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ISSUE 103 £4.75


Hands on with the latest Canon & Fujifilm optics


Martin Häusler hits number one with portraits of top musicians


BETTER Software tips to cut post-production time

MAKE IT BIG! Career-defining advice from assistants and pros on how to get started



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WELCOME We’ve got another jam-packed issue for you that covers everything from assisting to newborn photography


Welcome to the latest issue of Photo Professional and I hope you’ve had a good start to the new year. We’ve been busy here, working on the magazine and visiting the Societies Show, which had its usual mix of great speakers, exciting new products and second-to-none networking, all topped off with the exuberant Awards Dinner. Great fun! We’ve covered plenty of ground this month, including a catch-up with wedding specialist Mark Seymour, who tells us about the rather unusual street photography workshop he attended in India, and Karen Wiltshire, who explains the overriding need for safety if you’re involved in the newborn photography market. We’ve also had a chat with a number of assistants, who tell us why this way into the business can pay dividends, and we explain how to hire an assistant yourself if you need an extra pair of hands. We’ve also heard from two of the very best wedding photographers in the world and about the business of pay per click. Another full issue I’m sure you’ll agree and it’s good to have you with us!







The latest launches and comps to enter, plus how one photographer found himself on a reality TV show.


COVER Music was his first love, but now Martin Häusler’s pursuing a profitable and longstanding relationship with his camera.


How a photography workshop in Kolkatta is benefitting a worthy charity.


Spotlighting up-and-coming names, we chat to young film-based photographer Matthew Willcocks.

Pro Academy


COVER Tigz Rice continues her post-pro series and speeds up her workflow.


COVER Shooting a varied palette of work, Alex McDonald takes on three very different shoots and lets us in on his illuminating secrets.


Thinking of taking on newborn shoots? Then take our advice, and learn the tricks for safe shoots every time.


Business Matters


087 CANON EF100-400MM



It’s your regular A-Z of essential knowledge to keep profits rising. COVER Pay-per-click could put you on the road to success says Donal Doherty.


Making the top ten isn’t just for bands, it’s also for wedding togs, who covet a place on American Photo’s list.


COVER Finding out if the traditional route into photography is still relevant today.


NEVER be without Photo Professional again. Get it delivered straight to your iPad or Kindle each month. Search the App Store or Amazon to save money! 004 PHOTO PROFESSIONAL ISSUE 103

Gear COVER An update to the popular telephoto gets a pitchside workout. COVER Huge excitement has greeted this lens, but does it elicit the same reaction when our pro gets his hands on it?


Innovative and adaptable, this shootthrough reflector certainly lit up our reviewer’s day.


There’s bags of room in this issue’s guide to picking the best holster, case or roller for you and your kit.


Locations, festivals and around the world – issue 104’s the place to be!

It’s never been easier or cheaper to subscribe to Photo Professional. See page 60 for more info on our special offer... 031







The Insight Astronomy Photographer of the Year Competition is now open. This extraordinary shot of an aurora over a lagoon was last year’s winner PICTURE JAMES WOODEND

While some of its sections might be specialist, there are still categories within the Insight Astronomy Photographer of the Year Competition that are deliberately open enough for anyone to consider entering, and some of the winning images are spectacular to say the least. James Woodend was the overall winner in 2014 with this shot of an aurora over a glacial lagoon, taken in Iceland, and he was blessed with a particularly


vibrant display after having visited the same location several times. “I knew exactly where I needed to be positioned and I needed at least five factors to come together,” he says. “Firstly the lagoon itself had to be not totally frozen over, with no wind to disturb the its reflective surface. I also needed a clear starlit sky with little or no cloud cover, a faint dash of moonlight to illuminate the glacier and, of course, an epic aurora borealis.

