2010 Loweprofessionals Brochure by Lowepro

Professional Photographer Showcase 2010

“ You can’t get hung up on what you think your ‘real’ destination is. The journey is just as important.” Steve McCurry

The Trusted Original. That’s who we are. We’re Trusted because for over forty years, professional photographers have counted on us to protect their gear. They know we understand how they work—and that we pay attention to every last detail. So wherever they go, whatever situations they encounter, they trust that we’re behind them every step of the way. We’re the Original because we invented the very first professional-grade camera bags—and our designs continue to set the standards that have shaped this industry for decades. Today, we’re the leading brand in protective cases for camera gear and digital devices. Photographers all over the world rely on us—on all their adventures, all their assignments. That’s why Lowepro is The Trusted Original.

Contents

Richard E. Aaron

Robert Beck

Daniel J. Cox

Catherine Hall

Maki Kawakita

Antonin Kratochvil

Matt Lever

Chris McClennan

Steve McCurry

Michael ‘Nick’ Nichols 24 Unspoken Conspiracy

26 Beyond The Façade

Fabiano Ventura

Nevada Wier

Art Wolfe

Norbert Wu

Product Design

Product Gallery

4 Rock On

16 Exposing The Darkness

28 Seeking A Legendary Shot

6 The Sporting Life

18 The Clamor Behind The Glamour

30 Portraits From A Road Less Traveled

8 A Labor Of Love

20 The Intentional Tourist

32 Travels To The Edge

10 Happily Ever After

22 Portraits Of The Soul

34 Under Antarctic Ice

12 Makirama

36 Carrying Invention Since 1967

Douglas Kirkland

14 Australia: Behind The Scenes

Joyce Tenneson

37 Lowepro 2010 Product Series

Welcome

Here at Lowepro, we celebrate photography—and photographers everywhere. They’re the very reason we exist. For over four decades we’ve worked with some of the best photographers in the world—and while their images are amazing, what really inspires us is the lengths they go to and the hardships they sometimes endure in order to capture the moment. That, more than anything, motivates us to make sure the products we design protect their gear, no matter where they go or what kind of situation they find themselves in. Our designers are constantly inventing better ways to ensure their gear is easy to carry, easy to get to and can withstand the same extremes their owners do—so they can forget about their gear and concentrate on getting the shot. One of the things we love most is hearing the stories behind these fantastic pictures. We’re honored to be able to share some of them with you and look forward to bringing you more in future editions. Enjoy!

Richard E. Aaron Rock On Richard E. Aaron has been using Lowepro gear for almost as many years as we’ve been around. He’s been front and center for some of the greatest moments in rock ’n roll’s history—and taken us along for the ride. He shared some great memories with us— and we’re delighted to share them with you. The Who (Right) Roger Daltry performs at Madison Square Garden in New York City in 1975.

Simon & Garfunkel (Opposite page, left) Shot at Dodger Stadium in Los Angeles in 1983 using a 600mm lens. The Boss (Opposite page, right) One of Aaron’s personal favorites is this picture of Bruce Springsteen.

Frampton Comes Alive (Inset) Aaron’s first album cover in 1976 was this image of Peter Frampton

Richard E. Aaron is one of the greatest rock photographers in the world. He is also not that into rock music—something he says has helped make him a better rock photographer. With a personal preference for classical or jazz, he says “not being into the groove” helps him focus more on the technical aspects of his photography. “When you shoot a performance,” he says, “it’s the timing—treating it not as glitz and glamour, but really thinking about what you’re shooting.” Aaron credits a lot of his success to being in the right place at the right time. In some cases, it took some convincing from outside forces to get him there. His first big break came in 1971 from a friend, then the managing editor for Good Times music magazine. He asked Aaron to shoot a concert at Madison Square Garden for him. Not really interested, Aaron finally gave in—and found himself the only photographer in the Pit (the area in front of the stage between the musicians and the audience) shooting his first live concert. The collage of images from that shoot not only landed on

the cover, it secured him the position of photo editor. It was an exciting time, Aaron recalls. In his early twenties, he spent his days shooting publicity photos, his nights shooting concerts and the parties afterward. “I could get into any show, get backstage—it was a different time,” he recalls. He always made contact sheets for the musicians’ managers and included all the shots he’d taken. And because he wasn’t a “groupie” both the agents and musicians felt comfortable with him. Work developed into friendships in many cases— strong and lasting friendships as well. Aaron’s first album cover came a few years later. Peter Frampton, whom he had photographed frequently, asked to borrow some of his pictures to take to A&M Records where the senior art director was looking for shots for the cover and jacket of his next album, Frampton Comes Alive. Feeling that all art directors preferred studio shots, Aaron didn’t think he’d ever do an album cover. As fate once again intervened, he not only got the cover of one of the best-selling live albums to date, he got three of the four interior shots as well. The ensuing years found Aaron being in the right place at the right time, again and again. When Paul McCartney’s label publicist called to suggest he come to the opening performances of McCartney’s return tour, Wings Over America; Aaron reluctantly scraped together air fare and headed out to Texas. It was another of fate’s interventions as he not only had access to the Pit, he was taken backstage and allowed to photograph McCartney with his wife, Linda—and it landed him the cover of Time Magazine. So far in his career, Aaron estimates he’s shot over 1,800,000 images—and all of them on film. As he has begun scanning them, his one concession to the changing technologies, he has rediscovered amazing shots he didn’t even know he had. He’s also branched out more into video—one of his early interests while studying for his degree—shooting “making of” videos for films. And he finds himself coming full circle with an upcoming project—the cover shot for Peter Frampton’s new CD. Talk about fate…… rockpix.com

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“ Photography is an art— but if it’s not fun, don’t do it!” Richard E. Aaron

Biography In a career that spans over three decades, Richard E. Aaron has photographed some 4,000 musical artists and has gone on tour with some of the greatest rock ’n roll performers in history. He was honored by Modern Photography Magazine as one of the “10 Best Rock Photographers” in the world, has hundreds of album covers to his credit and shot the first ever photographic rock ’n roll cover of Time Magazine—Paul McCartney/Wings Over America. His work has appeared in more than 6,000 magazines, newspapers and books worldwide. Aaron continues to shoot stills, music videos, CD jackets and album covers for a wide variety of media, ranging from feature films, television and video, to corporate public relations and entertainment publicity.

Robert Beck

Brandi Chastain (Right) After she kicked the game-winning goal at the 1999 Women’s World Cup final. 2008 Summer Olympics (Opposite page) The Fencing competition, with its blacked-out arena, allows for experimentation with various shutter speeds.

The Sporting Life Shooting for a weekly publication requires lots of planning, a lot of flexibility and split-second timing. Understanding the background is really important. While our photographers research their shots, we research them— how they work and what they need—so our gear works the way they need it to. We hope to make their jobs a little easier that way. Working as a staff photographer for Sports Illustrated means having a front row seat for some of the most memorable moments in sports history. And in the 20+ years Robert Beck has been shooting sports, he’s definitely seen his share of memorable moments. In October of 1986, Beck went on his own to shoot the Ironman Triathlon in Hawaii. It proved to be a fortunate decision. After checking in at the media center for the Ironman event, he discovered Sports Illustrated had hired him to officially shoot it for them. Since that day, his travels for Sports Illustrated have taken him to Olympics, World Series and Super Bowls. He’s witnessed Tiger Woods’ last amateur championship—and his first PGA Tour win—covered hockey, basketball and boxing; and, of course, World Cup Soccer. In 1999, he captured Brandi Chastain after she kicked the game-winning goal in the Women’s World

Cup Final. His picture made the cover of Sports Illustrated and is famous around the world. “The most memorable moment [in my career] was Brandi’s goal,” says Beck. “It had a huge impact on women’s sports.” So what’s a typical week like for a not-so-typical sports photographer? It could include shooting a basketball game one day, a heavyweight title boxing match the next; catching an NFL football game and rounded out with some feature/portrait shots. And next week? How about the President’s Cup golf tournament and the World Series? There’s never a dull moment. Because he shoots for a weekly publication, the pace is fast. Assignments are usually given on a Monday, followed by making travel arrangements, booking assistants and gathering all the gear he’ll need for the week. Then there’s the background work required for any feature assignments and planning how to “complete the vision”. Since everything he shoots will be in the next week’s magazine, Beck has to get it 99% right in the camera because there’s little or no time for post work on the images. “I go to sleep thinking up ideas, and wake up thinking of ideas.” His job may seem like a sports fan’s dream—and it is—but there’s a lot of pressure, too. It’s hectic and there is just a split second of opportunity to get the shot. “All it takes is one,” says Beck. “You can’t make every shot and you can’t be consumed by a miss. You just keep pushing until you get that one.” From where we’re sitting, he hasn’t missed very many. Biography Robert Beck’s introduction to sports photography came as a staff photographer for Surfer Magazine. He shot his first assignment for Sports Illustrated in 1986, which resulted in a full spread inside the magazine as well as one of Life Magazine’s Pictures of the Decade. His images have regularly graced the cover of Sports Illustrated and taken him to some of the greatest sporting events in the world: the Olympics, World Cup, World Series, Super Bowl, Stanley Cup, The Masters, NBA finals and more. He has photographed celebrity sports figures including Tiger Woods, Wayne Gretzky, Pelé, Shaquille O’Neal, Tony Hawk, Brandi Chastain, Emmet Smith, Michelle Kwan, Shaun White, Rod Laver, Monica Seles and Kelly Slater.

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“ I love the color and excitement of sports. The more energy there is, the easier my work becomes.” Robert Beck

“ It’s inspiring to be commended for a job well done, but it’s even better to draw people into your way of thinking when it comes to saving an animal or habitat.” Daniel Cox

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Daniel J. Cox

Frozen Moment Of Maternal Instinct (Left) A mother polar bear mourns over her dead cub, just its muzzle protruding out of the snow.

Cox currently spends about 50% of his time working pro bono with the PBI team. He takes images for their newsletters, participates in the “Churchill Season” when Tundra Buggies from Frontiers North take research scientists, photographers and polar bear watchers from around the world out onto the tundra to see the bears up close and personal, and provides in-depth coverage of the research the PBI scientists are doing. The scientists track and tranquilize bears to gather data: collecting blood, fat, fecal and hair samples; recording age, weight, sex fat content (critical to survival and reproduction); and finally tagging the bears to track their daily movement—all to try and determine the effect of climate change on these animals and their habitat.

His time with the scientists can last for as many as 14 hours a day, not counting the lab work and clean-up after returning to base. Cox is in a helicopter much of that time to record their efforts. This work is not for the faint of heart. The flying conditions are dangerous and more than one biologist has lost his life when his helicopter crashed in a whiteout. And then there are the close calls with the bears themselves. One bear roused from its tranquilized state for a matter of seconds, just long enough to bite the leg of the scientist working on it before falling soundly back to sleep. For Cox and the scientists, it’s not a matter of money. It’s a passion for preserving the delicate balance between mankind and the environment. “I don’t have a new truck or as nice a house as many others, but I do have tremendous feelings of doing something important for a species and a habitat I dearly love.” When it comes to conservation, Cox states, “What do we have to lose by cleaning up our act?” If his images can provide a catalyst for change, he’ll consider it a job well done.

