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.

Could you please share a little about yourself and the journey that brought you to where you are today?

My name is Andrea Michelutti, but you might know me as Traveller Mike on Facebook or miketravelleritaly on Instagram. I was born in northeastern Italy and hold a master’s degree in economics. I’ve always had a passion for travel and for capturing little details that hide big stories. Today, alongside running my car dealership, I pour my energy and creativity into underwater photography.

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

I’m not an advanced technical diver: just basic certifications. I often dive in the northern Adriatic, in the Gulf of Trieste and in Croatia, because they are close to home. I also love Southeast Asia (especially Indonesia and Philippines), not only for the incredible underwater photography opportunities but especially for the serene and authentic lifestyle of its people. Many of my photos come from that region. Each environment offers unique lighting and marine life, which are key to telling my visual stories.

What inspired you to specialize in underwater photography?

Growing up in a place where the connection between landscapes and people was strong, I developed a love for observing the world. I started by capturing faces and landscapes on land, but my curiosity and desire to experiment eventually pushed me underwater. My journey began with just a few dives a year and basic gear.

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

While I’m mostly self-taught, I owe a lot to friends who are incredible underwater photographers, and their guidance and support have been precious. My photography is all about capturing real emotions, and my mentor, Fabio Iardino, who is a world champion in underwater photography, has had a huge influence.

I have shaped my style with his advice, along with the insights from books by great photographers like Alex Mustard, Martin Edge, Laurent Ballesta, and Francesco Pacienza. I also find a bit of inspiration from classical painters like Terbrugghen, van Honthorst, Caravaggio, and Rembrandt, whom I humorously refer to as the 'original snoot lighting squad.

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

Photography has always been a part of me, but the underwater world opened up a whole new palette of colors and atmospheres. I’m a color addicted, and the thrill of discovering a hidden universe where every dive turns into a new photography adventure really hooked me. Of course, starting out wasn’t easy. Working with basic equipment, dealing with changing light conditions, and learning to move gracefully underwater were all real challenges. But every obstacle taught me something new and made me more determined.

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

One of my most memorable experiences was receiving my first recognition at a national competition with the candy crab of the picture below. That moment made me realize that even the simplest dive could hold a story worth telling, one that could evoke emotions and surprise.

When I’m shooting underwater, of course I appreciate rare subjects, but I find more challenging to work with common ones and showing them in a remarkable way. The key for me is how well the subject fits into my vision. In my opinion, the true beauty of a photograph lies not just in the subject itself but in how the image is crafted.

What camera setup do you currently use for underwater photography?

When it comes to gear, my current setup includes a Sony RX100 M7, two Inon Z330 strobes, a Backscatter mini flash with a snoot, and a Snooty snoot adapter for the Z330, along with various wet lenses. My setup is quite unique because I’m all about versatility. I love being able to switch from wide-angle to extreme macro shots within the same dive. To do this, I attach all my lenses to my arms, allowing me to change configurations instantly.

This setup is great for maximizing the versatility of my compact camera, but it does put some stress on the equipment. That’s where Ultralight Camera Solutions comes in: helping me use top-notch gear and test their innovative solutions.

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

I don’t really have a strong preference between wide-angle and macro. I love both. However, since the seabeds near my home are perfect for macro, I naturally specialized in it. Moreover, macro photography allows me to fully express my addiction to colors.

Do you prefer artificial or natural light, and why?

I mostly use strobes for lighting, as they help me achieve the vibrant look I’m after.

Do you have any favorite techniques that you can share?

I like to experiment with my photography, using techniques like slow shutter speeds, intentional camera movement (ICM), and bokeh. I try to balance natural and artificial light with strobes to create images that convey both dynamism and serenity.

What I’m really aiming for is simplicity. I strip away anything unnecessary to focus on the essence of each shot. While I respect compositional rules, I’m not afraid to break them when exploring new perspectives or deconstructing visual elements. I think this mix of discipline and creative freedom is what makes my style stand out.