“I shot the picture using a Canon EOS 5D Mark III fitted with a 24-70mm f/2.8 zoom set to 33mm, and my ISO was set to 1000.” Head to the website before 16 April 2015 to enter and to find details of the nine main categories. The competition is run by The Royal Observatory Greenwich in association with Insight Investment and BBC Sky at Night magazine.




focused on

ICONS Music was the catalyst that encouraged Martin Häusler into a creative career, spurring him on to become a designer and then filmmaker, before settling as a stills photographer








Renowned for his ability to extract the key moments from a wedding in a discreet reportage style, Mark Seymour put his skills to the test in a different context recently, photographing people on the streets of Kolkata WORDS TERRY HOPE PICTURES MARK SEYMOUR

s a hard-working professional with one eye on the commercial requirements that come along with a commission there’s always the danger that you could become stale, stuck in a routine and going through the motions. There’s a serious need to introduce variety, to shake things up once in a while and to set yourself new challenges – the perfect way to move yourself on and ensure the creative juices are flowing. Looking at the work of three times UK Wedding Photographer of the Year and Nikon Ambassador Mark Seymour you wouldn’t imagine that he would have any need for such added motivation, so clearly is he at the top of his game. He also has the advantage that, as one of the country’s top reportage specialists, he never really encounters two commissions that are exactly the same, so there’s always the spice of something new to drive him on. However, Mark himself realised some time ago that while he might have what many photographers would consider to be the perfect job, he couldn’t afford to sit on his laurels and rest. He still needed to



be pushing on and trying new things out on a regular basis. Last autumn he got the chance to do exactly that, signing up for a remarkable week-long workshop run by London-based professional photographer Mark Carey. Over the past couple of years Mark has formed a strong relationship with the Hope Foundation, a charity that primarily exists to care for the street and slum children who live in Kolkata (previously Calcutta). This has led to opportunities being created for photographers to travel out to Kolkata to document some of the projects that the Hope Foundation is undertaking, and it’s a chance to not just hone street photography skills but to experience the lives of a resilient and remarkable group of people while supporting the work of a very worthwhile charity. “My photography travels have taken me to some of the most beautiful, interesting and diverse locations in the world,” says Mark, “but I can honestly say this was unknown territory for me, and before I left I really didn’t know what to expect. The little knowledge I had of India,

from its unique colour and spices through to its religious and cultural heritage and its lush landscapes, could not possibly prepare me for what I knew I was going to experience. “Kolkata is the principal commercial, cultural and educational centre of East India, and the third most populous area in the country, and yet there is tremendous poverty to be found there. What Mark’s workshops do is provide photographers like myself with the most amazing opportunity to build their personal portfolios, but it also enables the Hope Foundation to raise some important funding and the profile of the valuable work that they carry out with local children.” Desperate poverty It was a difficult experience for Mark, as it would be for anyone travelling from a wealthy western country to India for the first time, to believe the hardship that can exist there. Over 250,000 children are forced to exist on the streets and in the slums of Kolkata, while a further 30,000 children are trafficked into the city on an annual






FASHION We catch up with Alex McDonald, a self-taught fashion and beauty photographer, to discover the full story behind the lighting and the logistics that went into three very different commercial shoots that he set up WORDS CHRISTIAN HOUGH IMAGES ALEX McDONALD

here’s no substitute for hands-on experience and Alex McDonald is making a name for himself as one of the up-and-coming self-taught photographers who has benefitted from the many peaks and troughs of learning on the job. Beginning his newfound career in 2005, Alex started testing and shooting portraits as a hobby, before realising that photography was his true passion in life. After expanding his clientele and gradually increasing his knowledge Alex moved into editorial and commercial fashion and beauty, working for International Model Management, Samantha Bond and various other agencies. Eschewing the time-honoured way of working he’s taken the business decision not to specialise in one particular genre and instead has continued to work in a variety of areas, such as live music events, bands and even glamour. His outlook remains one of personal photographic progression, with a continuing willingness to learn and develop, whilst retaining a strong sense for business.


Three very different shoots here, Alex.

CH I particularly like the staged shot with

the staged background scenery (overleaf). AM This is one of those times when social media has real benefits, as I was actually contacted to take on this job through my Facebook page. I’ve found this way of advertising and networking particularly useful when attracting business from designers and

local businesses. This shoot was for a growing clothing company that needed some editorial and promotional style images to advertise parts of its latest collection. What went into it?

CH AM The company had been inspired by

a Katy Perry video filmed in a 1950s style set, with flowers and bright colours, and basically it wanted to tap into that feel. The whole concept really appealed to me and offered me the chance to shoot something that was a little more fun and light-hearted. However, as with many growing companies, their budget was quite tight and it was this that really provided me with a challenge since it meant I wouldn’t have the luxury of a professional set designer. After exchanging a few phone calls and emails with them, they booked a studio for two days and began to organise the props needed, loosely based on the video. To be honest, it’s the logistics that can give you the most headaches, simply because you’re working with an unknown quantity and have to source all the props as cheaply as possible, not to mention the time it takes to set everything up. So how did you source the props?

