-grade power in a travel-friendly package, and Iโm always watching for new tools to simplify setups and expand creative options.
Do you prefer natural or artificial lighting?
I generally work with natural light, especially when filming whales and dolphins, who can be disturbed or even harmed by strong artificial light.
But I do sometimes use creative lighting โ by placing lights on a separate rig, we can create cinematic effects like backlight, side-lighting, or highlight plankton and particles.
How do you approach composition and behavior underwater?
I often position myself 5 to 7 meters below the surface, shooting upward or across at the subject.
Shooting from this level gives the image depth, drama, and dimension, unlike surface-level shots which can feel flat.
Have you had any dangerous or transformative experiences?
Yes. Years ago, I encountered a longimanus (oceanic whitetip shark) that showed predatory curiosity. I didnโt know how to respond and developed a fear of deep water.
To overcome it, I went on shark expeditions โ with tiger sharks, bull sharks, and more. Years later, I met another longimanus โ but this time, I was leading a group, remained calm, and filmed close-up shots without touching the animal.
That moment marked a personal milestone and a full-circle experience.
Do you use your work to promote ocean conservation?
Absolutely. I see storytelling and conservation as inseparable.
Iโve filmed on permit in Mauritius, witnessing how tourism impacts cetaceans. Though swimming with whales is technically banned, in reality itโs unregulated.
In my lectures โ held in Cape Town, Belgrade (Serbia), Montenegro, Tbilisi (Georgia), Indonesia, Tonga, and wherever I have the opportunity to speak โ I urge ethical practices and highlight contradictions in marine tourism.
During expeditions, I work with a marine biologist to ensure scientific accuracy and global awareness. On social media, I tell stories of the animals and why they must be protected.
What advice do you give aspiring underwater filmmakers?
Underwater cinematography is a craft โ like learning a language or a sport, it takes practice and mentorship.
You need to go on expeditions, work side by side with others, and learn in real-world conditions.
Thatโs why I always invite people to join my trips. I support with gear setup, camera settings, footage review, and anything else that helps them grow.
Whatโs next for you in your career?
I want to move from contributing footage to being the primary author and director of feature-length documentaries.
Iโve had work in major productions, but now I want to tell the story myself, to speak for the ocean, and deliver a message that is visually powerful and emotionally compelling.
How does gear influence your work?
Reliable gear is everything. Nature doesnโt wait.
During last yearโs Sardine Run, orcas started hunting just as we entered the water. No time to adjust anything โ the gear had to be pre-set and fail-proof.
Thatโs why I rely on Ultralight โ because every second and every shot matters.
What advice do you have for filmmakers who want to work with brands?
We need mutual respect and communication between gear companies and independent underwater professionals.
Iโm not just a filmmaker โ Iโm also a professional colorist and editor, with deep post-production experience. I know what usable footage really means, and I have concrete feedback on gear design.
Manufacturers need to listen โ not just to large studios, but to those of us who work solo in real conditions.
I believe in building long-term, creative partnerships between makers and users.
What is why I am excited to work with Ultralight.
Thank you, Stanislav, for taking the time to share more about yourself and your work with us. We definitely picked up a few new things, and Iโm sure our customers did too. Itโs always great hearing how someone finds their way into a field they loveโthe wins, the lessons, and everything in between.โ
For more information, you can find Stainislav at 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. Itโs 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 Vasco Coelho, and I was born in Lisbon and have spent my life between Setรบbal and Lisbon. In 2020, I started my degree at IADE, where I had my first academic contact with photography. I learned several techniques and a lot about visual culture, since then, in 2023, I started a masterโs degree in communication sciences at NOVA FCSH with the aim of deepening my study of cinema, which culminated in a Documentary "23 Miles". I have currently started my PhD in Fine Arts at FBAUL, where I intend to connect the Arts to the natural sciences and look for a way, with this connection, to make science more accessible, including art about nature in society.
What things in life helped you get where you are today?
When I was a child, my father used to dive. I remember looking at all his equipment with curiosity and a deep desire to one day do the same. He eventually took me to Portinho da Arrรกbida, a beach located within Portugalโs first marine protected area. There, I began snorkeling alongside him, discovering a world that didnโt belong to us, yet immediately felt magical.
The following year, I brought a small disposable camera with me. At just seven years old, I became an underwater photographer, without even realizing it.
Years later, in 2023, with more time and intention, I decided to take my diving certification so I could once again dive with my father. I completed the Open Water, Advanced, and Nitrox courses, and Iโm now beginning TDIโs technical diving training, with the goal of documenting depths of up to 50 meters by the end of 2026.
Everything Iโve experienced has shaped who I am today. I continue to work in photojournalism and documentary photography; they are my foundation, but increasingly, I feel drawn to the water, to capture and share what so few have the chance to see.
What level diver are you and where do you like to dive?
Right now, I have PADI Nitrox / Advanced Diver, and I'm finishing TDI's Intro to Tech
What inspired you to specialize in underwater photography?
What inspired me most was my father. He began photographing underwater before I was even born. When I was little, I used to look at his photos and videos with endless curiosity, always asking to see more. About five years ago, I even took his old Nikonos camera, complete with the old ULCS arms, and to my surprise, everything still worked perfectly!
Of course, I was also deeply inspired by Jacques Cousteauโs The Odyssey, a series of underwater films that I watched many times growing up. The Silent World continues to inspire me as well, and in underwater photography, David Doubilet and Jennifer Hayes are my biggest idols.
What were some of the biggest challenges you faced when starting out?
I come from a background in documentary photography and photojournalism on land, where I can change lenses whenever I want, swap memory cards, and move freely. But when I started diving, everything changed. Itโs not the diving itself thatโs hard to adapt to; itโs the time. Underwater, every meter counts. Every movement, every breath, every second matters for safety. Balancing that constant awareness while trying to capture strong images isnโt easy. With time, you learn to manage it, but in the beginning, one hour underwater feels like just five minutes on land.
Can you share a memorable moment or experience from your underwater adventures?