If a picture is worth a thousand words, Daniel J. Cox has authored a full set of encyclopedias. His images capture the majesty of Mother Nature as well as the animals dwelling within her realm. A conservationist since the beginning of his career, he has traveled the world documenting wildlife from Antarctica to Zaire. Since the age of 26, though, his heart has belonged to the polar bears of the great north. A natural pairing of two great passions (photography and polar bears) has led him to dedicate a tremendous amount of his time and talent in support of Polar Bears International (PBI), a non-profit group founded by wildlife photographer Dan Guravich in 1992 and dedicated to the worldwide conservation of the polar bear and its habitat through research and education. Cox, along with wife Tanya and the staff at Natural Exposures, is keeper of virtually all the media produced for PBI including his own personal collection of images

and the historically valuable Guravich Library which documents the flora and fauna dating back to the early 1960’s. As any artist can attest, having your work appreciated is very satisfying. In Cox’s case, however, his greatest sense of fulfillment comes from being able to change people’s minds and motivate them to action with his moving images. “Good natural history photography is not exclusively about pretty pictures,” says Cox. “It’s important to show real life situations, the good and the bad.” Case in point: one of his most famous images, published by Life Magazine in the mid 1990’s and again by National Wildlife magazine, is a poignant portrait of a mother polar bear standing watch over her dying cub. A heart wrenching photo essay that spanned almost five days, these images (inset), with the accompanying story, garnered the highest reader response ever received by National Wildlife. © Daniel J. Cox. naturalexposures.com

A Labor Of Love Since 2006, Lowepro has been underwriting Polar Bears International’s Polar Bear Population Project. This scientific research studies the effects of global warming on the polar bear habitat and helps raise awareness about this dire threat. Daniel J. Cox shares this commitment, supporting work that is near and dear to our hearts. We’re proud to bring you his story.

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To help, visit polarbearsinternational.org Biography For nearly 30 years, Daniel J. Cox has traveled all seven continents in search of images that inspire his art and inform his audience. Internationally recognized, he has twice been awarded 1st runner-up in the prestigious British Broadcasting Wildlife Photographer of the Year competition; and he’s placed first in the Natures Best Photography contest. Cox’s natural history images have been featured in Nikon House in New York, the Natural History Museum in London and the National Museum of Wildlife Art. He is a regular contributor to natural history publications worldwide. Cox has hundreds of magazine covers to his credit, including two cover stories for National Geographic Magazine. He is the sole photographer of thirteen books, a Nikon Legend, and serves on the Advisory Board for Polar Bears International.

naturalexposures.com

Two Male Polar Bears (Top) Interaction during a session of play fighting near Churchill, Manitoba. Mother Polar Bear And Her Two Cubs (Bottom) Making their way across a frozen lake near Churchill, Manitoba while waiting for Hudson Bay to freeze over. A Lone Polar Bear (Opposite page) Crossing the ice at sunset in Cape Churchill, Manitoba.

“ I love the emotion, passion, rawness and openness of weddings. It’s not like figuring out a formula—the challenge is the fact that I can always grow, that each situation is different and new.” Catherine Hall

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Catherine Hall

Catherine Hall’s life is far richer than most when you consider all the expressions of love she has witnessed. As one of the premiere young wedding photographers, she specializes in the romantic narrative between a bride and groom. A passion for photography born of a love for travel and exploration started Hall down a path that has led to a notable career—that and the mentorship of a truly inspirational photographer, Steve McCurry. “Even though we hadn’t met yet,” says Hall, “I would carry my camera and Steve’s book. I loved learning about people and places.” Hall’s specialty gives her the opportunity to combine what she loves best about photography: documentation, fashion and portraiture. It’s challenging work—each and every situation is different and new and filled with powerful emotions. Digging deep to discover what’s exceptional and unique, Hall strives to create a visual memory that can be cherished not only by the couple, but also by generations to come.

Biography Catherine Hall has used her camera to explore the world since she was 16. Broadly acclaimed for her wedding photography, she is also a skilled photojournalist. Her work appears in Elegant Bride, Grace Ormonde, National Geographic Traveler, Modern Bride, The Tribune, The Sydney Morning Herald, Rangefinder, American Photo and The New York Times. She has exhibited in New York, San Francisco and Paris. Her clients include John Deere, News Corp, Reuters and Goldman Sachs. An accomplished teacher and international print and album judge, Hall has lectured at WPPI and the Hallmark Institute of Technology and was selected as an Adobe Influencer.

catherinehall.net

“Weddings are forever,” says Hall. And her journey with her clients starts well before the big day. She puts her background in photojournalism to work so she can capture people as they really are, not what they think they should be. She has the ability to put people at ease, instilling a sense of trust that makes them comfortable showing their more vulnerable sides. On one particular occasion, Hall knew that the bride’s parents had yet to see their daughter in her wedding dress when she was ready to start down the aisle. Most often, this would be the time to focus on the bride. Instead, Hall turned the camera on the parents, revealing all the love, the emotion and pure pride in their expressions. It was a once-in-a-lifetime moment captured forever. “I knew the bride didn’t get to see that look on their faces. Later, when she saw the picture, she truly realized the impact that one moment had on her parents.” There’s no magic formula, no script to use as a guide—and there are so many things that are completely beyond control. And it’s exactly this element of the unknown that makes for some of the best—and most challenging—experiences. “The skies may open up and the rains come pouring down. You can run for cover, or you can go out and discover something breathtaking or captivating.” Hall has photographed weddings in the most elegant of locations, traveled to tropical destinations to shoot seaside nuptials and followed a happy couple down a snowy slope on a pair of skis. Her willingness to take on challenges, to view each and every wedding as something different and new, are just part of what makes her so good at what she does.

Happily Ever After For Catherine Hall, trust is an important element in working with her clients. Weddings are one of the most important events in a couple’s life—and her photographs record the memories so they can last a lifetime. We’re honored that she trusts us to protect her gear and keep it accessible, so she never misses a moment.

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Loving In The Rain (Above) A couple finds a moment for romance on a rainy New York City afternoon. First Glimpse (Left) Words alone could never have expressed what Mom and Dad felt with their first look at the bride in her wedding gown. The Kiss (Opposite page) On the shores of Lake Tahoe, California, the newlyweds share a kiss.

Maki Kawakita

Makirama Fulfilling personal creativity while satisfying your clients is a careful balancing act— one that Maki Kawakita has perfected. She has to understand exactly what the client needs and then take it one step further. She exceeds her clients’ expectations time and again. And she inspires us to infuse that kind of passion in our own designs. Take traditional Japanese Kabuki, blend it with the edgy sophistication of New York City, throw in a dash of Shakespeare for good measure and you begin to get the concept behind Makirama. An ongoing autobiographical project for Maki Kawakita, the results are volumes of photo essays that have been exhibited far and wide from Milan to Turkey to her native Japan. Born to a mother trained in traditional Japanese dance, Kawakita is inspired by Kabuki Theater (Japanese opera). Each Makirama series is highlighted by dramatic costuming, theatrical make-up and carefully designed lighting. The results are powerful and exotic— and have been staged in a variety of far-off locations, including Tasmania. “I observe that life always includes some level of drama and through my eyes I see the similarity of life and theater,” says Kawakita, sounding a bit like Shakespeare herself. “I like to think of Makirama not only as a way to analyze myself as I go through life but also as an invitation to my audience to undertake a

similar journey of self-discovery through my imagery.” It’s not easy shooting Makirama. Being both subject and photographer carries a unique set of challenges. On her recent shoot in Tasmania, it also brought a lot of interested bystanders—Japanese geishas are not run of the mill in this part of the world. “It was the biggest, longest and most intense photo shoot I have ever done. I was in Tasmania for a month, shooting and scouting locations simultaneously. The challenge was to pose for myself and still create the closest image to what I had in my mind. One time there were 30 people following me and taking pictures.” The other side of Kawakita’s work, while commercial, is every bit as dramatic. She displays great skill with lighting and highlights the drama in her work whether it’s for fashion, celebrity portraits or blue-chip corporations. Kawakita feels that her Makirama essays influence the work she does for clients “because I am strengthening the way I make imagery and how I develop ideas.” Biography Maki Kawakita’s work is modern and traditional with influences from both Eastern and Western cultures. Kawakita has photographed numerous celebrities: Beyoncé, Alicia Keys, Paris Hilton and Missy Elliott; and her blue-chip clients include Time, Marie Claire, Coors Light, Levi Strauss, Smirnoff, BNP Paribas, Sony Music, Universal Records, Virgin Records and Warner Music. “Makirama Confession II” was recently exhibited in Milan, Italy and “Confession III” in Turkey. Kawakita was bestowed the Prix De La Photographie Award 2008, American Photo’s “Images of the year 2008” and in 2007 was selected by Commercial Photography as one of the best 100 Photographers of Japan.

“ I like to think of Makirama not only as a way to analyze myself as I go through life but also as an invitation to my audience to undertake a similar journey of self-discovery through my imagery.” Maki Kawakita

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Makirama: The Tale Of Makinosuke (Above) The tale of Makinosuke is one of love betrayed, of a broken heart being replaced by an almost demonic rage. It ends with a bittersweet reawakening to sanity and enough tears to fill a lake. Makirama: Volume II (Opposite page)

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ÂŠ Douglas Kirkland. douglaskirkland.com

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Douglas Kirkland

In an illustrious career spanning fifty years, Douglas Kirkland has photographed the greatest movie legends ever to grace the silver screen. His celebrity portraits portray a veritable Who’s Who List of Hollywood and International superstars. He’s worked on more than 100 films; from classics like Sound of Music and 2001: A Space Odyssey; to epics like Out of Africa and Titanic. In 2000, Kirkland was chosen by director Baz Luhrmann to work on his spectacular musical Moulin Rouge. It was the beginning of a lasting friendship. Years later, when Luhrmann began working on Australia, an “epic, romantic, action adventure set on the brink of WWII,” he asked Kirkland to collaborate

or taking his signature portraits. When he photographs his subjects, he makes them feel both comfortable and like a star—even if they aren’t celebrities. “I really fall in love during that time,” he says, “at least for a while. The ah-ha moment is when you really know you’ve captured the shot. It brings a sense of euphoria when you get that feeling.” Kirkland counts himself lucky that he’s found a way to make a living by doing exactly what he dreamed of as a young man. “This isn’t just a job—I love it.” Biography Douglas Kirkland started his career at Look and Life Magazines. He’s worked on over 100 motion pictures and his iconic celebrity portraits are known all over the world. His books include Light Years, Legends, Body Stories, An Evening With Marilyn and the best-selling James Cameron’s Titanic. In 2007, he published Freeze Frame, a behind the scenes look at 50 years of photographing the entertainment industry; and in 2008, Coco Chanel, Three Weeks. He is currently working on a black and white volume When We Were Young and Face to Face, a book of portraits. Michael Jackson, the Thriller Files will be published in 2010. Kirkland has an Honorary Master of Fine Arts Degree from Brooks Institute. His numerous awards include Lifetime Achievement Awards from the American S.O.C and CAPIC, a Lucie for Outstanding Achievement in Entertainment Photography and The Golden Eye of Russia. His work has been exhibited worldwide and his exhibition Freeze Frame is now part of the permanent collection at the Academy of Motion Picture Arts and Sciences.