CH AM Some of the things, such as the

flowers and fruit, we had to purchase the day before so they still looked fresh. Actually, if you wait until close to the end of the working day it can also be quite cost-effective, as stuff tends to get reduced! I spoke to a few local flower

businesses that were willing to help and then spent some time with my assistant putting everything together, including arranging the flower chains over the fence. For some parts of the set we were able to source and hire locally to keep costs down. I actually found building the set to be quite a challenge and it really made me think about the positioning of things, even down to the petals on the grass. What looks pretty good to the naked eye can change quite dramatically in camera, so plenty of fettling is needed! How did you source the models?

CH AM The models were essentially

organised by the company but chosen by myself, insofar as the company ran a publicity campaign to invite their customers to be ‘a model for the day’. This sounds fun, but actually getting an inexperienced person to model on a commercial photo shoot can be a real challenge, especially when you throw in swimwear and a set. Prior to the shoot, the client sifted through all the images submitted for the competition and then I shortlisted the strongest candidates, before choosing the two most suitable models. Obviously, the models possessed limited experience, so it required more direction from myself and the other creatives to get the shots needed. Mood boards and lots of visuals were available, which not only helped to cement a cohesive idea but also provided visual inspiration for the models. ISSUE 103 PHOTO PROFESSIONAL 045



The growth of the market for newborn photography has been rapid, but along with the positives it’s also encouraged some photographers to take risks with their subjects. Here’s how to get involved and keep baby safe WORDS TERRY HOPE PICTURES KAREN WILTSHIRE/LYN CHAPMAN





FUJIFILM XF 16-55MM F/2.8 SPECIFICATIONS CONTACT STREET PRICE £899 OPTICAL DESIGN 17 elements in 12 groups (includes 3 aspherical and 3 Extra-low dispersion elements) ANGLE OF VIEW 83.2°-29° APERTURE RANGE f/2.8-f/22 APERTURE CONTROL Number of blades: 9 (rounded diaphragm opening) STOP SIZE 1/3EV (19 stops) MAX MAGNIFICATION 0.16x


Fujifilm XF 16-55mm f/2.8 lens It says something for the growing reputation of the Fujifilm X-series that news of a landmark new lens can create so much excitement. Dave Kai Piper took the latest 16-55mm out for a spin to see what the fuss is all about WORDS & PICTURES DAVE KAI PIPER

FILTER SIZE 77mm DIMENSIONS 83.3x106-129.5mm (widetelephoto) WEIGHT 655g

here was a time not so long ago when CSC systems in general were considered little more than toys, compact cameras with muscles that were the domain of the photo enthusiast and not the professional. One of the cameras that did more than any other to change this mindset was the Fujifilm X-Pro1. This is the granddaddy of what has become the X-series, a positive wealth of cameras and lenses that have won the hearts of many a working professional the world over. Fujifilm quickly followed up the initial excitement that the X-Pro1 created with a fully fledged family, and there are now some truly excellent optics in the system, enough to give even a demanding pro plenty of genuine choice. So, why all the excitement about the recent announcement of a 16-55mm f/2.8 – equivalent to a 24-84mm – addition to the range? Shown at CES in January it’s created a serious stir on the web, and when it becomes available there will doubtless be a rush by X-series aficionados to add this optic to their collection. At £899 it’s not cheap, but then this was never intended to be a budget lens. Instead it’s being touted as the new flagship standard zoom for the system, which gives it rather a lot to live up to. As an Fujifilm X-Photographer I was fortunate enough to be given the opportunity by Fujifilm back in December to take a pre-production sample out on some shoots; I felt very privileged to get my hands on this new optic before it had even been officially unveiled at CES. I had no intention of putting the lens on the test bench, however: rather I was dying to put it through its paces, to see how it handled and to get a feel for the quality of the shots it could deliver. So this is by no means a test as such, rather my personal feelings about the 16-55mm and how it handled, plus some images to show what it’s capable of.