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

To stay updated on new techniques, I love comparing my work with other photographers, especially through competitions. Even if I’m not participating, I study the winning shots to spot new trends and refine my style. When I do get awarded, I enjoy analyzing my work alongside other top photos because every image is an opportunity to learn and grow. I also keep an eye on technological advancements from leading brands, including Ultralight.

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

Conservation is also a big part of my work. I believe photography can raise awareness about marine ecosystems by showing their beauty and fragility. I collaborate with various organizations to protect marine habitats and use my images to support conservation projects, encouraging others to take part in preserving our oceans.

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

For those new to underwater photography, my advice is to be patient and consistent. Every dive offers a chance to learn, and mistakes are just part of the process.

Can you recommend resources (books, courses, workshops) for learning underwater photography?
I would recommend joining specialized workshops and scuba clubs to exchange ideas, opinions, and grow together with other photographers. Additionally, reading photography manuals by renowned photographers like Mustard, Edge, and exploring online guides such as the uwphotographyguide can be highly beneficial. Participating in contests can also provide valuable feedback and help you develop as an artist.

What excites you most about being a brand ambassador for Ultralight?

Becoming an ambassador for Ultralight Camera Solutions has been a real honor. I’ve known the brand for a long time and owned some of their gear before our partnership. Meeting Ken in the Philippines was the perfect opportunity to discuss equipment and explore ways to enhance their products. It felt natural to join the Ultralight family.

Has working with Ultralight influenced your workflow and creative process?

Ultralight gear has had a huge impact on my workflow. Their lightweight, stable equipment has not only made managing my setup easier but also opened up new creative possibilities. Safety is always a priority, and I’ve definitely found myself in strong currents where the stability of Ultralight gear made a difference. Those moments really reinforced the importance of reliable equipment.

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

I love working with their R&D team, contributing ideas for new products, and testing gear before it hits the market. It’s a rewarding experience to see my input help shape solutions that can benefit other photographers with the same passion for quality and detail.

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

My favorite Ultralight gear includes their quick-release arms, which I had the chance to help develop, and the Cut Outs Clamp. The quick-release arms are a game changer for light manipulation with snoots, allowing me to work comfortably with one hand. The Cut Outs Clamp offers an extra axis of movement compared to other clamps, giving me even more flexibility.

What advice do you have for photographers who would like to work with underwater camera brands?

For photographers looking to work with brands, I’d say stay authentic, keep learning, and don’t be afraid to experiment. Passion, dedication, and a willingness to innovate are key to building meaningful and lasting partnerships.

Thank you, Andrea, 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 Andrea at his photography website, FaceBook 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, My name is Dave Abbott and I’m based in New Zealand but work all over the world as a documentary cameraman -mostly underwater, and more often than not filming sharks.  I grew up by the sea and my dad was one of the pioneer divers who were making their own dive gear back in the 50’s, so I was in the water from a very early age and always knew I would pursue a career that kept me underwater as much as possible!

After a stint traveling around the world I did a marine biology degree. and also dive instructors and skippers tickets, then worked for a time as a dive instructor/guide/skipper, before running a small live-aboard dive boat in northern New Zealand for a few years. At the same time I was constantly developing my underwater filming skill as well as doing some scientific diving in the off-season.  Underwater filmmaking was definitely my primary passion though, and I pursued a career in underwater cinematography that has resulted in me spending the last 25 years shooting for natural history documentaries and projects for the like of PBS, NHK, NHNZ, National Geographic, Discovery and Shark Week.. 

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

Inspiration for diving and a love for the sea came from my Dad, and my obsession for underwater filmmaking came firstly from many hours watching Jacques Cousteau and David Attenborough doco’s as a kid, then later -as an adult, wanting to share the endless diversity of life I was getting to experience through diving, and help convince other people to value and protect our marine environments. 

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

The biggest challenge for me when I started out is actually the same one I still face now, - that of being based in New Zealand, on the other side of the world from all the big broadcasters and commissioners, which makes it more difficult to pick up regular documentary work.  Keeping up with broadcast camera requirements (and the cost that involves) is another ongoing challenge!

Can you share a memorable moment or experience underwater?