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with him. For seven weeks, Kirkland and his wife and partner, Francoise, joined Luhrmann, the cast and crew in Kunumurra in the northern outback near Darwin. While Set Photographers shoot still versions of what’s being filmed, Kirkland’s responsibility as a Special Photographer is to capture the essence of the film and provide images for publicity and advertising. To do this requires the cooperation and trust of everyone on the set. Kirkland credits Luhrmann for establishing that for him. “The great thing about Baz is that when you arrive, he stops everything and gets on the loud speaker to introduce you and welcome you to the set,” says Kirkland. “If you’re working with people you haven’t worked with before, they aren’t going to be comfortable with you. Once you’re introduced and they understand what it is that you do, it changes everything.” It was that acceptance that led to one of his most significant shots from the movie. Kirkland learned that Luhrmann, Nicole Kidman and Hugh Jackman were heading up a mountain late one afternoon to shoot an unscripted scene. Because of its intimacy, and the inaccessibility of the location, only a handful of people would go. Kirkland and his assistant were allotted 2 of the seats on the transport, resulting in the touching photograph of Kidman and Jackman kissing against a stunning sunset. Working on this project was grueling. Filmed in a location so remote even most Australians have never visited, the tropical desert was dry and dusty during the time Kirkland was there, with temperatures soaring to 38˚ C (100˚ F) during the day. “The sun was the most challenging. The intensity and heat could make you physically ill.” In addition, the set was some distance from where they stayed, requiring a 90 minute drive over rutted dirt roads to and from the film site each day. Ever mindful of not interfering with the filming, Kirkland found himself quietly scrambling over rocks and working around the crew so as not to distract the action or the emotion of the moment. For all the hardships, the scenery was spectacular and his comfortable relationship with the stars and crew was more akin to a family adventure than work. This sense of friendship and family is one that Kirkland actively cultivates whether working on a movie

Australia: Behind The Scenes While the movie industry is all about illusion, Douglas Kirkland is the genuine article. His honesty and dedication to building lasting relationships are just part of the reason movie studios, directors and stars alike all ask for him on their projects. We are grateful for our long-standing relationship with him, and delighted to take you behind the scenes on one of his many projects.

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Out Of Africa (Above left) Filmed in Kenya in 1985, Kirkland captures super-stars Meryl Streep and Robert Redford relaxing between takes. Man Of Action (Above right) Director Baz Luhrmann orchestrating an action sequence during the filming of Australia. Australia (Opposite page, left) Stars Nicole Kidman and Hugh Jackman share a kiss in the 2007 Baz Luhrmann epic adventure. Hugh Jackman (Opposite page, right) As The Drover photographed on the set of Australia with an 8x10 Deardorff camera with Kodak TriX.

“ Your pictures are only as good as you make your subject feel. The photographer doesn’t do it alone. And if you don’t have your subject on your side, it doesn’t happen.” Douglas Kirkland

â&#x20AC;&#x153; The empathy and understanding comes from sharing and going through the similar fate. My desire is to give a voice to people who suffer.â&#x20AC;? Antonin Kratochvil

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Antonin Kratochvil

Once you’ve been introduced to Antonin Kratochvil’s work, you’ll recognize it forever more. His images are indelible. Gritty, off-axis, in your face pictures. As with many great photojournalists, Kratochvil’s portrayals aren’t the result of affectation. They are, instead, deeply seated in the awareness that he knows what inhumanity feels like, and that he’s reminded of that feeling every time he points the lens at someone who’s suffered. Kratochvil’s unique style of photography is the product of personal experience, intimate conditioning and not privileged voyeurism. His childhood was spent in a Czech labor camp. His teens were interrupted by conscription in the French Foreign Legion. But during his adult life, he’s turned the tables on oppression, showing us places that many would never experience: Chernobyl, Iraq, Darfur, Afghanistan and Sierra Leone. He depends on his street sense to lead him to the edge

Biography Antonin Kratochvil is an award-winning photojournalist, a documentary photographer and a founding member of the VII Photo Agency, a Paris-based cooperative specializing in conflict photography. Over the years his fluid and unconventional work has been sought by numerous publications stretching across widely differing interests: Mongolia’s street children for the magazine published by the Museum of Natural History, a portrait session with David Bowie for Detour, covering the war in Iraq for Fortune Magazine and shooting Deborah Harry for a national advertising campaign for the American Civil Liberties Union. Kratochvil’s ability to see through and into his subjects and show immutable truth has made his pictures uncensored visions. Kratochvil’s work has appeared in numerous galleries and publications and he has been honored many times with outstanding achievement awards including a Lucie Award and the Golden Light Award for Best Documentary Book. He has published six books including his most recent, Persona/Portraits, and continues to investigate life in all corners of the world.

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of humanity, and his instincts to get him out. Kratochvil travels light. Many of his photographs were captured with a Canon G9, G10, or G11. Because at first glance, the camera doesn’t draw attention to itself, he can record his images as a passer-by, not as a world renowned photojournalist. He pushes the ISO upward allowing him to work with existing light, letting the grain in the image help express the gritty nature of his subjects. The camera is often held off-axis during exposure, representing the skewed world he observes with his eyes, and feels inside. “The Canon G series is a great tool to outwit the authorities, and to not look like a professional,” says Kratochvil “This is very helpful in the areas I often photograph.” Kratochvil’s images urge you to reach down inside and decide how you feel about refugee children, torture, war, slavery and the precious energy of life as it slips through an old woman’s fingers. Kratochvil uses light to expose the darkness. And he does so in such an artistic manner, that maybe it’s just a little harder for us to look away.

Exposing The Darkness Some photographers shoot beautiful landscapes, others focus on interesting people and places. A few choose to shoot the harsher sides of life. Without that balance, we would never know the realities those less fortunate than ourselves live with day in and day out. We are privileged to have as a friend one of the best at shooting life’s more sobering side—here is his story.

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War Games (Top) Children’s play during the invasion of Iraq mirrors the reality of war. Hope For AIDs (Middle) A young woman in Zambia begins antiviral treatments, supported by Bono’s Red Foundation. Family Ties (Bottom) An old woman in Chernobyl refuses to leave the home where her son is buried, even though it puts her in peril. AIDs Victim (Opposite page) In Zambia, AIDs sufferers benefit from treatments funded by Bono’s Red Foundation.

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Matt Lever

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Calm Before The Storm (Right) Getting ready for the runway. Spring/Summer 2007 Backstage Chaos (Opposite page) A model stays focused despite all the mayhem. Paris Autumn/Winter 2007.

The Clamor Behind The Glamour. Matt Lever lives in the world of fashion. He appreciates the beauty, the trendiness, the whole package. But when it comes to his gear, he’s definitely a utilitarian who appreciates function over fashion. While you probably won’t see Lowepro bags on the catwalks during Fashion Week, thanks to Lever, we’ve seen our share of what goes on backstage. Think of the fashion runways in Milan, Paris and New York and you immediately think glamour and excitement. When new collections from the world’s top fashion houses are premiered twice each year, the ensuing media coverage influences everything from color to hemlines. What most people don’t get to experience though, is the energy and the utter chaos that goes on backstage. This is the world Matt Lever inhabits. It’s a world he thrives in. Working for Elle Magazine, Lever spends what he jokingly describes as a “beautiful adventure”: a full month twice per year capturing everything that happens back stage. From hair to make-up to clothes, he’s right in the middle of all the action. His typical day starts at 6am and the foot race is on. Shooting between 6 and 12 shows per day, he’ll end up back at his hotel at 10pm, spending additional hours editing the day’s shots before falling into bed for about four hours—and

then starting all over again. “It’s hectic,” says Lever “but it’s a lot of fun. I think that’s very important—especially for these kinds of photos.” Lever takes his inspiration from the clothes, and because the backstage environment is always changing, his approach to getting his shots has to remain flexible. “Fashion is constantly reinventing itself, there are situations where it’s not appropriate to be upbeat, because that’s not what the clothes are about,” he says. “But most of the time, I tend to go for capturing the fun in fashion—the unique personalities— because to me, that’s what makes fashion so great.” During hair and make-up, it’s relatively relaxed. As soon as it gets to wardrobe though, the music gets loud and the atmosphere changes. The excitement and anticipation are almost palpable. For most of his shots, there’s really no time to set up. You only have a second or two, and then it’s gone. And speed is only one of the challenges. “We were all backstage at the John Gallino show waiting for it to start,” Lever relates. “Because of the way the runway was lit, they had to turn all the lights off backstage. It was actually quite funny. You couldn’t see a thing. Once someone took a shot, you could use their flash to focus. Eventually, it was like being in a club with the strobes going.” Lever shoots through and around obstacles, dodging around models, agents and hair and make-up artists, and plays off the energy within the hot, cramped space. He’s had to talk his way past security, cross international borders without his passport and still manages to think of this as fun. The pace is non-stop and by the end of a month, sleep is just a distant memory. But Lever wouldn’t have it any other way. Biography British photographer Matt Lever has been photographing backstage at fashion shows for the past ten years, shooting for Elle UK and Elle Collections. During this time he has worked with the leaders of both the fashion and beauty industries. Lever also does editorial and advertising work for clients like L’Oreal, Wella and Redken. His work has been published in Harpers Bazaar. Passionate about his craft, he is getting ready to publish his first book about his perception of the world backstage. Lever is a graduate of the famed Bournemouth and Poole College of Art and Design in the UK.