The best diving experience Iโve had so far was making my father dive again. He hadnโt been underwater for 20 years, and convincing him to return was something truly special. Sharing a dive with him after all these years was one of the most unforgettable moments of my life. On the boat ride, he kept telling stories about what diving was like in his time, using a Mistral, a bib, going down to 40 meters with a 12-liter tank, barely a meter of visibility, and training without a mask. Listening to him brought the past to life, and seeing him back in the water felt like closing a beautiful circle between generations.
What are your favorite locations or dive sites for underwater videography, and why? Without a doubt, itโs Sesimbra. Just five minutes from my home, I have the chance to discover something new every time I dive there. I can go whenever I want, with a tank or just freediving, and each dive reveals new corners and hidden life. Itโs undoubtedly my home, a place that always offers good surprises: sunfish, sharks, even basking sharks, and sometimes large whales or orcas. Sesimbra is a true sanctuary, itโs where I dive at home.
What camera setup do you currently use for underwater photography? Right now, I'm using a Nikon Z8 with a Nikkor 17-35 ED F2.8. I love this setup. The old lenses are much faster with the FTZ adapter and the Nikon Z8 or Z9, and this lens has an abysmal quality. I love 17mm for wide-angle, and having a 35mm zoom is an asset for some images. I recommend this setup and this lens.
I use a Seacam Housing with two Subtronic Mega Color flashes. They are old, but I can change the color temperature in the flash itself. I found this very interesting.
Do you prefer macro or wide-angle photography, and why?
I love wide-angle photography. It allows me to capture the environment around me, to show the vastness and beauty of underwater landscapes, to portray technical divers in action, and to get close to marine animals while still revealing the world they inhabit. Through wide-angle images, I try to connect the subject and its surroundings, showing the harmony and scale of life beneath the surface.
Do you prefer strobes or natural light, and why?
I like to mix the two. When I photograph animals, I want to light them well and show the environment behind them. I also want to photograph landscapes, and when the light is good, it's not worth using the flash.
Do you have any favorite settings or techniques for capturing sharp, vibrant underwater images that you can share?
Patience and waiting for the right moment are undoubtedly two of the techniques I rely on most. However, what helps me even more is carefully planning each dive and thoroughly studying both the subject and the underwater environment, so that when we are there, nothing catches us by surprise.
How do you stay updated on the latest techniques and technologies in underwater photography?
Thatโs a great question. I always like to stay up to date with new technologies. I follow several YouTube channels that review gear, but even more importantly, I follow the official channels of brands, which often share their latest products and innovations.
Whatโs your favorite piece of gear from Ultralight and why?
I really like the ULCS DB-08, it's one of the main pieces of my setup and it never let me down, it's the right size for what I do, and it connects my flashes to the Housing in a very secure way.
What inspires your underwater photography? Do you have a specific theme or style?
I draw a lot of inspiration from other photographers. Many create truly remarkable work, such as Laurent Ballesta, David Doubilet, and Jennifer Hayes. Even photographers who donโt shoot underwater, like Henri Cartier-Bresson, James Stanfield, and Eddie Adams, serve as important sources of inspiration and study for me.
I particularly enjoy blending ambient light with artificial light. When I photograph larger animals, I like to experiment with slower shutter speeds to capture a sense of movement and atmosphere.
How do you approach composition underwater, considering movement and marine life behavior?
I always try to approach calmly, staying close to the bottom without disturbing gorgonians, corals, or other fragile marine life, so as not to scare the animals away. Many of them are naturally curious and tend to come toward us if we remain calm. Often, itโs our impatience that drives them away.
Whatโs your favorite type of marine subject to photograph, and why?
What I love most about this theme is the underwater mountains. Iโm fascinated by rocky slopes surrounded by the deep blue of the sea. These areas often host passing schools of fish, corals, and even small animals, but from a wide-angle perspective, they make for striking images, with or without a diver.
Iโm also drawn to shipwrecks, which are hotspots for marine life. The atmosphere there is magical.
Have you ever encountered any unexpected or dangerous situations while doing your photography underwater?
Once, I was photographing a nudibranch in macro mode, kneeling right next to a rock, when my father touched me on the shoulder, telling me to get out of there. When I moved, I realized there was a poisonous fish right under me, between my legs. Itโs funny now, but at the time, it definitely wasnโt!
Do you use your photography to promote ocean conservation? If so, how?
Without a doubt!
Every underwater photographer plays a role in conservation, whether voluntarily or not. Just by posting an image of a marine animal on social media, we are already contributing; we are showing the world what exists beneath the surface.
In my case, I started the Analog Sharks project, which promotes the protection of rays and sharks in Portuguese waters through analog photography. The project is still in its early stages, but over the next four years, we hope to gain more followers and support, helping Portuguese waters regain a greater diversity of these species than they currently have. Itโs also about raising awareness and showing people that, yes, Portugal is home to sharks and many species of rays.
Are there any conservation projects or initiatives youโre passionate about?
There are several projects that I find very inspiring. For example, the Sea Legacy project with Paul Nicklen and Cristina Mittermeier, Dr. Jane Goodallโs Roots & Shoots initiative, and here in Portugal, the Generation Earth project supported by WWF. There are many interesting initiatives and opportunities, especially in times like these, when we should take the lead in creating our own. The key is to have ideas and make the effort to put them into practice.
How do you think underwater photography can contribute to marine conservation efforts?
Underwater photography is a powerful tool for ocean conservation. By showcasing marine species, habitats, and the scientific work taking place beneath the surface, we can raise awareness. Sharing these images is an important step toward protecting these environments. Advice for Aspiring Underwater Photographers
Whatโs the best piece of advice youโd give to someone just starting out?
The best advice is to have fun, enjoy the sea, the species, and try to discover (safely) new places near your home, new areas where you can even find species new to science.
What are common mistakes new underwater photographers make, and how can they avoid them?
The biggest mistake many photographers make when starting out is putting photography before diving safety. First and foremost, we must always prioritize safety underwater; itโs not worth capturing a great image if it puts our lives at risk.
Over time, as we become more comfortable in the water, the best photos happen when the ocean surprises us, not when we try to force it to deliver an image.