I’ve had so many memorable moments over a lifetime of diving that it is impossible to single out just one! A few top moments that come to mind though are having a curious Humpback whale calf in Tahiti swim right up to me and look me in the eye while mum hung watchfully close below;- filming Giant cuttlefish males displaying to each otherin South Australia and seeing incredible patterns and colours pulsing across their bodies;- a hectic night dive with a hundred hunting reef sharks in Fakarava;- being in the middle of vast schools of baitfish while feeding Kingfish smash through them in New Zealand, — being the first to film a rare species of Nautilus in the Solomon Islands, and having had the regular privilege of diving with multiple huge Great Whites in a one-man bottom cage on Shark Week shoots - letting me look into the eyes of this apex predator from less than a metre away.. 

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

I have been lucky to dive in some amazing places, tropical and temperate, but probably my favourite diving spot is on my own doorstep in NZ, at an offshore island marine reserve with prolific life, and incredible underwater terrain. From sea caves, archways to lush seaweed forests, they lie in the path of an offshore current which brings tropical visitors like manta rays, marlin and argonauts in the summer, and vast schools of fish year-around, …its a place where you never know what might turn up!

What camera setup do you currently use for underwater cinematography?

Gear-wise I am currently use a Panasonic GH6 paired with an Atomos Ninja V+ to shoot Prores 422 RAW, both in Nautical housings. For lighting I have Weefine 12K video lights mounted with Ultralight arms and clamps.  Where possible I like to use a mix of natural light supplemented with artificial lights to fill and subtlety enhance the subject I am shooting.

How do you stay updated on the latest techniques and technologies in underwater cinematography? 
Staying updated on the latest cameras and equipment is fairly easy these days, with every new development immediately available to read about online, which is a double-edged sword! There’s always a ‘newer and better’ camera coming out, or a revolutionary lens and port combination to lust after! On a professional level that becomes frustrating because the cost of upgrading a whole system can be insane - especially when high-end broadcasters all want the latest 8K RED cameras! 

My take on it nowadays is that just about any of the newer cameras are capable of achieving incredible quality, and a well lit and composed sequence from a less expensive camera is still better than a poorly framed and exposed shot from an expensive camera!  I get more pleasure from talking to other camera people and divers about marine life, locations and techniques than I do talking about camera specs!

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

My favourite piece of gear from Ultralight are my blue anodised clamps,- apart from looking cool they lock solidly with just a small amount of pressure unlike lower quality clamps. I also love my Tri-tray tripod rig, - it is so easy to swim around with and quick to setup!

What inspires your underwater cinematography?

Like most underwater cinematographers I am passionate about the underwater world and endlessly fascinated by the diversity of underwater life, so naturally I want to share that, and inspire others to be as interested as I am, to help ensure our ocean environment and biodiversity is kept healthy in the longterm.

As far as having a favorite type of marine subject to film I’m fascinated by all marine life, so its impossible to pick one favourite! I do like cephalopods though (octopus, squid, cuttlefish and nautilus) for their intelligence curiosity and alien-like characteristics, and sharks of course, particularly Great Whites, ..being right amongst them in a solo bottom-cage is like being transported back to a jurassic world where you feel like an insignificant prey item!

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

Yes but very few considering the thousands of dives Ive done and the type of creatures I’m often filming!  Having a high pressure air hose blow while in a one-man bottom cage with a wide open door was one, - being effectively blinded by an instant white-out of high pressure bubbles knowing that there are 5 large and curious white sharks circling you, and going calmly through the process of turning your air off, switching from main tank to pony bottle and from full-face comm’s mask to a regular dive mask all by feel!  Being alone and backed up against a wall by 30 curious Bronze whaler sharks with the boat at another dive site was another situation that could have gone wrong, ..getting a fin trapped under a log in a murky river while filming in Tasmania gave me a few anxious minutes, and having a Blue ringed octopus float over my camera and across my bare hand in South Australia also raised my heart rate!  To be honest though the situations that have scared me more have been down-currents on deep walls.