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“ In the eye of a tornado, I’m told there’s calm. That’s exactly how it feels backstage. When I see a shot, all the noise and chaos instantly fades out.” Matt Lever

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Chris McLennan

Traveling the world, New Zealand photographer Chris McLennan lives a life of adventure and discovery, capturing images that entice the rest of us to follow in his footsteps. His commercial clients fly him to all corners of the globe—from Alaska to Egypt, from Sweden to Fiji—to photograph some of the most stunning and interesting places on earth to promote travel, tourism and adventure. Being passionate about photography is a given. The added joy comes from being able to experience first hand the adventure of shooting cultures and wildlife in some of the most beautiful locations in the world—and to share what he sees through the medium of his art. With some locations, the hardest part is seeking out the right angle, the best lighting, the perfect shot that puts it at the top of everyone’s list of “places I must go.” For others, it’s a bit more challenging—especially when it’s a location more prone to the intrepid adventure tourist. But that’s rewarding in itself. Why else would you rappel down cliffs, crawl into

damp, dark caves, or brave 40˚ C (104˚ F) temperatures with 98% humidity? Why? Because of the intense satisfaction of seeing the emotional reactions when people look at his images, not to mention the incredible—almost spiritual—experiences he encounters along the way. “If a picture is worth a thousand words, I want the first word to be ‘WOW!’,” says McLennan. McLennan’s award-winning image “Lost World” was shot in the Waitomo Caves in New Zealand. It required him to rappel down into the cave itself with all his camera gear in tow, followed by a low crawl under a soggy ledge of moss-covered rock to capture just the right angle. The wet conditions offered an added challenge, making it difficult to keep his equipment dry and free of condensation. But when the light hit just right, it was magic. All the long hours and extra effort were forgotten in the satisfaction of being able to transport others through his image. McLennan, like other top photographers, views things a little differently than the rest of us. But that’s exactly why he has clients knocking on his door from all around the globe to document the special, the unique and the enchanting locations that will persuade us to plan our next adventure there. Biography A professional photographer for over 20 years, Chris McLennan is an HP DreamColor Professional and shoots extensively for numerous national tourism boards as well as airlines, resorts, travel operators, commercial clients and luxury lodges. He regularly shoots for the Discovery Channel and has won numerous awards, including the 2009 Outdoor Sport and Activities category for the PDN / National Geographic Traveler professional photo contest and the 1999 World Photo Gallery Image of the Year. In 2009, he was selected by Canon as one of three Oceania photographers to represent this decade at the Reflections event in Sydney, Australia celebrating 50 years of the Canon SLR. McLennan also runs photography workshops in the Fiji Islands and Africa.

The Intentional Tourist At Lowepro, we expect our products to see a bit of the world. And to offer protection along the way. Our professional photographers haul their gear to some of the most interesting—and remote—spots on the planet. Chris McLennan has covered a lot of miles with us in tow. See what it’s like to travel for a living.

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Ping’An Rice Terraces, Longsheng, Guilin Province, China (Above) These terraced rice paddies cover an area of 600 square miles. Built by hand during the Yuan dynasty, they are still an important part of life today. The Lost World (Opposite page) McLennan’s award-winning image of the Waitomo Caves in New Zealand.

cmphoto.co.nz

“ Waiting for and chasing the light means sacrificing. A sleep-in only lasts an hour or two at best. An early start can provide images that last a lifetime.” Chris McLennan

Steve McCurry

One of the most well recognized photographs in the world today is Steve McCurry’s portrait of a young Afghan refugee girl. Throughout his career, his use of vivid color and an almost uncanny ability to open a doorway into the soul through the faces and eyes of his subjects has placed him among an elite group of photographers whose work needs no words to tell the story. There’s another side to McCurry, though. His hardcore photojournalism has repeatedly taken him into the hotspots of the Middle East where he has documented war in a most personal way, showing the impact on the people, their cultures and the environments that have all been so thoroughly ravaged by the hostilities. McCurry’s career was launched in the late 1970’s when he crossed the Pakistan border into Afghanistan with the Afghan Mujahadeen before the Russian

invasion. Disguised as a native, McCurry traveled with many militia groups who protected him, treating him as an honored guest. Even so, when he emerged, it was with blisters and sores and with precious rolls of film sewn into his filthy clothes. His courage and exceptional efforts brought the world its first look at what was happening in that remote and dangerous part of the world, and resulted in a place of his own in history. Since then, McCurry has made more than thirty trips back to the area. He was in Kuwait in 1991 at the end of the Gulf War, when the oil field fires made it seem like the whole area was aflame. The destruction extended not only to the inhabitants and the oil fields, it brought devastation to the plant and animal life as well. “That was an absolutely out of this world experience,” he says of witnessing the environmental impact of the aftermath of war. “It was as though you were on another planet, or a movie set or the end of the world.”

“ You can’t get hung up on what you think your ‘real’ destination is. The journey is just as important.” Steve McCurry

Portraits Of The Soul In the course of his career, Steve McCurry has inspired countless photographers and mentored a whole new generation of photojournalists. His work is legendary, capturing the human consequences of war, the struggle for survival and the very essence of human joy. He is obsessed with his work and loves what he does. These are traits that inspire us, too.

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Ahmadi Oil Fields, Kuwait, 1991. (Above) Camels search for untainted shrubs and water in the burning oil fields of southern Kuwait. Jokhang Temple, Lhasa, Tibet, 2000. (Right) The lines of time trace a deep personal history across this old monk’s face. Girl with Green Shawl (Opposite page, left) Taken in 2002 in Peshawar, Pakistan. Mujahadeen Soldier (Opposite page, right) A young Afghan man goes to war in 1979 carrying a WWII vintage machine gun called a papasha. Biography Steve McCurry’s work has been featured in every major publication in the world and frequently appears in National Geographic. He is a member of Magnum Photos, has published ten books and has had numerous international exhibitions. McCurry has permanent collections at the George Eastman House, the Fondazione Palazzo Bricherasio in Italy, the Tokyo Museum of Modern Art and the Musee National d’art Moderne in Paris. McCurry’s numerous awards include the Robert Capa Gold Medal for his war coverage, Magazine Photographer of the Year, from the National Press Photographers’ Association, an unprecedented four first prizes in the World Press Photo Contest and two Olivier Rebbot Memorial Awards. He has Honorary Fellowships from the New Zealand Institute of Professional Photography and the Royal Photographic Society of Great Britain and a Doctorate of Humane Letters (honoris causa) from the Farleigh Dickinson University. The United Nations International Photographic Council bestowed him a Special Recognition Award for “ceaseless devotion and outstanding achievement”.

stevemccurry.com

In 1993, McCurry found himself in Kabul when it was hit once again by rocket fire. “Hundreds of rockets started pouring down on the city from several directions,” McCurry recalls. Taking cover in an insane asylum, he found himself face to face with yet another horror: an inmate beating another about the head with heavy stones. McCurry helped wrestle him to the ground and then back inside the hospital, an experience he says haunts him to this day. Not all his career has been this intense, though. McCurry has an insatiable sense of curiosity about people and cultures. He is drawn by human interaction, and his abilities as a keen observer with an eye for both color and emotion have produced some incredibly memorable portraits. While language and cultural differences may be a barrier for some, McCurry’s quiet openness has enabled him to capture unguarded moments—a mother and her daughter shopping for a new coat in a remote Tibetan market, the ancient truths in the lines of the aging face of a Buddhist monk, a young schoolgirl, a colorful burqa in an otherwise monotone shop. “Life is kind of flowing in front of your eyes and you need to be open to respond, to allow yourself to be touched by things that are extraordinary. You shoot lots of moments because you never know when the situation will either peak or evaporate.” The portraits he has shot are truly compelling. And there is a story in each and every one of them that goes well beyond—goes far deeper—than what was happening that instant the shutter clicked.

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Michael ‘Nick’ Nichols

In 1980, Nichols photographed Dian Fossey’s famed Mountain Gorillas. This project would forever change his career and lead him to one of his long-time inspirations, Dr. Jane Goodall. In 1989, Nichols traveled with Goodall, documenting her life and the chimps they encountered. They published a book, Brutal Kinship, and over the years have worked together on articles for National Geographic. “When my book on the Virunga Mountain Gorillas was published, Jane contacted me. ‘What about chimps?’ she said. This was the beginning. She took me under her wing—and she taught me that chimps are a metaphor for how we look at the rest of the world. Chimps don’t have retirement plans. When their usefulness in entertainment or research is over, they either die or live out the rest of their lives in captivity—

To help, contact the Jane Goodall Institute janegoodall.org

michaelnicknichols.com

many times in unbelievably horrible conditions. Jane’s advocacy and her sanctuary, offer an alternative. It’s inspiring to see the impact Jane has on people. I didn’t know her during the earlier part of her career, but I was able to reveal Jane, the Activist. Her influence, when she puts her weight behind something, is almost unstoppable. I felt I was both her visual biographer and protector. When we encountered Jou Jou (a dangerous and extremely aggressive male); I was watching Jane, watching Jou Jou and trying, at the same time, to remember to get the shot. She was fearless. And when she offered her silver-blonde hair to him, in typical Jane fashion, I knew I had a moment. The fact that we were invited into labs was ground-breaking. We saw cage after cage of isolated chimps being used to try and find a cure for HIV. One chimp had been in a language study before. He started signing to us, ‘Get me out’. It was very poignant. Sometimes you have to put your head down and just do the job. It was so hard to walk away from the situations we encountered. And you don’t walk away without a cost. I wanted to try and save each chimp, but had to believe that my pictures would help in the long run. It’s amazing to watch the audiences—especially young women who look up to Jane as an icon. Jane always sits and takes her time with people. Once, after a book signing, there were only a couple people left. I was ready to go, but I remember what she told me. ‘What if we change just one person, and they change the world?’ If anyone can make that happen, it’s Jane. To think my work can make a difference is empowering. But I don’t need the credit. If people remember the image, they don’t need to remember who made it. That’s what keeps me going.”

“ It’s no longer enough to shoot just for fun. The world is in peril. There needs to be a purpose. People need to learn that they can exploit our planet’s resources, and conserve them at the same time. And when you have a medium like National Geographic your preaching can go beyond the choir.” Michael ‘Nick’ Nichols

Jane And La Vielle (Top) Insane from years of abuse, La Vielle wouldn’t leave her cage. She was never able to interact with other chimps, but she took to Jane. Jane And Gregoire (Bottom) Locked in an African zoo for 45 years, Gregoire enjoys some bonding time with Jane. He got a new life, surrounded by young chimps, at Jane’s sanctuary. Jane And Jou Jou (Opposite page) Jane disarms a captive and aggressive chimp by simply offering him her golden hair.

Unspoken Conspiracy Michael ‘Nick’ Nichols is a passionate advocate for conservation—a passion we share. He spoke with us about his collaboration with Dr. Jane Goodall and their quest to provide a safe haven for neglected and abused chimpanzees. We’re awed by his images, humbled by his sacrifices—and hope you are inspired by this glimpse into one of his many important projects.

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Biography The “Indiana Jones of Photography,” Michael ‘Nick’ Nichols is Editor-at-Large for National Geographic Magazine. He has been featured in Rolling Stone, Life, American Photographer and Geo. He’s teamed up with biologist and conservationist J. Michael Fay to document the impact of the ivory trade on the elephants in Chad, and covered Fay’s Megatransect, a 15-month, 1200 mile journey across central Africa. He’s photographed shy forest elephants in the Congo and chronicled America’s most innovative zoos as they strive to keep rare species from becoming extinct. More recently, he has turned his attention to the ancient forests of giant redwoods in California. A four-time first prize winner in the World Press Photo competition, he has received the Overseas Press Club of America’s prize for reporting “above and beyond the call of duty,” an honor usually reserved for combat photographers. His work has resulted in numerous books, the creation of 13 national parks in Africa and reforms in chimp conservation.