Any recommended resources (books, courses, workshops) for learning underwater photography?
For me, there are two ways to learn photography: books and YouTube. YouTube offers unlimited content, and we have so many options.
The key is to choose what to learn and then practice it; thatโs how I learned, and it remains an incredible resource.
Two books I can recommend are Magnum Contact Sheets and The Manual of Underwater Photography by Verlag Christa Hemmen.
Whatโs next for you in your photography journey? Any exciting projects or goals?
I have big ambitions for the Analog Sharks project. Over the next four years, I want to showcase the species of sharks and rays that exist in mainland Portugal, the Azores, and Madeira.
The funniest part is that it will all be done with analog photography, a format that many consider outdated, but for me, it will form the foundation of the project.
I aim to document rays, sharks, and scientific research entirely without digital images. It will be challenging, but incredibly fun. My hope is that people will fall in love with these animals and the project itself.
What does being an Ultralight brand ambassador mean to you?
Being a ULCS ambassador means I can rely on the support of a quality brand that cares deeply about its products.
It also means that in every project I undertake, I donโt have to worry about whether a piece of equipment will fail or break. From my experience using this gear, I know that wonโt happen.
This reliability allows me to focus fully on creativity, knowing that my equipment will never be a limiting factor.
How did your partnership with Ultralight come about?
This partnership came about because of the Analog Sharks project. I needed equipment and reached out for support. I wasnโt expecting an invitation, but Ken was, as always, incredibly friendly and helpful. He asked if I would accept becoming a brand ambassador, and I couldnโt refuse.
Itโs an amazing opportunity, and I hope this partnership continues for many years to come.
Has working with Ultralight influenced your photography?
Of course, I don't have to worry about equipment failures.
What excites you most about being a brand ambassador for this company?
Sometimes I come up with ideas for new equipment, things that arenโt available for sale online. ULCS allows me to submit proposals for new products and ideas, which I find fantastic.
What unique features of Ultralight do you find most valuable?
I really appreciate how easy it is to contact ULCS, whether via Instagram or email. They respond as quickly as possible and always try to help, which I think is very important.
Can you share a project where this gear significantly impacted your work?
During the filming of the documentary 23 Miles, I used four old DB-08 ULCS arms, 20 years old, and it has never failed to this day.
It made handling the equipment underwater much easier and removed one more concern for me. I didnโt have to exert extra effort to move the housing in the water because it was perfectly trimmed.
Do you get to test or provide feedback on new gear before itโs released?
I havenโt had the time for that yet, but I hope to be able to collaborate and provide feedback on new equipment in the future.
What advice do you have for photographers who want to work with brands?
Itโs a great opportunity to expand the creative potential on every dive. The variety of equipment is immense; we can choose any piece, combine it with another, and create multiple setups, from macro to wide-angle.
Have you ever thought about taking the flash off the arms and away from the camera? Itโs possible to place the flash on a tripod and use it that way. With equipment like this, creativity is the only limit, and thatโs fantastic.
Thank you, Vasco, for taking the time to share more about yourself and your work with us. We definitely picked up a few new things, and Iโm sure our customers did too. Itโs always great hearing how someone finds their way into a field they loveโthe wins, the lessons, and everything in between.โ
For more information, you can find Vasco at his Photojournalist website, Analog Shark Instagram, YouTube channel, and personal 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. Itโs 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.
Could you please share a little about yourself and the journey that brought you to where you are today?
Sure, my name is Kjetil Astrup, and I grew up in the south of Norway, freediving after crabs in rich kelp forests in the archipelago. My family always travelled a lot, and Iโm doing the same with my kids now. Seeing the world is a proper part of a proper upbringing in world history, culture, and food, which, I think, leads to healthy reflection and respect. As soon as I turned old enough to buy my own airline tickets, I went to the Red Sea to get my diving license. I saw a camerawoman onboard our boat with an Ikelite housing. At the same
time, I was about to start my cinematography studies, and I thought that the water element
mixed into my coming career would be something I needed to delve more deeply into. The year
after, I had her job, and I moved to Egypt, where I was filming in the water for half a year. My
voyage took me further on to South-East Asia, where I was based in Thailand for quite some while,
and then backpacking and filming through Borneo, West Timor, Indonesia, Malaysia, Vietnam,
Singapore, Laos, Cambodia, continuing on to my last years of film studies on the west coast of Australia,
in Perth. When I graduated, I moved back to Norway, as my vision has always been to contribute a
professional element of water-related filming to the film industry in Scandinavia.
What things in life have helped you get where you are today?
Getting where I am today is thanks to having a foot in both the diving and the film industry. Iโve
been running a few diving centres, arranged dozens of diving expeditions, hung around the
DEMA, IBC, and BOOT expos and dived on almost every continent. Over a couple of thousand
dives later broadens your horizons and gives you a lot of friends around. For example, now Iโm
using my vast connection network of divers whenever we need a specific diving location.
Also, my parents always cheered me on chasing my passion dreams, and after I met my Swiss
wife (working diving on Gili Island in Indonesia), she has been my biggest supporter in doing what I
love, underwater cinematography.
What level diver are you, and where do you like to dive?
Today Iโm a PADI Master Scuba Diving Trainer with speciality in tens of courses; ice, self-reliant,
first aid, photo, film, amongst others. Iโm also a commercial diver, as some countries demand
different types of regulations when filming/working in water. I love tropical diving, but also cold
water diving. As long as the waters are nutrient, vivid and colourful, I enjoy it. But Iโm also fond of going
under the ice for the special light and unique environment. And of course, some of our strangest
but most fun work is filming in tanks for movies.
Can you share a memorable moment or experience from your underwater adventures?
One of my best moments from a diving expedition was on our honeymoon. We went diving and filming
great white sharks at Isla Guadalupe, outside Mexico, more than ten years ago. No cage and with
the supervision of Dr. Mauricio Hoyos. Extremely grateful for the seriousness of the expedition,
taking care of the animals, respect for the shark king of the ocean, and also our humbleness in getting
the shark in front of our lens to show and educate others. At one point throughout the dive, we had
three 5-meter great whites around us. The whole situation manifested in me that this was it, Iโm
supposed to be behind a camera in water. Sharks or actors, this is what Iโm going to do the rest
of my life. It didnโt help that my night reading was Blue Water, White Death from Ron & Valerie
Taylor's shark adventures.