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

Having a particular behavioural sequence to capture within a limited timeframe is always a challenge -having to work around weather windows, sea conditions, visibility and the unpredictability of wild animals!  Good research and local knowledge is a big help in those situations, as well as a bit of luck!

Traveling to remote locations with fragile camera equipment and bulky dive gear can be challenging at times - but also part of the fun of location shoots - that can go either way! 

Do you use your cinematography to promote ocean conservation? If so, how? 
As well as shooting for natural history documentaries I have done quite a lot of advocacy film projects for different NGO’s over the years, - telling stories that educate people on the benefits of marine reserves, the purpose and outcomes of scientific research expeditions and conservation initiatives, and the importance of biodiversity. 

I also try to tell stories through my own projects and footage that I hope will inspire people to care more proactively about the marine environment. 

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

I do think underwater cinematography can help conservation efforts through educating and inspiring people to appreciate the marine environment, but at the same time I don’t believe just taking pretty pictures is not enough, there needs to be a meaningful story, and some action to take as a result of that story.

The internet is saturated with beautiful images ‘raising awareness’ for issues that have been already been covered by the media for decades, especially of charismatic megafauna that we all like to dive with and photograph, -whales, sharks, manta’s etc, but there are a lot less images and stories shared online of lesser known, less photogenic but more pervasive issues,…the loss of kelp forest, reef sedimentation, overfishing, coastal pollution, the influx of invasive species - topics that are not as personally rewarding to document. To actually drive any real change I think images and cinematography have got to be paired with an informative story and some clear actions that people can take themselves to make a positive difference.

What’s the best piece of advice you’d give to someone just starting out? 
To someone starting out I would say don’t obsess about too much about the technical specs of cameras - instead focus on developing your diving skills so that that side of it second nature, and on getting really good at approaching marine life calmly without disturbance so you have plenty of time to compose your shots. Get to know your camera’s functions and settings really well on land first, and learn about the creatures you want to photograph and their habits.

Also, keep a day job to fund your new addiction!

What does being an Ultralight brand ambassador mean to you?

To me it’s a privilege to represent a quality brand like Ultralight that is highly respected in the diving world, and having their support just confirms that Ultralight are a brand who value the ocean environment and show that by getting behind filmmakers and photographers sharing the underwater world with others.

What excites you most about being a brand ambassador for Ultralight?

I’ve always been interested in design and fabrication - making or modifying gear to achieve specific filming goals, so one of the things I really like about working with Ultralight is that Ken is always open to new ideas, and if it has merit will design and fabricate a new piece of equipment fit for purpose.  Functionality and reliability are also important to me - the ocean is a tough environment and hard on gear, so knowing that Ultralight is built to last is a big plus.

Has working with Ultralight influenced your workflow and creative process? 
Yes, - one way working with Ultralight has opened up new creative opportunities for me underwater is through the addition of a solid and practical lightweight tripod that I can have mounted on my camera rig and still comfortably swim with. This has opened up new avenues for filming that were previously difficult and cumbersome.

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

I always have filming goals and a long bucket list!  There are several Arctic species I would really like to film, -Greenland sharks, Walrus and Narwhals especially! Bluewater bait balls and that whole food chain, various freshwater oddities, and Humboldt squid are also on my list.  My big goal (or dream?) is to get funded or commissioned to make a series concept that I have been working on for a few years now, - failing that, setting up a Youtube channel!:)

Thank you, Dave, 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 Dave, you can find him at his website, Liquid Action Films, 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.

My name is Julian Gunther.  I was born in Rio de Janeiro, Brazil, but immigrated to Houston, Texas, as a young child.  I grew up splitting time between Rio and Houston, and am 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.  Suddenly, 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 and 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 seas are the waters around 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.

---

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. 

---

---

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!

We’re excited to announce that Ultralight Camera Solutions (ULCS) is returning as a DEMA exhibitor for 2025! After rejoining the show floor in 2024 for the first time in nearly a decade, we’re looking forward to connecting once again with the diving and underwater imaging community — this time from our corner booth (#960) in the Image Resource Center. Whether you’re a dive shop owner, underwater content creator, or longtime ULCS supporter, we invite you to stop by, handle the gear, ask questions, and explore what’s new.