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Joyce Tenneson

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Mango Lily (Right) Gerbera Daisy (Opposite page, left) Poppy (Opposite page, right)

Beyond The Façade One of the most influential women in the history of photography, Joyce Tenneson loves to get to the story behind her subject and find out what lies below the surface. Her work continues to evolve, keeping her at the forefront of her peers. This is something we strive for as well. On her journey to becoming one of the most distinctive photographers of our time, Joyce Tenneson studied earlier artists, both as a professor and as an avid reader of literature. During this time she may have discovered the power of mystery and its relation to living things. In Tenneson’s early work, for example, her ethereal portraits are more than just a photographic rendering of subjects. Her images transcend the ordinary and are steeped with secrets waiting to be revealed. “I’m always hoping that I will see or glimpse or connect with something that’s not just the façade of the person,” Tenneson once said. “I’m looking to connect to something that is essential to all of us, and I think that is a quality of mystery.” Tenneson then directed her artistic vision to flowers. Like Georgia O’Keefe, whose brush and canvas expressed the mystique of femininity, Tenneson’s flower portraits of the Iris, Camellia and Yellow Calla delight our eyes, but also pique our curiosity. In her book, Intimacy, Tenneson explores the symmetry, color, shape and texture of plants, isolating them against a dark background to help us focus on their essence. By looking at the way Tenneson presents

these delicate petals and curving stems, we’re able to absorb nature’s visual language. She helps educate our eyes so we can see the beauty that is all around us. Much of Tenneson’s influence flows from the rapport she establishes with her subjects. When talking about her portraits, for example, she says, “I do feel intimate with the subjects I photograph, and I do, at some point, feel there’s some kind of wonderful bond that’s established.” And she brings that same closeness to her flower images as well. After sharing just a few moments with one of these pictures, viewers know these plants in ways they’ve never experienced before. They’re not looking at a flower. They’re getting to know “this flower.” Each plant is distinctly individual. In a world flooded with superficial images, Joyce Tenneson’s persistent curiosity for what lies beyond the façade has established her as an inspiration for those who embrace life’s mysteries. And for those who love how they can be expressed visually in the skilled hands of an artist. Biography Joyce Tenneson’s work has been shown in over 150 exhibitions worldwide, and is part of numerous private and museum collections. Her photographs have appeared on countless covers for magazines such as: Time, Life, Entertainment Weekly, Newsweek, Premiere, Esquire and The New York Times Magazine. She is also a much sought-after portrait photographer with clients in Europe, Japan, and the United States. Tenneson is the author of thirteen books, her latest, entitled Joyce Tenneson: A Life in Photography, was published by Bulfinch Press in 2008. She is the recipient of numerous awards, including the International Center of Photography’s Infinity Award, for best applied photography. Tenneson is working on a new project, The View, compiling images from photographers around the world in an exploration into why certain photographs or places have such a powerful impact on us as individuals. She plans both a book and an interactive web site.

joycetenneson.com

“ I’m always hoping that I will see or glimpse or connect with something that’s not just the façade of the person. I’m looking to connect to something that is essential to all of us, and I think that is a quality of mystery.” Joyce Tenneson

Fabiano Ventura

A photograph can stir our emotions through its beauty or engulf us in despair. These are the aesthetic hills and valleys we travel with photography. But the camera can also be an empirical tool. Through the lens we can document the world around us, and those images can play a key role in scientific and sociological studies. Fabiano Ventura, in the tradition of many great environmental artists before him, brings creativity and science together with his stunning imagery. His project, On the Trails of the Glaciers, has led Ventura to photograph some of the greatest ice formations in the world, and to do so from the exact locations other photographers have used in the past. The results allow scientists to compare differences in these formations over time, while the rest of us marvel at the beauty that may soon wash away. This quest was years in the making. Ventura’s research took him to museums, foundations, archives

and libraries—anywhere he could find historical data and personal diaries of the early explorers. He analyzed maps and their images so he could pinpoint where those original shots were taken. One of the images took him to the remote Baltoro Glacier in the GilgitBaltistan region of Pakistan to photograph the formation using the same positions as did Vittorio Sella in 1909 and Massimo Terzano in 1929. The journey was not, however, without its frustrations or bureaucracy. Special permit requirements made for some anxious moments and a few delays, but on July 24, 2009, the journey began in earnest. One of the objectives of the trip was to investigate the effects of climate change in glaciers, and recreate in

Seeking A Legendary Shot With a passion for the environment, Fabiano Ventura is on a mission to show the world the importance of sustainable development. To that end, he has turned to his peers of some 100 years ago, retracing their steps and recreating their photographs to document the effects of climate change. As one of his sponsors, we salute this ambitious—and truly important—project.

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Massimo Terzano 1929 © Italian Geographic Society

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particular an image taken by Terzano. “There are images that remain indelible in the memory,” Ventura writes. “One in particular has always accompanied me over the years, during all my works, as a source of inspiration and emotion: an image that depicts a panorama of the Baltoro Glacier. The logo of On the Trails of Glaciers is a tribute to this photo.” Ventura first thought it had collapsed and was no more. With sadness he recorded the area anyway, studied the images and then discovered he had actually climbed too high. He retreated a little further downstream and found the rocky feature he feared had perished. Ventura was able to make the photograph of his lifetime. “The emotion is very intense,” says Ventura. “I feel I have achieved a long dreamed goal, and I can catch one of the most beautiful feelings that the mountains can give to people: the awareness of our true size in relation to the gigantic scales, temporal and dimensional, of these ancient giants. For a moment I can see Massimo Terzano a few meters from me. The years between us are nothing but a moment in the history of these places.” To recreate the original photographs Ventura opted for traditional film over digital. Using large format Linhof Technorama and Linhof Master Technika 3000 cameras, he was able to achieve the same magnification ratio obtained by the historical photographers. A further incentive was his desire to push the shooting quality to the instrumental limits available today. “The combination of large format film digitized with high resolution scanners allows me to surpass the best digital SLR cameras currently available,” he says. “From a 2,200 dpi scan of a 4×5-inch photographic plate, I can create an 8,800×11,000 pixel bitmap photograph (a total amount of 500 million pixels for each panoramic image).” The end results are images of supreme beauty and of scientific importance. To learn more, visit sulletraccedeighiacciai.it fabianoventura.it

“ I love mountains and I want to communicate their beauty and their fragility. It’s frightening to see glaciers retreating. We must practice sustainable development or the landscape as we know it will disappear.” Fabiano Ventura

Baltoro Glacier, Pakistan (Left) Ventura’s inspiration for his project was Massimo Terzano’s original photograph taken in 1929 (Top). The modern-day reenactment is now captured on film for future generations (Bottom). Godwin Austen Glacier, Pakistan (Opposite page, left) A glacial lake within the Karakorum range. Vigne Glacier, Pakistan (Opposite page, right) A small river running through the Karakorum range. Biography Italian photographer Fabiano Ventura specializes in mountain and outdoor sports, with emphasis on the environment. He was the official photographer for Hans Kammerlander’s 2005 expedition to Mt. Jasemba, the alpinist-scientific expedition K2 2004—50 Years Later and Chacraraju ’99. He’s been published in leading international magazines and has provided the cover image for Erri De Luca’s bestseller “Il contrario di uno”. He authored Icelandscapes: A Photographic Perspective of Iceland and co-authored K2—The Most Beautiful Pictures in Italian Expeditions from 1909 to Date. Since 2002 he has collaborated with the Italian Geographic Society. He also teaches workshops about landscape photography and arranges photographic exhibitions. Ventura’s current project, On the Trails of the Glaciers, is sponsored by Enel Green Power and Enneci, two companies working in alternative energy, and funded by research institutes trying to understand the reasons for changes in the cryosphere over the last hundred years. Ventura has already scheduled expeditions to Caucasus, Alaska, the Andes and Alps with the same aim.

30 Lowepro

Nevada Wier

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Aoleang Monyu Festival (Right) Naga man dons a beautiful red flower in one of his ears during the festival. Laundry Day (Opposite page) In Ambala Village, India, a local girl carries her washing to where the women gathered to do laundry.

Portraits From A Road Less Traveled Many photographers travel to all corners of the world. Nevada Wier’s path takes her to more remote locations than most would venture into. Since she has to be selective about what she takes with her, we’re delighted she takes us along. For many photographers, traveling to India would be the adventure of a lifetime. For Nevada Wier, that’s just where her journey begins. “I’ve always been interested in indigenous cultures all over the world,” writes Wier. “India has been photographed intensively, but the areas I’m visiting are lesser traveled. I am looking for people who live in the more remote regions of India and still practice their tribal customs.” Wier has to prepare carefully for these rugged trips. Transportation varies widely, so she has to deal with airplane baggage handlers, crowded buses and often hikes to reach specific locations. Once she enters a tribal land, more patience is required before she can begin shooting. “I have to move slower when photographing tribal groups,” writes Wier. “I have to spend time building relationships with the chief and the local people. It’s best to sit and talk before photographing. Once I am accepted, most people are very open to be photographed.” At this point, Wier can bring her vision to the project. With people this interesting, many photographers might take a more straightforward approach to shooting portraits. But Wier is in constant search of a unique

angle. “An interesting person, or a pretty door, or a splash of color does not insure a great photograph of these subjects,” she says. She views the straight-on portrait as only an insurance shot, but then the work begins. “Moving is one of the best ways to become a better photographer.” Sometimes this means working behind the subject, or positioning them in the extreme edge of the frame in order to include other interesting compositional elements. “I am looking for portraits that give an insight into their personalities or an environmental portrait of the subject with a clear idea of their locale. To help achieve this, I am working with a wide range of techniques; in addition to full color, I am also desaturating images, using a digital infrared camera and selective focus techniques. However, I do not change any content in an image.” The result of the long journey, the relationship building and putting forth the extra effort once she does pull out her camera, is the opportunity to capture compelling images of the people who inhabit the more remote and peripheral regions around the world. “I am documenting the evolution of these tribal cultures as they struggle to adapt to the modern world.” Biography Nevada Wier is an award-winning photographer specializing in the remote corners of the globe and the cultures that inhabit them. Her journeys have taken her throughout Asia, India, China, Nepal, Africa, New Zealand, South America and other obscure regions. Wier has been published in NG Adventure, Geo, Islands, National Geographic, Outdoor Photographer, Outside and Smithsonian. She is a Fellow of The Explorer’s Club, a member of the Society of Woman Geographers and was featured in a Northwest Airlines international ad campaign. She is working on three books: A Nomadic Vision (also a recent gallery exhibition), Outer India and a photography book on Myanmar.