First thoughts One of the first things you notice about the lens is its size and weight. Fitted to an X-Pro1 – among the biggest of the X-series bodies – the lens is deeper than the bottom of the camera, leaving the lens hood to protrude below its base. The 77mm filter fit – necessary to take account of the massive front element – is also huge compared 090 PHOTO PROFESSIONAL ISSUE 103

with the smaller 18-55mm or basic 16-50mm kit lens. It appears Fujifilm has created a lens they hope will be judged more on the quality of its results than its compact and svelte lines. Big in CSC terms it might be, but you still have to bear in mind that we are talking about things in relative terms here. I’m told that, combined with a camera body, the set-up is still only approximately 60% of the weight of a full-size system, and so those who use the X-series system are still going to be feeling the difference in the weight of their gadget bag. And there’s good reason for the size: this lens is packed to the gills with outstanding glass. Overall there are 17 elements in 12 groups, and this includes three aspherical lens elements to control spherical aberration and distortion, and three ED glass lens elements to reduce lateral chromatic aberration (wide-angle) and

IMAGE Teaming the 1655mm with my X-T1, I shot model Jodi (from Alan Sharman Agency), with beautiful bokeh thanks to the optic’s nine rounded aperture blades.

axial chromatic aberration (telephoto), thereby achieving what Fujifilm promises is edge-to-edge sharpness across the entire zoom range. HT-EBC (High Transmittance Electron Beam Coating) has been applied to the entire area of the lens surface as well, which is said to ensure that ghosting and flare are well controlled. For those who love gorgeous, circular bokeh the good news is this is designed to be silky smooth, thanks to nine rounded aperture blades. The suppression of spherical aberration to the ultimate extent is said by Fujifilm to contribute to beautiful bokeh at both the front and back, and this is definitely something that photographers

are going to be looking to buy into. The f/2.8 aperture remains the same throughout the entire zoom range as well, and this consistency is again something that many will appreciate. An Inner Focusing System is used for high-speed AF and, because the weight of the focus lens has been reduced and the Twin Linear Motor has been mounted, focusing is very quiet indeed. Combine this with the near-silent shutter noise of the latest X-series cameras and you have a combination that could help you to take such things as street shots without anyone being aware that you were even there.

For those who love gorgeous, circular bokeh the good news is this is designed to be silky smooth ISSUE 103 PHOTO PROFESSIONAL 091

LEFT The sunlight reflector gave the softest of glows, which luckily matched the lights in the great hall perfectly,


OMEGA 10-IN-1 REFLECTOR SPECIFICATIONS CONTACT PRICE £120 SIZE 38x45in SURFACES White, silver, sunlight, black and one-stop diffusion CONSTRUCTION Removable centre frame, 2:3 ratio; folds down to onethird open size; two suction cups built in for attachment to surfaces such as glass and ceramic


Omega 10-in-1 Shoot Through Reflector You might think that all reflectors were created equal, but that’s no longer the case, as Westcott unveils its innovative and highly adaptable new Omega product. John Baikie set up a shoot to test its capabilities WORDS & PICTURES JOHN BAIKIE

eflectors are just about the simplest lighting accessory you could possibly think of. They do exactly what they say on the tin, namely reflect light back into places where you need it. Naturally there are variations that can do slightly different jobs: a gold reflector, for example, will colour the light, a silver reflector will amplify the light that’s thrown back and a black reflector might even suck the light out of a scene, but they are all essentially doing the same kind of job, and it’s hard to see how evolving technology could possibly influence this part of the market. Which all goes to show how wrong you can be, because Westcott has sat down and basically reinvented the reflector, coming up with a package in the new Omega 10-in-1 shoot-through product that’s designed to pretty much do every light-bouncing job that a photographer might require, but rolled into one lightweight and easily transportable package. At 38x45in the Omega Reflector is a decent size when fully set up, and it comes with a fine selection of surfaces, such as reflective white, reflective silver, reflective sunlight, black block and one-stop diffusion, all of which are said to be quick and easy to bring into play via a series of Velcro