---

---

---

---

Save the Date

• Where: DEMA Show 2025, Image Resource Center – Booth #960
• When: November 11–14, 2025
• Visit the DEMA Show site

Our location near the front of the hall, close to the presentation space, makes it easy to swing by before or after sessions. If you’ve been meaning to explore ULCS gear in person, this is the time to do it.

---

See You at the Show

We’re proud to be part of this vibrant, passionate industry — and DEMA gives us a chance to reconnect with old friends, meet new partners, and help professionals like you get the gear that helps you do your best work. Whether you're searching for the right Underwater Camera Products, need a hands-free solution for your GoPro, or want to dive deeper into Cinematography Camera Products, we hope you’ll catch us at DEMA 2025.

See you in November!

When it comes to underwater photography, stability, and versatility are crucial for capturing stunning shots. The Ultralight CSK-SLDL Large Underwater Camera Sled Tray Kit is designed to meet the needs of photographers and videographers who require a robust, stable, and customizable platform for their camera setups. Whether you’re working with large dome ports or professional-grade camera housings like Nauticam, Sea & Sea, Aquatica or others, the CSK-SLDL is built to handle it all with ease.

What is the CSK-SLDL?

The CSK-SLDL is a large underwater camera sled tray kit developed by Ultralight Camera Solutions that provides unparalleled stability and versatility. Its broad sled base accommodates cameras with large dome ports or housings, ensuring a solid foundation for complex setups. This kit is perfect for those who need a reliable platform to attach multiple accessories like strobes, lights, or even action cameras.

Key Features and Benefits

1. Stable Platform

The sled-style design provides a broad base, ensuring stability and balance for larger camera rigs. This is particularly useful in challenging topside conditions and performing camera maintenance.

2. Versatile Mounting Options

The sled is built around the Ultralight TRI-TRAY, featuring multiple mounting points, allowing you to attach various accessories, including strobes, lights, and additional arms. This flexibility makes it suitable for a wide range of shooting styles and equipment configurations.

3. Durable and Corrosion-Resistant Construction

Made from 6061 T6 aircraft-grade aluminum with Type III hard anodizing, the CSK-SLDL is built to withstand the rigors of underwater environments. Its corrosion-resistant finish ensures long-lasting performance in saltwater conditions.

4. Compatible with Large Dome Ports and Housings

The sled tray is specifically designed to support larger camera housings and dome ports, ensuring a perfect fit and optimal stability for professional-grade setups.

5. Perfecting Balance and Trim

Perfecting the trim and balance is easy with all the mounting points, especially when using the CSK-WS Ultralight custom sliding weight kit.

Applications of the CSK-SLDL

• Wide-Angle Photography: Perfect for photographers using large dome ports to capture sweeping underwater vistas.
• Macro Photography: Provides the stability for precise macro shots even with additional lighting.
• Underwater Videography: A reliable base for mounting video lights, action cameras, and other accessories.

Why Choose the Ultralight CSK-SLDL?

The CSK-SLDL is a premium solution for underwater photographers and videographers needing a stable, durable, and versatile camera platform. Its thoughtful design and robust construction ensure your gear is secure and ready for any underwater adventure.

Take your sled to the next level.

Ultralight offers two kits specifically designed to be added to the large sled.

• The CSK-MBK Monitor Bracket Kit, is designed to be securely attached under the tray and extend towards the back, making it easy to mount external monitors to the camera sleds, providing stability and flexibility for professional video and photography production setups
• The CSK-WS Sliding Weight Kit is designed as an accessory for the Large Camera Sled, aimed at allowing users to fine-tune the camera sled's balance by sliding weights along the sled's central axis.

Ready to enhance your underwater photography setup? Explore the CSK-SLDL Large Underwater Camera Sled Tray Kit and other innovative solutions at Ultralight Camera Solutions. Have questions or need guidance? Contact Us—our team is here to help you find the perfect gear for your needs!

At Ultralight Camera Solutions, we pride ourselves on creating products that perform flawlessly, regardless of the environment. All our products are US-made with US materials, hand assembled and packaged in our warehouse in Oxnard, CA, and come with a lifetime warranty.