“ Traveling excites all my senses. I thrive on the unknown, physically and emotionally. I am inspired to exercise my creative muscles and continually try to up the ante in my photography.” Nevada Weir nevadawier.com

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Art Wolfe

If you were to ask Art Wolfe why he frequently travels to the ends of the earth with his camera, a likely answer you’d get would be “to protect it.” During the filming for Travels to the Edge, a 26-episode series that aired on public television, Wolfe visited North and South America, Africa, India, Madagascar and South Georgia Island, just to name a few. Through the lens of his camera he recorded images of glaciers, deserts, rainforests, remote mountain peaks and exotic tribal gatherings. His approach is to inspire through vivid imagery. Yes, if Art Wolfe wanted, he could show destruction, loss and inhumanity as a call to stop these practices. But instead he chooses to share pictures so beautiful that people respond by thinking, “I don’t want us to lose this. I don’t want my children to miss the opportunity to see these wonders of life.” “Unlike many nature photographers,” Wolfe writes, “my background is in fine art and education, not biology or commercial photography. Many would call me idealistic, even romantic, as I choose to shoot what is beautiful in the world, to reveal what we treasure and are perilously close to losing.” Wolfe’s early inspiration came growing up in the Pacific Northwest. The stunning landscapes of water, mountains and trees all around him led first to his becoming an artist, then a photographer like both of his parents. What followed were decades of travel and exploration. He used these experiences when it was

Biography Over the course of his 30-year career, photographer Art Wolfe has worked on every continent. His stunning images record the world’s fast-disappearing wildlife, landscapes and native cultures. Wolfe has released over 60 books, including the award-winning Vanishing Act and Edge of the Earth/Corner of the Sky. Wolfe is a member of Canon’s elite Explorers of Light and Microsoft’s Icons of Imaging. He is an Honorary Fellow of the Royal Photographic Society and a Fellow of the International League of Conservation Photographers; hosts the public television series Art Wolfe’s Travels to the Edge and leads workshops.

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time to begin filming Travels to the Edge. “I picked the locations based on my 30 years of traveling,” Wolfe said. “Most of the places I’ve photographed before, so I had an idea of what to expect. This was extremely important when we had only 10 days to shoot the raw material for a 30-minute episode. Yes, there was some serendipity involved, but mostly our success came from very careful planning beforehand.” You might wonder how this rigorous schedule would affect Wolfe’s personal inspiration. Is it possible to become immune to the wonders of nature? Actually just the opposite happened. During this project Art Wolfe experienced one of the highlights of his career. “Mali was one place we went for Season 2 where I had never traveled to before,” wrote Wolfe. “My crew and I traveled out into the Sahara Desert, which is larger than the continental US. We filmed the Tuaregs loading their camels with great slabs of salt to transport across the desert to Timbuktu. For centuries these caravans have been the iconic image of the desert, and working with them was a high point in my career.” But in the end, his mission remains constant: to inspire conservation through beautiful imagery. “I want to slow down the change of Westernization and make the respective countries appreciate the culture they’ve got. We all are diminished when we lose a wildlife species, or we lose a language or a cultural distinction. We don’t want to homogenize the world... otherwise it would be a fairly boring place to live.” And that is why Art Wolfe travels to the edges of the world.

“ I want people to care about these subjects, and ultimately help. Whether it’s a vanishing culture or an endangered landscape, I think we ought to care more about these subjects than we currently do.” Art Wolfe

Travels To The Edge Art Wolfe’s travels to the remote edges of the world place him in some of the most extreme situations imaginable. While we can’t do much to ensure his safety, we do everything possible to protect his gear.

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Salt Caravan (Top) In the Sahara Desert, Mali, time stands still. Grey Glacier Icebergs (Bottom) Icebergs calved from Grey Glacier, Chile Dogon Villagers (Opposite page) Dogon Villagers in Mali begin their day the same way they have for centuries.

Lowepro Gear

Norbert Wu

When you think of deep sea diving, the icy waters of the Antarctic Ocean probably don’t even make the list. Though arguably one of the most inhospitable places on the planet, it has a large, active marine community of colorful sponges, fish and soft coral as well as penguins, seals and orca whales. It’s a place where only the most fearless and dedicated research scientists tread. But as science focuses more and more on lab-oriented research, it’s falling to a handful of adventurous photographers and cinematographers, one of the foremost being Norbert Wu, to present Antarctica’s natural history to new generations. Wu and his team spent three seasons braving the bitter cold, the raging blizzards and the freezing waters. It was time well spent. This groundbreaking project provided a wealth of both stills and film. His stills provided the impetus and the bulk of an invaluable field guide to Antarctic marine life. They were showcased in a traveling exhibit and published by the University of California Press in a book entitled Under Antarctic Ice. Both the field guide and book were widely praised by researchers. The field guide was hosted by the Scripps Institution of Oceanography Library for several years and is now part of the digital library collections of the University of California. His film, also entitled Under Antarctic Ice, was shot in HDTV for the

Nature series that airs on PBS. Wu photographed behaviors that had never been documented on film before—like pods of orcas racing down the leads of a frozen ocean (channels leading from open water into the ice mass) where they dove under the ice to hunt giant Antarctic cod. Scientists who spend so much time topside on the McMurdo Sound ice were thrilled with the footage, having never seen this for themselves. Wu, who hates boats and is, ironically, prone to seasickness, loved the fact that he could drive across the ice to his dive locations and enter the water through a hole in the ice. However, the frigid water temperatures significantly reduced the amount of time he could spend in the water. He averaged only two 40-minute dives per day wearing a dry suit and thermal underwear, and his hands, feet and lips would always become numb from the cold. The downside was that the same, small dive hole was his only escape from the dark, icy waters—making it critical to keep it in view at all times. Working too hard or breathing too fast could cause regulators to freeze up, leading to underwater emergencies. And delicate camera, lighting and video equipment were equally adverse to the salt water and the frigid conditions. Amazingly enough, Wu fell in love with Antarctica; with the cold, the clarity of the water and the way the animal and marine life has adapted to this harsh environment. Biography An independent photographer/filmmaker, Norbert Wu has photographed from the Arctic and Antarctic to the tropics. His work has appeared in thousands of books, in TV specials, films and museums. He holds engineering degrees from Stanford University, and did doctoral work at the Scripps Institution of Oceanography. The U.S. National Science Foundation (NSF) awarded Wu grants to document wildlife and research in Antarctica—resulting in Under Antarctic Ice. He has received the U.S. Antarctica Service Medal “for his contributions to exploration and science,” and the highly prized Pew Fellow in Marine Conservation, among numerous other grants and awards.

norbertwu.com

Under Antarctic Ice Forget the comfy studio with central heat and an espresso machine. Norbert Wu’s typical day at the office is far less cozy. While his images inspire us, his working conditions motivate us to make sure our products can withstand all the extremes their owners do.

DryZone Rover™ DryZone™ 200 CompuDaypack Magnum™ DV 6500 AW Pro Roller 1 Super Trekker™ AW II

Fast Lane (Above) Orcas speeding down a lead in search of Atlantic cod. Glacial Grace (Opposite page) Giant Antarctic jellyfish.

“ It’s a place that made me happy to be alive. It’s a place I am always thrilled to get to—and always glad to leave.” Norbert Wu

Purpose-built design comes from a passion to invent. We work this way so you can pursue your passions with confidence—everywhere you go.

We are inventors, designers, photographers and lovers of the natural world who take our reputation as The Trusted Original™ to heart. We’re obsessed with the way photographers work. Always have been. Always will be. We study their every move and incessantly invent solutions for the challenges they face: changing weather, remote locations, bustling cities and international travel. Our purpose-built designs provide the protection and durability that professional (and enthusiast) photographers need to follow their pursuits…with the confidence that their gear is safe. Each product is designed with professional-grade materials that resist abrasion, impact, moisture and in many instances, extreme weather. From the most technical backpack to the smallest pouch, we pay attention to each and every little detail.

Product Gallery 36 Backpacks 41 Sling Bags 42 Rollers 43 Modular 44 Toploaders 45 Beltpacks 46 Shoulder Bags 49 Video 50 Pouches 51 GPS & Accessories

Backpacks

“ The fact that the Pro Trekker™ 400 AW looks like a regular backpack is great for the under-the-radar approach I want when traveling. Along with the weather-proof zippers, SlipLock™ system and roomy outer pockets; having the new tripod channels and checkpointfriendly laptop case with easy-to-access sleeve for it on the rear of the backpack are fantastic additions—as is the brilliant, removable waistpack. I love that I can get on a plane, remove the laptop and the waistpack and not have to shuffle past cameras, cords or accessories.” Ian Spanier Environmental, portrait and travel photographer

Behind The Design When we use the phrase “purpose-built design,” we’re really talking about our approach to building a product that will perform extremely well as it’s put through its paces. Examples? Our fully padded and adjustable camera compartments give you the flexibility to customize your kit for each shooting or traveling scenario. Our Hideaway Tripod Mount™ systems include foldout or removable holders, cam lock buckles and compression straps so you can secure gear within easy reach. This kind of purpose-built design is what fuels our passion to provide carrying solutions that work for our customers.

Pro Trekker™ AW

Vertex™ AW

Dryzone™ AW

Trek to remote and challenging locations (durable performance and technical fabrics). Carry along a big lens for that elusive creature (300-600mm lens). Be prepared for a rain storm (All Weather AW Cover™). Download the day’s images (removable laptop sleeve). Take a sip of water (hydration pocket with seam-sealed pouch). Our Pro Trekker AW series is the ultimate trekking companion for outdoor and adventure photographers. Yes, it may look like a traditional backpack, but it offers purpose-built, premium features—including a 10-point adjustable harness system—that pros will truly appreciate.

Sports photojournalists and nature shooters rely on agility and protection to get their gear to that just-right location. The Vertex AW backpack series serves them well. Its compact, yet rugged construction belies the fact that it can carry pro-sized camera gear, up to a 300mm lens, laptop and accessories. Its silent zipper pulls offer quiet access around wildlife and film crews. And its weather-protective features—from waterresistant YKK™ zippers to a patented All Weather AW Cover™—safeguard equipment even in the most harsh conditions.

If you typically get to assignments by canoe or sailboat, dogsled or snowmobile, you’ll appreciate the waterproof DryZone. It features an inner drypod with a totally waterproof TIZIP™ zipper that provides watertight protection for pro-sized gear and multiple lenses. Attach a tripod to the outside. Add extra pouches or cases via SlipLock™ attachment loops. You can even bring along something to keep you refreshed with the DryZone Rover™ model—it comes with a HydraPak™ personal hydration system.

Behind The Design

Backpacks

Designing products for pros (and aspiring pros) that can withstand the tests of travel, weather and time is what we do. It requires sourcing some of the toughest materials on earth—ones commonly made from non-renewable resources. But we also strive to lessen our impact on our planet and challenge our designers to do more. In 2007, we introduced the Primus™ AW backpack, the first professional camera bag made with Cyclepet®, a 100% post-consumer, recycled fabric made of 16-ounce PET bottles. The exterior fabric uses the equivalent of 22 bottles. We followed it with two more backpacks, then four of our most resource-friendly bags to date, the Terraclime series. More than 95% of their content is recycled, including hardware that’s made from factory floor trimmings, recycled and repurposed for hooks and zippers.