fasteners. This means that by employing a single light source you can produce both a main and a backlight and create advanced lighting effects without the need to invest in extra heads. All of this is great news for the photographer who likes to travel light, but there are multi-surface alternatives out there, so what makes the Omega so special? Well, there’s a bit of a twist to this product that lifts it above its rivals and which is potentially brilliant: namely the reflector can convert very quickly into a shoot-through unit by the removal of a 2:3 centre frame panel – again attached via Velcro – and this gives you a range of new shooting positions that you wouldn’t get if you were using a conventional reflector. Simple idea perhaps, but it’s clear that Westcott has been talking to its professional users. I’ve been there myself on more than a few occasions, where I was trying to achieve an image and commented that I would like to cut a hole in the reflector to poke the camera through. In fact on one occasion I almost did this, but couldn’t bring myself to just in case everything went horribly wrong. However, the detachable panel gets around all of this, and within seconds you can open up a window in the centre of the reflector and you then have a decent aperture to shoot through while still retaining the shape and the vast percentage of the reflector’s reflective surface. As a bonus it also gives a totally different catchlight effect, and my first thought when I saw this product was ‘now why didn’t I think of that!’ First impressions I was lucky enough to get hold of one of the first Omegas in the country for a few days before it was whisked away to show at the SWPP Convention, and I was able to set up a last-minute shoot in the gorgeous setting of Achnagairn House in Inverness, near where I’m based. In the time I had I was able to use it purely in a series of interior shots, but I’ll be getting it back in and am looking forward to taking it out on some location shoots as well, and I’ll post my results up on my website over the coming months. I set up a shoot based on the fact that I was shooting in the Scottish Highlands, where using a reflector outdoors is challenging even in the summer months.

My first thought when I saw this product was ‘now why didn’t I think of that!’ ISSUE 103 PHOTO PROFESSIONAL 095


BUYERS’ GUIDE: Camera bags & cases You’ve spent big money on cameras, lenses and accessories to give full vent to your creativity, so why not choose just as wisely when it comes to a bag or case to carry them in? Here are some of the latest options WORDS GAVIN STOKER

Just like your favourite shirt, there will be a camera bag that feels the best, most comfortable fit. So, let us act as your personal shopper as we tempt you with the pick of the latest and greatest transport apparel. The first question is, do you need a bag or a case?

Are you looking for something to carry all your gear at once or just certain sections of it? Are you a regular traveller and need something that falls within airline regulations for carry-on luggage, or alternatively something robust enough for storage in the hold? If you’re working with heavy gear,

Benro Ranger Pro Backpacks From £129.90 Available in the UK courtesy of distributor Kenro, the Benro Ranger Pro Backpacks are a new range designed specifically for nature and sports photographers. The talking point here is that the upper compartment is larger than the lower compartment, which is said to allow better ventilation and reduced pressure on the carrier. Also, with outdoor elements in mind, the backpack’s contents are said to be isolated against cold or hot temperatures, while a cover attached at the front protects against dust and rain. Easy access points are a further feature, with front, upper and side openings allowing quick retrieval of camera kit. High-grade waterrepellent materials have been used to reinforce the base, says its supplier. There are three Benro Ranger Pro options to select from in the 400N, 500N and 600N, with the capacity to hold up to two SLRs, six or eight lenses, two flash units and one 17in laptop. Suggested retail prices range from £129.90 to £149.94.


Lowepro Toploader Zoom AW II From £30 One of Lowepro’s most popular bags, the Toploader Zoom range has been revamped just in time to be recommended here. There are three new models: the Zoom 45 AW II, the Zoom 50 AW II and the Zoom 55 AW II, with prices ranging from £30 to £45. Lighter in weight than before, they feature newly designed zips, said to enable an easier grip in cold or wet conditions, along with a new mesh pocket, built-in key fob, plus a zip-operated interior pocket. The holster/pouch style products now also come with a bright, light grey interior to improve visibility, suggests Lowepro, along with an All Weather cover. What’s more the range can be worn in three different ways: across the body using the detachable shoulder strap, via a belt loop or with a separately available Topload Chest Harness. The three available sizes range from the 45 unit, capable of holding a compact system camera, to the 55 version, suitable for a pro DSLR system.


MindShift Rotation 180° backpacks From £183 For those photographers preferring backpack type transportation for their camera kit to balance the load, there are choices courtesy of MindShift, available in the UK via distributor Affordable options start with the likes of the Rotation 180° Travel Away daypack for £185, whereby in one swift motion the wearer can rotate the concealed belt pack to the front for instantaneous and secure access to camera, passport, guide book, tablet or other essentials. The backpack also has dedicated pockets to conceal a 15in laptop and 10in tablet, while the removable belt pack can hold an 8in tablet. A rain cover is sold separately. Also new from MindShift is the smaller, lighter yet similar looking Rotation 180° Trail backpack, which features the same rotating design to provide access to your gear without interrupting your creative flow. Once again the bag’s belt pack can be worn on its own for travelling light. This option costs £183.


would a rolling case with wheels at the base work better than a large rucksack? We’ve considered all of the above to come up with our broad selection of options, and hopefully you’ll find something that is most definitely your bag.