What are your favorite locations or dive sites for underwater photography, and why?
I canโt really say if I have a favourite dive site for underwater cinematography. Every brief is always
different. As Iโm also the coordinator of every water unit expedition my team and I go on, I
find interest in the process of unlocking the solutions for every project. Last October, we needed
to film beauty shots of tuna for a TV series where we ended up outside Comino Island in Malta. In
the middle of the pandemic, we needed to find a lake in Europe with crystal clear water, solid ice,
ok logistics, and the possibility to travel in a crew from the Netherlands and Norway. We did all the R&D as it was a highly specified underwater shoot, and thatโs, of course, our specialization. We ended up in
the Tyrol mountains north of Italy, where we filmed scenes over and under the water for Netflix.
Non-work related, if I could choose right now, I think my top 5 want-to-dive sites would be
mantas and dolphins at Revillagigedo Island, cownose rays at Baja California, whale shark diving
in Oman, I havenโt been to Raja Ampat, and on that same trip, I would go to Maluku to find and film
the mysterious leatherback turtle! Also, I have a few secret spots in Thailand I need to explore soon.
What camera setup do you currently use for underwater photography?
As every dive brief is different, the same goes with the tech. My in-house rig is the low-light king, Sony
A7S3. I go a long way with that one when we film orcas and humpbacks up in the Arctic with very
little sunlight. I tend to film a lot between 16 and 40mm, so my lens kit would be somewhere
around that. I always pack a couple of wide-angle lenses in addition, working as backups but also for establishing and general wide-angle shots. I have the wet lenses Sea&Sea SWL-Fisheye 12mm
f/3.5 and Nikon UW Nikonos 15mm f/2. Super sharp old lenses that still work great. In addition, I
film a lot with the Sony FE 16-35mm f/2.8 GM zoom lens in a Nauticam housing, what the WACP-2
dome. I can get some really close shots, but also the split shots on the surface with this amazing,
thick lens glass. The fun lens is the 24mm macro snorkel from Laowa, which I have an underwater
adapter for, so I can submerge the whole rig and do super macro with a wide background.
When filming for movie projects, we tend to use bigger cine cameras to align the workflow from
A-cam. My company, Cinemarine, is representing Hydroflex housings in Northern Europe. That
housing has no limitations, fits all cameras and lenses. Analog, digital, primes, and zooms. Even
the super-slow-motion 4K camera Phantom. Itโs all packed to travel, as we fly worldwide with all
the gear we have.
How do you decide what gear to use?
My gear preferences are always project-based. Iโve used Gates, OceanEye, and IMAX
(Hydroflex), Nauticam, Amphibico, Ikelite, Hugyfot, custom rigs, etc., all there is. Each tech is there
for its own reason, whether shooting macro wildlife or actors in an indoor pool. I love doing both. I find it as much fun filming eyes on a scallop as well as action scenes with actors in a pool with added
wind, current, and waves.
Do you prefer artificial or natural light, and why?
Shooting in nature with a wide-angle lens, I rely heavily on natural light. Only sun if you want the God
rays, or cloudy if needing a nice overall diffused light from above. I always bring with me a couple
of Keldan lights and a small LED panel that can fit in my BCD pocket if I need more focus light or
get rid of raccoon eyes inside a mask.
Do you have any favorite techniques that you can share?
Planning a film dive is always very much about checking the weather forecasts and getting proper local intel on visibility. I get local divers to give us hands-on feedback and to provide photos/video, as vertical and horizontal visibility can differ. You have to add in thermocline, halocline, plankton floating around, river outlets, current, and water color. Standing on a jetty, looking down into the water, only gives a brief glimpse of what's happening underwater. I have accounts on Windy, YR, Vesselfinder, and other channels to check for wind direction, sun direction, weather movement, and boat traffic. Offshore wind, no rain for a couple of days, and a cloudless sunny day, outside of the plankton season is always a good bet for excellent visibility and stable conditions.
Another key factor for good visibility is, of course, the ever-important issue of buoyancy. Therefore, Iโm a frogkicker, in any given situation, been practicing my helicopter and reverse turns a lot. I was really inspired while filming in caverns for a feature film in Mexico; it saved me in many small positions, both in exterior waters and in pools with film set constructions. The advanced dry suit experience I get in cold water is also beneficial to my overall buoyancy skills, as it's a technique that involves using your whole body as a float and trim device, not just the BCD.
Whatโs your favorite piece of gear from Ultralight and why?
My favourite gear from ULCS must be the cutout clamps with ball heads, which I use on almost
every project we have. Either for holding a monitor, a sunshade, a light, or props. Actually, I use all
my ULCS parts annually; there are so many different builds, which is the best part about it. The cardellini
clamp kit you should always pack in your bag.
Can you share a project where ULCS gear significantly impacted your work?
Iโm most proud of having contributed to the underwater camera sled tray kit. For years, I looked for a slick leg setup for smaller cameras like my Sony A7SIII. I needed several attachment points around, both for weight calibration and to add other ballheads and buoyancy concepts. And most importantly, getting away from the strain on the dome when putting the camera flat down and the overall anxiety of handing the rig to somebody who doesnโt know how to put it down safely. Ken did an amazing job by landing on a product made in the spirit of ULCS.
What is your creative process, and what inspires your underwater photography?
My creative process for getting inspired is quite broad. I like scrolling through visuals others have done,
especially older adventurous pictures from before we had all this tech and filmed โeverythingโ. I
also head to local art galleries, aquariums, museums, and visit maritime workers. Travelling is a
key factor here, indulging in abnormal situations, Anthony Bourdain style. Weโre in a period of time
where I think weโre over-informed on most things in the world, so it's still important to chase the
small stories, the mysteries, the other angles that will form your way. Many times, the best
learning is to go diving with a camera and do the practical tests to shape the ideas even more.