Primus™ AW

Rover™ AW II

Lens Trekker™ 600 AW II

Can you carry your eco-consciousness with your gear? Yes. Our Primus AW backpack series serves as an earth-friendly and fully protective solution. The rugged exterior is Cyclepet®, a 100% post-consumer, recycled fabric. The pack offers an ideal combination of fast access, superior comfort and all-weather protection for outdoor and adventure photographers. A sideaccess pocket gets you to an extra lens quickly, without removing the pack. The Primus™ AW fits up to pro-sized gear. The CompuPrimus™ AW includes a laptop sleeve. The Primus Minimus™ AW is scaled down for smaller torsos.

Adventure photographers who spend their days hiking to a spectacular vista or waiting patiently for the subject to emerge will appreciate these multi-compartment backpacks. They’re designed to fit pro-sized gear in the fully padded and adjustable lower compartment and creature comforts in the roomy upper compartment. Weather-protective covers, fold-down tripod holders, bungee cord webbing and SlipLock™ attachment loops expand the options to carry extra gear. The CompuRover™ AW includes padded space for a laptop—so you can download images right on the spot.

What’s a challenge for nature and sports photographers? Getting that jaw-dropping shot from a long distance. And carrying a big, big, big lens to the desired location. Our solution: Lens Trekker 600 AW II. It’s purpose built to fit and protect a pro-sized DSLR with attached 600mm lens, or unattached 800mm lens. It features a padded, adjustable-torso harness system to provide a custom and comfortable fit. And it includes an All Weather AW Cover™ so valuable gear is safeguarded from the elements.

“ I carry a Canon® 500mm f/4L with me when I travel—it’s a lens that won’t fit into a backpack with all my other lenses. So I carry it in the Lens Trekker 600 AW II. Even when I’m traveling with my 4x4 vehicle, I find the Lens Trekker 600 AW II a great way to protect large-sized gear from the bumps and thumps along the back roads of Colorado. I’ve been using Lowepro bags and backpacks throughout my career because professional equipment needs the best protection available.” George D. Lepp Outdoor and nature photographer and Field Editor for Outdoor Photographer and PCPhoto magazines

Flipside 400 AW

Flipside

Versapack™ 200 AW

Our Flipside 400 AW high-performance backpack is designed for the traveling or adventure photographer who needs to keep valuable gear safely tucked away, yet within easy reach when the gotta-have-it shot presents itself. Its unique, back-entry compartment keeps equipment close and extra secure. The roomy main compartment secures a pro DSLR with up to a 300mm attached zoom lens, an extra body and multiple lenses and accessories. The All Weather AW Cover™, Hideaway Tripod Mount™ system and padded harness offer protection, flexibility and comfort.

Our scaled-down packs feature the same back-entry compartment design as the 400 AW, with a slimmer profile. Whichever you choose, your camera investment stays close to you and away from roving hands while you’re on the move. The larger fits a pro-sized DSLR, the smaller a standard model. To access gear, quickly rotate it to the front. Rest the Flipside on a raised knee to create a stable work platform for changing a lens or setting up a shot. A removable accessory pouch and outside storage panels keep personal items within reach.

Here’s an appealing dual-compartment, DSLR backpack: lightweight, flexible—and like its name— incredibly versatile. Its inventive design offers many ways to pack and get to equipment and personal items. Its dual side-entry openings provide fast access to camera gear; just rotate to the left or right. Its lightweight and durable performance fabrics and clever construction keep you nimble while on the move. Photo enthusiasts and travelers will appreciate the compact design. Simply take out the dividers, fold up, and place in luggage for an easy, packable solution.

Backpacks

“ Hanging on ropes at 20,000 feet in the Himalayas or scuba diving in Antarctica gives me less pause than trying to figure out how to travel with my equipment. During a recent assignment to Namibia, I carried everything I needed—even hard drives—in the Pro Runner 450 AW. It fits two professional systems (even a fixed 300mm) and a laptop in one sleek bag that is durable and easily slides onto an overhead luggage rack—be it on an international flight or a rainbowcolored bus. My favorite part? The bag looks like a normal backpack that doesn’t say ‘camera bag, come rob me’ all over it.” Peter McBride Aurora Photos adventure sports and lifestyle photographer, writer, visual storyteller and videographer

Pro Runner™ AW

Fastpack

CompuDaypack

Photojournalists, pro photographers and enthusiasts who carry their gear through crowded airports and busy city streets will like this compact, streamlined and urban-inspired solution. Airline carry-on compatible, The Pro Runner AW is feature-filled and weatherprotective, fitting up to a pro-sized camera (450 AW), tripod and accessories—plus a few personal items— in a highly organized design. The two larger models include space for laptops, so you can edit images and speed workflow as you travel.

Hassle-free is an apt description of our Fastpack series. When it comes to protecting, accessing and traveling with gear, these backpacks serve photographers well. A fully padded, adjustable main compartment safeguards a standard DSLR up to a pro-sized kit (plus a laptop in the 350 and 250 models). Side-entry compartments provide fast access to a camera or extra lenses, even while the pack is worn. The streamlined shape moves easily with the body in a crowded location and fits under most airline seats and in overhead compartments.

Around campus. Around town. Around the world. Our lightweight and spacious CompuDaypack is perfect for gearheads who want to protect, organize and carry it all. This thoughtfully organized pack fits a DSLR, extra lenses, laptop, personal stuff and an MP3 player (it fits in a quick-access pocket that includes a handy headphone port). If you’re a photojournalist or blogger—or even a photo enthusiast who listens to tunes on the go—the CompuDaypack is pretty much your dream bag.

Sling Bags

“ I love the versatility and protection the SlingShot™ AW series provides when I want to travel light. And its compact, bullet-like shape comes in handy when I need to carry a larger backpack full of climbing or lighting equipment—it fits right inside with the other gear. When I get to the location, I can pull it out, put it on, and get to work.” Don Mason Adventure and commercial photographer

Classified™ Sling AW

Passport Sling™

Slingshot™ AW

These hardworking slings are designed for the hardworking photojournalists who carry them. They conceal gear (and the mission) while protecting it with artful style. The nimble, fast-access sling features a slim profile, contoured to easily move with the body and help the professional navigate a busy street or crowded subway. Quickly rotate to the front and work out of the side-entry main compartment with full access to gear. The 220 AW includes a laptop compartment; the 180 AW, a padded netbook compartment.

Freedom for your every move. Protection for your DSLR. Lots of space for personal gear. Our Passport Sling is an unexpected kind of camera bag—unique in form and inventive in function. The shoulder strap features a cam lock buckle that easily adjusts for an ideal fit. The front unzips to reveal an expansion compartment that adds about 30% more space. A fully padded camera box protects a DSLR; remove and collapse it when you want to pack the sling in a larger bag for travel.

The new, fast-access SlingShot™ AW series builds on the inventive design of the original and incorporates what many photojournalists and photo enthusiasts are looking for: faster access, extra space for personal items, improved organization, and the ability to add a tripod. The new SlingShot AW offers more volume in the upper compartment for extra accessories or additional items. The same inventive design—letting you quickly rotate to the front to access—remains a tried-and-true feature of this pro favorite.

Rollers

Behind The Design Our designers put a lot of thought into finding solutions for keeping your gear safe. They understand that padding is not always enough; that while on location or traveling the world, you can’t always keep your entire kit with you. That’s what led to one of our ultimate protection inventions— our exclusive, professional-grade Lock & Go System™. It features a retractable cable that connects universally to a 3-digit, official Travel Sentry™ lock (recognized by TSA) to secure your bag and everything in it. Now that’s peace of mind.

“ I’ve finally found the one bag that meets my needs on location, the Pro Roller x100. I spend a lot of time in airports and rugged locations for my photography, and need both a camera bag that rolls through airports and one that can be carried on sandy beaches and rocky hillsides—the kinds of places a bag with wheels won’t go. When that happens, I take out the Reserve Pack and don’t miss a beat. This bag carries all the camera gear I need, as well as my laptop.” Tom Bol Editorial and commercial photographer

Pro Roller™ x-Series

Pro Runner™ AW

Does this sound like you? Airports sometimes feel like second homes. You like travel to be hassle free and want to carry your gear in a bag that doesn’t scream “I have expensive camera gear here!” Often you have to hop on a puddle jumper to get to the assignment and need things to be flexible. The Pro Roller x-Series is your ticket to fly with its Reserve Pack, TelePod™ Handle, Lock & Go System™, custom wheels, and much more. Visit our web site to read more about its inventive features.

The Pro Runner™ AW roller/backpack delivers a unique, convertible solution for globetrotters. Streamlined, protective and urban-inspired in its construction and profile, this easy-to convert design is ideal for photojournalists and location photographers who need functional versatility as they travel and work. There is also ample room for cameras, lenses, accessories and a laptop. The inventive harness system quickly converts the roller to a backpack by detaching the hook/loop panel and clipping shoulder straps to the bottom.

Modular

Behind The Design No two shoots are ever the same, and our designers understand that you may often need to bring along some extra gear. The solution is our inventive SlipLock™ attachment system consisting of integrated loops and tabs that work with compatible packs, bags and pouches. You can add the needed extras—like lens cases, point & shoot pouches, water bottles and binoculars—and remove them when you want to downsize again. SlipLock™ pouches also attach to a belt so you can take just what you need. Simple. And convenient.

Street & Field™ System

SlipLock™ Add-Ons / Lens Cases

Lowepro’s original modular carrying system is all about flexibility for you, your equipment and your shooting style—whether you’re a sports or outdoor shooter, wedding photographer or photojournalist. Begin with an attachment system (like a Harness, Waistbelt or Light Belt) and add and subtract bags, cases and pouches as needed. A reinforced attachment tab slides onto any SlipLock™ loop and fastens securely. It’s that simple.

Think of these as convenient companions to our Street and Field™ modular carrying system or any Lowepro bag, pack, sling, toploader or beltpack with SlipLock attachment loops. When you need to add a water bottle, pair of binoculars, extra lens, point & shoot camera—even sunscreen and lip balm—our cases, bags and pouches are right there to access in a flash the moment you have a need for more gear.

Toploaders

“ As I covered a grueling expedition race in Patagonia, the Toploader Pro™ 75 AW was put through its paces in some very harsh (i.e., wet) conditions—it did a great job of keeping my camera dry and providing quick access. It has become one of my mainstay bags that goes almost everywhere because it is so versatile. I can use it as a chest pouch, or as a beltpack with a few extra lens cases, which is how I had it set up for most of the race.” Michael Clark Outdoor and adventure sports photographer

Toploader Pro™ AW

Toploader Zoom™ AW

Cirrus™ TLZ

Built for outdoor and sports pros who require fast access, agility and flexibility, the asymmetrical shape of this bag follows the line of a pro DSLR for a snug, protective fit. The side opening offers easy-grip access to your camera. The 360° working All Weather AW Cover™ gives you full access to the main compartment while protecting gear. The bag can be worn three ways to fit many shooting scenarios: holster-style, attached to a Street & Field™ system, or with our Topload Chest Harness (latter two sold separately).