At Ultralight Camera Solutions, our mission is to design gear that is not only durable but also adaptable to meet the unique needs of underwater photographers, cinematographers, and content creators. Our most versatile and innovative products are our cutout clamps, including the popular AC-CSSK, AC-CSSK2, AC-CSLSK2, AC-CSLXLSK2, AC-TCSJK, and AC-TCSJK2 models.

These clamps are designed with precision cutouts, making it possible to have equipment at angles never before possible and making them lighter without sacrificing strength or functionality. Whether you’re rigging lights, cameras, or other accessories, Ultralight cutout clamps are a reliable choice.

Key Benefits of Ultralight Cutout Clamps

1. Making the Impossible Possible- The cutouts are designed to let the user achieve angles that never before were possible with standard clamps. With the cutouts, strobes, lights, monitors, and more can now be positioned in the wildest ways.
2. Secure and Reliable Grip-Our cutout clamps are engineered for a secure hold on arms, mounts, and accessories. Whether you’re using them in saltwater, freshwater, or topside environments, they resist slipping, even under pressure or in challenging conditions.
3. Enhanced Versatility-Ultralight cutout clamps are compatible with a wide range of arms, mounts, and accessories. From lighting setups to complex camera rigs, these clamps adapt to your needs, offering a seamless experience when configuring your gear.
4. Corrosion-Resistant Construction-Built from 6061 T6 aircraft-grade aluminum with Type III hard anodizing, these clamps are designed to withstand harsh environments, including prolonged exposure to saltwater. The stainless steel hardware ensures long-lasting durability and performance.
5. Perfect for Custom Setups-The versatility of the cutout clamps makes them ideal for creative setups whether you are an underwater photographer or cinematographer. Below or above the surface these clamps can offer unique shooting angles as well as monitor placement and more.

Who Can Benefit from Ultralight Cutout Clamps?

• Underwater Photographers: Achieve stability and flexibility while keeping your rig manageable in the water.
• Cinematographers: Create dynamic lighting setups for complex shoots.
• Adventure Videographers: Securely mount accessories for extreme environments.
• Content Creators: Build modular rigs that adapt to diverse shooting scenarios.

Built for Performance and Durability

At Ultralight Camera Solutions, we pride ourselves on designing products that perform flawlessly, even in the most demanding environments. Our cutout clamps are no exception, combining lightweight convenience with unparalleled strength and reliability.

Whether diving deep, shooting topside, or creating in a studio, Ultralight cutout clamps make configuring your gear more effortless and efficient.

At Ultralight Camera Solutions, we pride ourselves on creating products that perform flawlessly, regardless of the environment. All our products are US-made with US materials, hand assembled and packaged in our warehouse in Oxnard, CA, and come with a lifetime warranty.

Discover the Ultralight Advantage
Ready to enhance your gear setup? Explore our full range of cutout clamps and other innovative solutions at Ultralight Camera Solutions. Have questions or need guidance? Contact Us—we’re here to help you get the most out of your equipment!

At Ultralight Camera Solutions, innovation doesn’t stop at the products we create—it extends to how we run our business. As a company that thrives on adventure, creativity, and connecting with customers worldwide, we’ve embraced the freedom of remote work with Starlink, SpaceX’s high-speed satellite internet solution.

We enjoy traveling with our RV, and Starlink has transformed how we stay connected while on the road. Helping our customers, providing excellent customer service, meeting with dealers, or traveling to test products is important and now we can easily do both.

Our RV Starlink System
We purchased a used RV Starlink Gen 2 unit, which operates on 50-100 watts per hour, with a 120-volt power source. Initially, we relied on a 12-volt battery system and solar panels, but adding Starlink’s power requirements posed challenges. To address this, we upgraded our setup by installing a 1500-watt power inverter, adding a third Renogy 100AH battery, and increasing our Renogy solar panels from 200 to 400 watts. These upgrades allowed us to stay off-grid longer while using Starlink.