That way, you can tune your compositions and the predicament of marine life movements. That takes
time and many dives with different marine species. There are also different ways of filming for
commercials, docu-style, VFX, or motion picture. You have to plan and discuss factors like tempo,
transitions, and which feelings to convey, which music is added in post-production, and so on.
We did the underwater scenes for the Oscar-nominated documentary The Cave, and to really
sympathise the correct tempo, mood, and soundscape, we played the music score on underwater
speakers while I was filming at a depth of 16 meters in the water outside Kas, Turkey.
At my home turf in Norway, we do have a very unique orca and whale season in the wintertime. The
water is clear of plankton, with super visibility, and all the mammals gather into one fjord for a feast of
herring. We can easily dive with them as they are only interested in the fish. Last year, I filmed the
Sky Nature series Whale with Steve Backshall, and I had around 30 humpbacks passing beside
me and my camera. After that, the orcas gathered around us, and we had one teenager orca
circling Steve and trying to offer him a herring on several occasions. A magical nature experience.
I take great confidence and joy in filming big mammals. I have hundreds of shark dives. In recent
years, Iโve also delved into the macro world to show non-divers what the beautiful, colourful
underwater world could look like, especially with a cinematic approach to it. Shallow depth of
field, artistic angles, good colour grading, and it should take your mind to dream a bit about the
wonders of nature. As Iโm also filming a lot of fiction and motion pictures, I really enjoy finding
concepts for actors in the water, and consulting with directors and scriptwriters on how to
perform it.
Many years ago, we did a short film in a special lake in Norway, which we call the
Atlantis of Norway. It's a sunken old village and forest, preserved in glacial water. The trees and
paths are intact. For this film, we cast a cold-water free diver to walk around in the forest at
4 ยฐC / 39ยฐF water without a wetsuit, only a costume. It became some of the most striking visuals Iโve
done as it's so out-of-the-ordinary, and it's real, all made in-camera, and it took a lot of planning,
trials, and effort.
Have you ever encountered any unexpected or dangerous situations while underwater?
As diving is also my job, safety is on high alert. Even though situations occur, and usually it's because of nature and animals. Iโve had a poisonous banded sea snake around my leg in Thailand, a moray eel attacking my camera in the Red Sea, and a dog shark biting a hole through my dry gloves in Norway. Everything went well by maintaining calm in the situation, lowering your heartbeat and breathing, and keeping your buoyancy level intact. The more dangerous dives Iโve had were in extreme currents.
At one point, my diving crew and I were in Thailand, where third-party hired-in diving contractors for the Thai navy were searching and retrieving a body. The area was a small island between two large islands, offering a strong current and a downward current. We performed snagline and circular search patterns, and the current was so strong that we had to use one of our hands to hold the half-mask onto our face, and the palm of our hand to keep the regulator in our mouth. It was exhausting, clinging to rocks underwater. In the end, without finding anything, we had to cancel as a safety measure. Iโve never been so out of breath underwater before, not recommended.
Do you use your photography to promote ocean conservation? If so, how?
Working in the water, youโre naturally an ocean conservationist. Iโve seen the decline of health in
our fjords in eastern Norway. Iโm witnessing fewer fish in the ocean, especially in the Mediterranean.
The herring is moving further north in Norway, most likely due to climate and temperature change.
More subtropical species are closing in on the temperate zones.
Are there any conservation projects or initiatives youโre passionate about?
My team and I will always lend a hand if any organisation needs help. Filming plastic in the ocean, artificial reef projects, science, etc. Weโve done film and photos for several campaigns, exhibitions, and ads. One of my proudest projects is the Operation Jairo campaign honouring park rangers in Costa Rica protecting the olive ridley sea turtles. We, as underwater storytellers, need to literally lift these stories up from the deep to the surface. Donโt forget: most people will never scuba dive or even snorkel at coral reefs in their lifetime.
Whatโs the best piece of advice youโd give to someone just starting out?
To get into this business is really difficult and a slow process. There are very few spots as jobs are hard to get. My advice is to never give up, make things that stand out, and concentrate on your own lane and ideas. Make them blossom. Giving it all for your passion is paramount in a niche line of work. The most important way of learning is to go out diving. Go on diving expeditions abroad, adventures at your local spots, on good days, bad days, and enjoy every second of it.
Do you have any advice for aspiring underwater photographers & cinematographers?
To get inspired and awaken passion for the underwater world, I always enjoyed watching the documentaries of Hans Hass, Jacques-Yves Cousteau, Valerie & Ron Taylor, and Howard and Michele Hall. As a young diver, I also travelled the world, seeing much of the underwater world in Asia, which gave me a strong introduction and a lasting impression.
Whatโs next for you in your cinematography journey? Any exciting projects or goals?
Next up, our team just revealed that we coordinated the water unit for the biggest Arabic TV series in history. I filmed the underwater scenes of the naval battle between the Arab dynasty and the Byzantine Empire. When filming, with a Sony Venice and Cooke S7 lenses in a Hydroflex housing, the SFX dept. lit the water on fire, Byzantine soldiers were โshotโ by bow and arrows, and weโre filming them drowning in the ocean. Quite a visual story, and a huge honour for us to be part of the filming in Tunisia for this production. In the following months in Norway, weโre filming a new project for the biggest marine national park, showing the average Joe what wonders we have in our front yard underwater. Wide shots of kelp forest and seals mixed with macro scenes of nudibranchs and anemones.
What does being an Ultralight brand ambassador mean to you?
Being an Ultralight brand ambassador to me is an honour and something I talk highly of. Itโs not only one of the most established product types in both the diving and film industry, but it's also hard, locally crafted gear, a solid piece of material, and low-maintenance. Itโs not often these days you can tick all those boxes. On top of that, Ken and the people at ULCS are extraordinary when it comes to their way of leading ahead. They listen to customers, offer quick service, and will genuinely follow up on all requests. A role model, so to speak!
Has working with Ultralight influenced your workflow and creative process?