GEAR Think Tank Perception, Urban Disguise Classic & Digital Holsters From £31 US company Think Tank’s latest products are capitalising on the increased uptake in CSC models. The options here are the six-piece Perception backpack line-up, described as the manufacturer’s smallest and lightest backpacks for photo gear, or the Digital Holster 5, which, as it sounds, is devised to be attached to a belt or worn as a shoulder bag. With breathable padded fitted straps accommodating either male or female physiques, the Perception bags starting at £70 are pitched as ideal for travel photographers or simply walking around the city with your camera kit. The largest size – the Perception Pro at £117.50 – has sufficient room to stash not only a CSC body or smaller DSLR with small to medium zoom attached, but also a 15in laptop plus a 10in tablet too, via a dedicated compartment. Complete with side pockets and interior organisers, it also features a removable waist belt while a seam-sealed rain cover is included too. The weight of the Pro pack with all accessories is 1.3kg and it boasts exterior dimensions of 29x48x20cm. The Digital Holster 5 for £31 meanwhile has been specifically devised to carry the small to medium likes of the OM-D E-M5 or E-PL5 from Olympus, the Panasonic GX7, Fujifilm X-E2, Sony A6000, Nikon J3 or similar. A top opening is said to provide quick access, while there is also a seam-sealed rain cover. Weighing 0.3kg, interior dimensions are 13x13.5x9cm, while the exterior measures 16x16x11.5cm. The third Think Tank option is the Urban Disguise Classic shoulder bag, a ‘10th anniversary limited edition’ available in four sizes to suit a variety of photo gear and including a padded laptop compartment. The biggest option is the 60 Classic for £226, which can fit one or two standard DSLRs with grips and lenses attached, plus up to five additional lenses, a tablet and 17in widescreen laptop. In the UK these products are available via sole distributor


Impossible Hänska bag £79.25 Best known presently perhaps for producing its Impossible film for Polaroid cameras, the brand has just teamed up with Berlin-based handbag designer Nora Hänska to release a bespoke camera bag. Unsurprisingly, and in quirky fashion, it’s been designed to store an analogue Polaroid 600 type camera and is claimed to be unisex in design. As well as space for the camera there is also room for four packs of Impossible film. Though the shoulder bag is stylish, it’s also claimed to be very practical and robust. In fact it’s been fashioned from 100% water-resistant aryl, which Impossible reveals is the same fabric that’s used to make boat sails. Not obviously outwardly resembling a camera bag, further features include detachable hand-embossed straps, featuring the Impossible and Hänska logos, which provide the ability for it to be worn like a pouch, as a sling or a cross-body type bag. Dimensions are 29x28x10cm. A YKK-branded zip enclosure at the top provides rapid access to camera or film. Head to the brand’s online shop to find out more or to purchase one.


Billingham Hadley Pro Original & 335 From £200 Most photo pros will be aware of these high-quality British-made bags that feature classic styling and attention to detail. For most the Billingham Hadley Pro Original in khaki or tan remains the most popular. In fact there are now nine colours in the current line-up to choose from, with a further choice of canvas or FibreNyte materials. External dimensions for the Hadley Pro are 350x120x280mm; internally 340x80x270mm, weighing 1.01kg. The second recommendation from the range is the Billingham 335 bag, which to our eyes resembles a doctor’s bag, available in black, khaki or sage at £310, or the plush looking Imperial Blue at £400. External dimensions here are 370x220x265mm with internal dimensions 355x150x220mm at a weight of 1.8kg. The bag features a leather grab handle, brass strap rings, plus what’s claimed to be quick and safe access to gear via a TukTop feature that allows the two sides of its zippered opening to be tucked behind the bag’s internal front and rear dividers. Finally, protecting the underside, brass feet are fitted to leather corner patches, while the bottom of the bag boasts a padded, waterproof base.


Photo Professional - Issue 103 Sampler  
Photo Professional - Issue 103 Sampler