How Starlink Supports Ultralight Camera Solutions

1. Seamless Communication: Staying in touch with dealers and customers is essential. Starlink provides a secure, reliable connection for communication, support, and business tasks.
2. Efficient Content Creation: We create and share content about our products and adventures. Starlink’s high-speed upload capabilities help us keep our audience engaged from anywhere.

Why Starlink Works for Us

• Portability: The hardware is compact and easy to transport.
• Reliability: Starlink provides consistent connectivity even in remote areas.
• High-Speed Internet: It supports large file uploads, video calls, and streaming during downtime.

Tips for Using Starlink on the Road

• Ensure an unobstructed view of the sky for the best connection.
• Use a reliable power source like a power bank or inverter.
• Don’t feel the need to keep it on constantly—enjoy your time off.
• Familiarize yourself with your setup before trips.
• Use a VPN to secure business data.

The Freedom to Innovate Anywhere
Working remotely with Starlink reflects our adventurous spirit at Ultralight Camera Solutions. It’s opened up endless possibilities, allowing us to work from the road. Want to learn more about our setup? Contact Us.

At Ultralight Camera Solutions, we aim to provide photographers and videographers with tools that offer exceptional flexibility and performance. One of our standout products, the Ultralight TRI-TRAY, is a camera mounting plate designed for unparalleled adaptability. Whether you’re shooting underwater or topside, the TRI-TRAY is your go-to solution for securely mounting cameras, lights, and other accessories.

What Makes the TRI-TRAY Unique?

The Ultralight TRI-TRAY isn’t just a mounting plate; it’s a platform that opens up endless possibilities for creative configurations like our Ultralight sled, the CSK-SLDL. Built with precision and durability, it’s ideal for professionals and enthusiasts who demand versatility and reliability from their gear.

Key Features and Benefits

1. Universal Compatibility

The TRI-TRAY is designed to fit almost any camera system, from compact point-and-shoots like Olympus and Sony to full-frame DSLRs like Nauticam, Sea & Sea, and Aquatica, and even video cameras like GoPro, Insta360, and DJI. Its wide range of mounting options ensures it can adapt to your specific needs.

2. Durable and Lightweight Construction

Crafted from 6061 T6 aircraft-grade aluminum, the TRI-TRAY is both lightweight and incredibly strong. Its Type III hard anodizing provides a corrosion-resistant surface, making it perfect for harsh underwater environments.

3. Multiple Mounting Points

With various mounting holes and slots, the TRI-TRAY allows you to attach accessories like lights, arms, or monitors. This flexibility makes it an essential tool for both underwater photographers and topside cinematographers.

4. Secure Camera Mounting

The TRI-TRAY ensures your camera stays securely in place with its robust design and precise machining. This stability is essential for achieving sharp, professional-quality images and video.

5. Compact and Portable Design

Its streamlined shape makes the TRI-TRAY easy to pack and transport, whether you’re heading to a dive site, a studio, or a remote location.

Ideal Applications

The TRI-TRAY excels in a wide range of scenarios:

• Underwater Photography and Videography: Securely mount your camera and accessories for seamless shooting in challenging underwater conditions.
• Topside Cinematography: Use it as a stable base for complex camera rigs with multiple accessories.
• Studio Setups: Mount cameras and lighting for precise and creative studio work.

Why Choose the Ultralight TRI-TRAY?

The TRI-TRAY isn’t just a product; it’s a solution for photographers and videographers who value reliability, adaptability, and ease of use. Whether you’re an underwater adventurer or a topside storyteller, the TRI-TRAY empowers you to build a rig tailored to your creative vision.

Upgrade Your Setup with the Ultralight TRI-TRAY
Ready to take your gear to the next level? Discover the TRI-TRAY and our full line of camera mounting solutions at Ultralight Camera Solutions. Have questions? Contact Us—our team is here to help you find the perfect setup for your needs!

At Ultralight Camera Solutions, we pride ourselves on creating products that perform flawlessly, regardless of the environment. All our products are US-made with US materials, hand assembled and packaged in our warehouse in Oxnard, CA, and come with a lifetime warranty.