Iโve had Ultralight gear for about 15 years, so it was an easy ask when Ken and I started befriending each other in 2020. It fits well into my workflow, and since the products are so flexible, I can puzzle my way through many challenges of attaching monitors, shades, lamps, setups, and others in all the angles we need. Ultralight makes me better, and I hope it's the other way around, too. The most exciting part of this collaboration is challenging each other to find new ways to use the gear and to make new stuff for new needs out there.
What unique features of Ultralight do you find most valuable?
Sometimes we film underwater with a pole, in other words, a polecam system. Iโve customised a 9-meter (30 ft) to our Nauticam Sony A7SIII rig and started to use it with super clamps and magic arms, as well as a few ballheads and Cardellini clamps. Now, Iโve tuned it entirely over to only use Ultralight products, as they are more solid in the water than magic arms. And it's more hydrodynamic and smaller in size. Filming fish underwater, in rivers, oceans, or aquariums, has never been better in terms of flexibility in moving, jibbing up and down, and having a lightweight rig.
Thank you, Kjetil, for taking the time to share more about yourself and your work with us. We definitely picked up a few new things, and Iโm sure our customers did too. Itโs always great hearing how someone finds their way into a field they loveโthe wins, the lessons, and everything in between.โ
For more information, you can find Kjetil at his Cinematography website, his business Cinemarine, Instagram, and his IMDb page.
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. Itโs 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.
When you meet Walter van Dusen, itโs clear that cinematography isnโt simply what he
doesโitโs how he experiences the world. Every conversation becomes a frame, every
observation a study in contrast, shape, and reflection. With a background that stretches from
decades of award-winning still photography to his latest adventures behind the lens at major
trade shows, van Dusen has carved a career built on precision, storytelling, and the art of
adapting light itself.
Please share a little about yourself and the journey that brought you to where you are today.
I grew up in Las Vegas, Nevada, and served in the U.S. Navy aboard a submarine based in Groton, Connecticut. After the military, I entered law enforcement and retired after 20 years. In addition to that career, I worked as a professional wedding photographer from 1997 to 2022 and founded Mystic Seminars, a wedding photography conference that ran from 2005 to 2019. Today, my focus is on video production and trade show interview coverage through Sights and Sounds Media.
What inspired you to get where you are today?
It seems I was born with a natural curiosity for how light shapes emotion. My journey began in still
photography, like headshots, corporate portraits, and pharmaceutical campaigns that demanded
exacting technical control and human connection in equal measure. Still, over time, I wanted to add motion to my work, which led me to where I am today.
โI realized I wanted to hear peopleโs stories, not just capture their expressions,โ as Walter reflects.
โCinematography became the natural evolutionโan expansion of storytelling from a single
decisive moment to a moving narrative.โ
Did you have any cinematography challenges early on?
The biggest challenge early on was adapting to uncontrolled environments where there are no second takes. Trade shows demand fast decisions and constant problem-solving. Some of my most memorable and effective interviews came from imperfect, last-minute setups that reinforced the value of experience, adaptability, and instinct.
Do you have a specific approach to your workflow?
As I ask Walter about his workflow, youโll see the methodical mind of a cinematographer who
thinks like an engineer and feels like an artist. My on-set process begins with light. โI start by
reading the environment,โ he says. โLighting isnโt about overpowering; itโs about
complementing the existing story.โ
How do you approach your interviews in such noisy environments?
Audio and speed are critical in noisy environments. I prioritize clean mic placement, consistent setups, and a conversational interview style. My interviews are a mix of scheduled and spontaneous conversations. If something is compelling, I approach directly, keep it simple, and focus on making the interaction feel natural.
What camera equipment do you use and why?
My go-to tools often include the Sony FX6, Sony FX3, and Sony FX30โa trio that balances
cinematic color science with compact reliabilityโplus the DJI Ronin 4D for dynamic movement
and stabilization. When paired with MAXIMA LED Americaโs fixtures or an SMDV Flip Softbox,
I can sculpt interviews that feel cinematic even on bustling convention floors.
I choose gear based on reliability and efficiency. My core setup includes Sony FX-series cameras, Atomos monitors/recorders, professional audio, and constant lighting. The one thing I canโt work without is my rolling interview cart, which functions as a mobile production base and allows me to move quickly while maintaining consistent quality.
Can you tell us more about the rolling sissor cart you use?
I use the Studio Titan America STA-01-400 Scissor Camera Stand as the foundation of my rolling trade-show interview rig. Its compact footprint and single-handed height adjustment allow me to move quickly between seated and standing interviews in tight expo booths. Designed for stability on carpeted floors, it collapses small for transport while keeping my camera, audio, and monitor setup vertically stacked and ready to roll. Iโve paired it with a Sachtler aktiv8 to enable precise micro-level adjustments on the show floor.
Do you see any industry trends?
The industry is shifting toward authenticity and real-world demonstrations. Audiences respond more to honest conversations than polished marketing.
How do you feel about social media?
Social media is essential โ not just for reach, but for trust, visibility, and long-term relevance.
Do you have any advice for emerging cinematographers?
My advice to emerging cinematographers is simple: earn trust through consistency. โGear will
change; your integrity wonโt. Build your brand on reliability, curiosity, and a willingness to share
what you learn.โ
How did your use of Ultralight products come about?
My connection with Ultralight began organically: through years of fine-tuning rigs for field
mobility. You eventually reach a point where every component has to earn its place. Ultralight gear does that; itโs strong, modular, and dependable. When youโre rolling a fully built camera dolly through a crowded expo as I do, every clamp, arm, and mount has to hold its ground. I rely on equipment that behaves like an extension of my instincts. Thatโs why precision accessories like those from Ultralight matter so much. They give me stability and control without slowing me down.
How did you become an Ultralight brand ambassador?
A couple of years back, I was ordering some parts directly from Ultralight, and Ken (the owner) was helping me out. As we talked, Ken realized the experience and knowledge I had in the Cinematography industry, as well as the value of us working together. We spoke several times, and then Ken agreed to meet me at the NAB show in Vegas, where we quickly became friends. Now I am an Ultralight brand ambassador. It's nice to support and work with a small business like Ultralight. Ken always takes the time to listen to any suggestions, good or bad, and, in fact, our time at the NAB show produced a new universal monitor part: the BA-UC-14.
What does being an Ultralight brand ambassador mean to you?
As a brand ambassador, I bring field-tested authenticity to the partnership. I don't feel I'm just promoting a product; I think that I am demonstrating how thoughtful design shapes real-world results. โBeing part of Ultralightโs ambassador family means contributing feedback from the trenches,โ he adds. โThey listen. And that collaboration improves every piece they make.โ
What are your favorite Ultralight products?
Ultralight gear supports my goal of efficiency. For my Atomos Shogun Ultra and Ninja Ultra, I rely on the Ultralight BA-UC-14 Universal Cinema Monitor Ball Mount for fast, secure positioning. I also use the AC-CSLXLSK2, AC-CSL, and AC-CSLXL clamps with 1/4โ-20 threads, which give me flexible mounting options across carts and rigs. These tools reduce setup time, stay locked under pressure, and let me focus on the interview instead of the gear.
How has Cinematography changed your life?
โCinematography gave me a lifetime of curiosity,โ he says with a quiet grin. โEvery project,
every frame is an opportunity to see differently. And thatโs something Iโll never take for
granted.โ
What do you do in your off time?
Off-set, Walterโs energy doesnโt dim. I am constantly developing new production systems for
Stills & Motion Media, testing accessories, or refining my custom Studio Titan America rolling scissor-stand dolly rig, the signature platform behind my trade-show interviews. I also enjoy spending time with my wife Angela, trading creative ideas or exploring new destinations on e-bikes through New England towns.
Lasting thoughts from Walter
Today, through my brand, Walter van Dusen Stills & Motion, whether itโs interviewing innovators at NAB Show Las Vegas, NAB NYC, Cine, Gear Expo Los Angeles, ProFusion Expo, or the B&H Bild Expo in New York, my approach remains constant: deliver authenticity through controlled creativity. โThese shows are where innovation meets collaboration,โ and โEvery conversation on that floorโevery product demo or impromptu interviewโteaches me something new about how our industry moves forward.โ
Thank you, Walter, for taking the time to share more about yourself and your work with us. We definitely picked up a few new things, and Iโm sure our customers did too. Itโs always great hearing how someone finds their way into a field they loveโthe wins, the lessons, and everything in between.โ
For more information, you can find Walter at his Website, YouTube channel, DecentEXPOsure, 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. Itโs 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.
Could you please share a little about yourself and the journey that brought you to where you are today?
My name is Gabe Hearnshaw. I grew up in and still live in Cambridgeshire, UK. Growing up, I
spent a great deal of time down on the Cornish coast of the UK, this is where my love of the
ocean was born. For now, this was limited to rock-pooling. It was many years before I started my
snorkelling journey and later my photography too.
What things in life helped you get where you are today?
It was on a backpacking trip, that I ended up in Tonga alongside my sister and her friend. We were
lucky enough to end up staying at a location that was situated on a beach with a house reef.
This was the beginning of my snorkelling journey. Despite not being a confident swimmer, the
underwater world captivated me from the start, even helping me to overcome my fear of deep
water!
A few years later, on a trip to the Maldives with my now wife, I learned to scuba dive. I had
previously done a sample dive in a pool back home and hated it! Thankfully, going into the trip, I
was determined to give it another go, and this was the perfect place to do it! I also was given my
first underwater camera for this trip, a Canon underwater film camera. I didnโt have a clue about
photography at this point, but I was obsessed with capturing what I was seeing below the surface!
What level diver are you and where do you like to dive?
A few months after the Maldives trip, I decided to take on my advanced open water PADI
qualification, having already completed my open water and Nitrox courses in the Maldives. What
made this particularly interesting was undertaking this course in February at my local dive centre,
in a lake! Here I had my first taste of drysuit diving as well as cold water and night diving! I
have since dived in the UK, Hawaii, and Egypt most recently.
What inspired you to specialize in underwater photography?
Having found my passion for underwater photography, I eventually moved on to a digital compact.
Unfortunately, at this point, my understanding of photography in general was lacking, and it would
be a few years before I would truly start to understand what I was doing and why! Eventually, I
invested in a DSLR and housing, alongside this, I started my journey using Ultralight equipment, a
kit that I still use to this day.
Can you share a memorable moment or experience from your underwater adventures?
One of my favourite moments underwater happened before I had started to understand the
intricacies of photography, especially in the water. Whilst on my honeymoon in Hawaii, I had the
chance to complete a dream to snorkel with a huge number of sharks in open water. Yet, this isnโt
even my personal greatest underwater encounter! For this, it was a trip to the UK that gave me a
life-changing experience!
It was on a trip to Cornwall with my wife, when I had a bit of an epiphany regarding my
underwater photography, and as a result, my photography overall. Moreover, this came at a time
when I had been struggling with my mental health. Not only did I start to understand what I was
doing, but this trip was the beginning of my professional career, and I ended up starting my
own website.
On this trip, we also visited Devon, where I had the single best wildlife encounter of my life! I had
booked a trip to Lundy Island to see the seals. It was on a second snorkel, the seals had
seemingly disappeared, I was just floating around photographing jellyfish, when a huge bull seal
approached me, he then proceeded to put his nose in the water and blow bubbles right in front of
me! I decided to join in the fun. It was during this encounter that I took my first ever internationally
recognised photo! I named it after a charity I am now an Ambassador for: Seaful.
What camera setup do you currently use for underwater photography?
I had invested in my first-ever mirrorless camera for this trip. A Canon R5. I also added a second
Ikelite housing, plus a pair of Inon Z330 strobes. All of this of course, alongside my Ultralight
Camera Solutions kit that I had bought when I first brought my DSLR underwater.
Do you prefer macro or wide-angle photography and why?
Generally speaking, I mostly shoot wide-angle underwater. This is mostly due to that most of my
photography is done whilst free diving, so the luxury of time is not available for macro
photography. I have, however, acquired a vintage Helios lens, which I like to use on occasion
underwater.
Do you prefer artificial or natural light and why?
I tend to shoot with strobes, which allows me to capture movement in interesting ways. I am a big fan
of ICM (intentional camera movement) in my underwater photography, and my strobes allow me to
push boundaries here.
Do you have any favorite techniques that you can share?
My favourite settings, due to my love of shooting slow shutter speed images, tend to be small
apertures with slow shutter speeds, usually starting around 1/8 sec. One of the huge benefits of a
mirrorless camera is that it allows me to see exposures in advance, so that I can understand the
image I am creating in advance. It is also possible to turn this off as well, and so have the best of
both worlds!
I am on a constant journey of learning with my photography. Probably my biggest leaps of
understanding have come from my many years of competing in various photography
competitions. I have found this invaluable in both assessing my own work, but also to take
inspiration from a great deal of other photographers. For me, this is a never-ending pursuit.
Whatโs your favorite piece of gear from Ultralight and why?
My favourite piece of ULCS kit, I would say, just lately is my sled. I have been able to add a
monitor to my setup, which is ideal for viewing my photos, but also for occasionally shooting
video too. I have started to find new ways to innovate with this piece of kit, being able to take
advantage of having an extremely stable base to place my camera on in the water.
What inspires your underwater photography?
I am constantly inspired by the constant motion underwater and aim to capture this where I can.
This largely guides my approach and my wish to show the oceans as I see them, in constant
motion.
Whatโs your favorite type of marine subject to photograph, and why?
I love photographing all species underwater. Whilst seals and other large animals are probably my
favourite subjects, they rarely are there to be seen. I do have a fascination with jellyfish, which was
anchored on my trip to Cornwall, and Iโm always happy to see them and photograph them. My
other favourite subject is kelp. I just love the way it looks, and I feel it truly is representative of the
underwater world in so many ways!
Have you ever encountered any unexpected or dangerous situations while underwater?
I have had my fair share of dangerous encounters in the water. Interestingly enough, it has never
been the wildlife that has given me cause for concern, unlike the expectations of many people
when you tell them you love to be in the water with sharks and the like! I have found myself in
challenging conditions on a few occasions, thankfully, many years of experience have helped me
to remain calm and work my way through such events in a controlled manner.
What challenges do you face as an underwater cinematography, and how do you overcome them?
I think the biggest challenge in underwater photography, is the water itself. I really do believe that
experience is a great teacher and that the more relaxed and comfortable you are in the water, the
better this is reflected in your ability to take meaningful photos.
Do you use your photography to promote ocean conservation? If so, how?
I am an avid conservationist and believe that photography is one of the great tools for this. My
first aim is to show people the awesome sights there are to see in the underwater world, this is
especially true in the UK, where there are a huge number of awesome species living on our shores
that people donโt know about. My other aim is to show people things in a way that takes away
from the normalising of things, like ghost nets. My aim here is to create photos that show these
things in a more disturbing way, so that people see these things as being out of place and wrong.
I am working on a number of projects on conservation at the moment. My main aim at the
moment is to raise the profile of species in the UK. One of my personal favourite subjects in this
regard is kelp. It is under threat from the Climate Crisis and also has a huge number of
applications that are being studied at this point in time. Anything I can do to raise awareness of
this is a start.
Whatโs the best piece of advice youโd give to someone just starting out?
If I had to give someone starting out a piece of advice, it would be simply, get out in the water, get
comfortable being in the water. From there, the next thing is, to just take photos, a huge thing I
have learned is, failing is a critical part of the process! If you can take 1 good photo in 100 to start
with, youโre off to a great start!
I think simple things that a beginner can work on are: getting close, if this is safe and ethical to do
so. This cuts down the amount of water between you and your subject. I would start out basically
and learn to take good photos with available light before starting with strobes. Lastly, as you
progress, learn how to use your camera in manual mode, which gives you full control over the end
result.
Any recommended resources (books, courses, workshops) for learning underwater photography?
If I were to recommend any books for underwater photography, I would definitely say, to get
Underwater Photography Masterclass by Alex Mustard. Otherwise, I have found that books from
competitions that publish all of the technical details can be a treasure trove of information and
inspiration. My personal favourites are the Wildlife Photographer of the Year Portfolios.
Whatโs next for you in your photography journey? Any exciting projects or goals?
I am looking to keep growing my skillset, and I always want to innovate where possible. I am currently
working on a project on chalk streams as well as other projects on kelp and limpets.
What does being an Ultralight brand ambassador mean to you?
When the opportunity came to apply to be an Ultralight Camera Solutions brand ambassador, I
was thrilled to try. I had looked up to Brent Durand, who was another brand ambassador. It was
Brent, who had inspired my decision to purchase my Ultralight kit in the first place. It's an
awesome feeling to be able to support the company.
What excites you most about being a brand ambassador for this company?
I am constantly trying to push my photography. The opportunity to test out the new kit and try to find
ways to use it to realise my visions really excites me. I have a great deal of ideas for future
projects still.
What unique features of Ultralight do you find most valuable?
The number one thing I would say about the ULCS kit I use is its sheer durability! I have been
using the same set of kit from day one, and it still works as it did then. I have a habit of working in
somewhat hostile environments in the underwater world, and my kit is constantly put through itโs
paces and yet it has never failed me!
What advice do you have for photographers who want to work with brands like Ultralight?
If I had to give a piece of advice to anyone who wanted to work with brands, I would say, when
the time is right, just apply, I did and I couldnโt believe that I was accepted. Otherwise, make the
goal of constant improvement drive you. Always seek out opportunities that will help you grow. I
am lucky enough to be an ambassador for an amazing charity called Seaful. I really feel like these
opportunities can really help to show brands the kind of person you are. So donโt just aim for
technical excellence, but also to make a difference where you can. Doors will open to you in time
this way.
Thank you, Gabe, for taking the time to share more about yourself and your work with us. We definitely picked up a few new things, and Iโm sure our customers did too. Itโs always great hearing how someone finds their way into a field they loveโthe wins, the lessons, and everything in between.โ
For more information, you can find Gabe at his Gabe Hearnshaw Photography website, Facebook, or Instagram