Photographers and enthusiasts who are passionate about their pursuits will appreciate this weatherprotective, streamlined and easy-access toploader. It’s made for a day of outdoor activities, travel or sports. The patented All Weather AW Cover™ protects gear from the elements. The compact design moves with the body and slips into a larger bag for travel. The customizable and fully padded interior includes a horizontal divider (50 AW and 55 AW only) to separate an extra lens. The 50 AW and 55 AW work with the Topload Chest Harness (sold separately).

Photo enthusiasts who have minimalist carrying needs, yet still want trustworthy protection, will like what they get in our Cirrus TLZ (that’s short for toploading zoom). Compact design with shock-absorbent, closed-cell foam safeguards a DSLR (or an ultra-zoom camera in the TLZ 5). A slim, front “stash” pocket stores a cable or small manual; an interior pocket secures extra memory. Carry the Cirrus TLZ three ways: by its ergonomic top handle, via the removable shoulder strap or attached to a belt, loop or strap.

Beltpacks

“ The Inverse™ 200 AW is the perfect combination of functional design, camera protection, carrying capacity and suspension. I can carry the minimum amount of gear that I need to make great pictures while not being slowed down by a clunky case. The bag fits the contours of my body and allows me to move fast while hanging from ropes high on a granite tower or skiing deep powder.” Corey Rich Aurora Photos adventure sports and lifestyle photographer, visual storyteller and filmmaker

Inverse™ AW

Outback™

Photo Runner™ 100 AW

Each thoughtfully designed feature of our Inverse AW beltpack is right at hand—or actually—right at waist. From its quick-access top that opens right into the main compartment, to the contoured mesh lumbar belt that distributes weight evenly and offers cushioned support, the Inverse AW delivers speed and comfort. Our patented All Weather AW Cover™ provides protection from the elements and tucks away when not needed. Ideal for an outdoor pro or photo enthusiast who wants to move through his or her shoot with ease.

Here are modular beltpacks designed for photographers and photo enthusiasts who carry gear to the limits—on foot, bike, while hiking or on assignment. In other words, go anywhere and shoot anywhere—your camera gear is at the ready. Each comes with two interchangeable lens/accessory cases attached by SlipLock™ loops and secured with compression straps. This flexible design allows you to gear up or down to suit any shooting situation. The 300 AW includes our All Weather AW Cover™ to protect equipment from the elements.

No matter who or what you’re shooting, wedding, sports and nature photographers need agility and speed to capture those most-wanted images. A slim profile offers freedom of movement. The tuck-away waistbelt keeps the weight of gear on the hips and helps minimize movement when the Photo Runner 100 is worn as a beltpack. A removable, adjustable shoulder strap with non-slip pad turns it into a comfortable shoulder bag solution.

Shoulder Bags

“ The Classified™ 250 AW is well-balanced and contours to your body. The inner sanctum is still well-padded for camera gear and keeps its shape. It’s deeper than the average camera bag, which is nice when you need to stack lenses (I always do anyway). Since the zipper is on the flap rather than under it, you aren’t in danger of the whole thing turning over or falling open if you pick it up by the carrying handles with the zipper open.” Andrew Kornylak Editorial and commercial photographer

Magnum™ AW

Classified™ AW

Stealth Reporter D AW

You shoot in the studio and out on location, so you need an easy-to-transport, “working” bag that gives you fast access to gear. You like the freedom to “move the set” when the occasion arises. You’re a commercial photographer so you deserve the pro’s essential toolbox: Magnum AW. From its premium, water-resistant base that provides stability, to its Vertebral Tech™ Shoulder Strap that offers long-wearing comfort; the Magnum AW is designed to fit, carry and protect pro-sized gear (and a laptop in the largest model) with ease.

Hardworking bags specifically designed for the hardworking photojournalists who carry them. These nimble, fast-access bags have a modern, off-hours appeal. A slimmer profile, contoured to move easily with the body, helps you navigate a busy street or crowded subway. Soft edges, leather details, and an embossed logo create a discreet aesthetic. The collection includes four DSLR shoulder bags with All Weather AW Covers™ (the largest with padded space for a laptop); a 100 AW Kit, a modular trio designed to fit a pro compact camera, accessories and essentials; and a pouch (Classified 30).

A favorite among photojournalists and sports photographers, the Stealth Reporter D AW series is designed for fast and easy access. Six models are sized to fit a variety of gear—and offer all-weather protection when working in the field. A unique, quickaccess top with water-resistant zipper opens right into the bag—so you can reach in and grab your camera or lens for a quick shot or equipment change. The D650 AW and D550 AW include laptop compartments for pros who need to manage workflow while on assignment.

Behind The Design Nature is not always kind to delicate camera equipment. The question of how to protect your kit from the elements is solved by our patented, built-in All Weather AW Cover™. Included with more than 70 of our designs, it’s like a raincoat for your gear that also protects against sand and dust. In 2008, we invented the 360° working All Weather AW Cover™ to provide complete access to the main compartment while still protecting camera gear—so it’s easy (and safe) to make a quick lens change as raindrops fall.

Nova AW

Rezo™ AW

Apex™ AW

No need to let the weather stop you from shooting— the Nova AW series includes 360º working All Weather Covers™ that let you access your gear even when they’re on. The 360° cover wraps around the bag and over the top, providing complete access to the interior…and giving maximum protection to your camera and lenses from rain, dust and wind while you prepare for the next shot. Six models range in size to carry the most popular DSLRs, lenses, memory cards and accessories.

Protective? Yes. But lightweight, too. Our Rezo AW shoulder bags are understated in looks, but packed with design details that protect DSLRs (or an ultrazoom camera in the TLZ 110). Photo enthusiasts and aspiring pros will like getting right to their gear via the reverse-open lid—it includes a built-in memory card pouch to keep accessories organized and right at hand. The patented All Weather AW Cover™ protects contents from the elements when needed.

Lightweight, rugged and weather-protective, the Apex AW series is ideal for adventure photographers and weekend enthusiasts who carry their DLSR, pro compact or ultra-zoom cameras to peaks, valleys and every place in between. Its single-compartment interior is fully padded, adjustable and provides protective spaces for extra memory and accessories. A reversed zipper opening includes silent pulls to offer quiet access around wildlife (or shy subjects). A rubber molded bumper adds protection at the base. And our patented All Weather AW Cover™ safeguards gear from the elements.

Shoulder Bags

Terraclime

Exchange Messenger™

Adventura

Stockholm

Eco-conscious photographers will love the style and substance of our Terraclime series. Each bag is constructed of 100% post-consumer, recycled Cyclepet® fabric made of plastic PET bottles. Terraclime’s hardware is comprised of plastic regrind, recycled and re-purposed industrial trimmings saved from the factory floor. The 100 model includes a protective wrap for a DSLR or ultra-zoom camera. A portion of the proceeds from each bag goes to Polar Bears International (PBI) to help research the impact of climate change on polar bear habitats.

Combine a classic bike courier profile with Lowepro’s practical design sense and you get the Exchange Messenger™—a well-priced DSLR shoulder bag that offers soft-sided protection with modern appeal. This bag was made for the shooter who wants to carry his or her camera (placed horizontally), a couple of accessories and plenty of non-camera essentials in a bag that’s stylish and discreet. Three deep storage pockets and an adjustable, padded interior contain everything you need for a photo walk or city trek.

If you’re an enthusiast or aspiring pro looking for a lightweight shoulder bag filled with practical features you can really use—look to our Adventura series. Three models fit everything from an ultra-zoom camera, to a standard DLSR kit, to a camcorder, plus accessories. From its sheltering rainflap lid to its brightly lined and thickly padded interior, this design protects gear inside and out. An Adventura bag is perfect for sightseeing excursions, shooting your kids’ soccer game or capturing memories at any event.

Here is a modern and minimalist approach for photo and video enthusiasts—in the form of Stockholm shoulder bags and pouches. Carry and protect everything from camcorders, DSLRs and ultra-zoom cameras to ultra-compact point & shoots and cell phones within this series. A streamlined shape with a nailhead nylon cover creates a distinctive look. The shoulder bags feature padded and adjustable main compartments to customize gear. The pouches sport a wrap-around design with elasticized side gussets to provide a snug fit, plus a belt loop for an added carrying option.

Video

“ I really appreciate the design of the Magnum DV 4000 AW bag. I’ve filmed in 30 countries and I practically end up living out of my camera bag when I’m on the road. The molded bottom makes it incredibly durable, yet still flexible enough to squeeze into tight carry-on compartments. This model is a perfect fit for my Panasonic HPX-170, mics, cables, batteries, and everything else I need. It’s the only camera bag I use now.” Gary Hustwit Award-winning independent filmmaker and director

Magnum™ DV AW

Edit & Clips™

Impulse™

Shooting in a studio one day. “Running and gunning” at a rally the next. Transporting a whole kit of gear on a flight to a country half way around the globe. Today’s pro videographer needs flexibility and the Magnum DV AW series delivers. It’s super-accessible, specially configured for video, ultra-portable and protective. From its thoughtfully constructed interior to its durable and rugged exterior, these bags are purpose built to serve the particular needs of pro video shooters. Visit our web site to learn more about this inventive series.

For those of you who like to catch life in motion, our video bags offer lightweight and easy-to-access carrying solutions. Edit bags protect a wide range of lightweight camcorders and include a fully padded and adjustable interior, soft lining and storage pockets for needed extras like AC adaptors, USB cables and CF cards. The pivoting main compartment of Clips provides quick and easy access to your camcorder, while the main exterior pocket provides a dedicated compartment for sensitive DV media and separate storage for adaptors, chargers and cords.

Impulse was made expressly for today’s compact camcorders and style-minded enthusiasts who want a protective shoulder bag with a fast-access design. The brushed tricot lining in easy-to-see burnt orange protects a lens and LCD screen from scratches. An adjustable, padded divider creates space for accessories. A front slip pocket and two side pockets provide extra storage. A sturdy magnetic closure lets you capture footage in a flash, then quickly shut and secure the bag.

Pouches

11 2

1 12

Leather Luxury

Hard Cases

Stretchy Neoprene

Multi Purpose

1 Portofino 2 Luxe

3 Volta 4 Geneva

5 Hipshot™ 6 Dublin 7 Varia™ 10 8 Melbourne 10

9 Ridge™ 10 Austin 10 11 Helsinki 10 12 D-Wrap

Classic, stylish and finely detailed leather always makes a statement. We choose top-grain leather in rich hues and construct rigid and protective cases like Luxe and Portofino to offer pros and enthusiasts a distinctive way to carry a point & shoot camera. Perfect for weddings, travel, gifts—even off-hour moments when you just want to carry the minimal, but carry it well.

Protecting a camera’s LCD screen from impact is top of our list—most likely yours, too. Our Geneva and Volta camera case designs incorporate sturdy, durable and impact-resistant materials to safeguard contents. The former is built with thick, open-cell foam padding and reinforced with PE board. The latter features hard, molded-foam construction to protect like a shell from the outside. Both are lined with soft, brushed fabric to provide protection from scratches and abrasion.

Snug and cushioned protection sounds nice. And it is nice for compact cameras and electronic devices that live in our neoprene pouches. Hipshot takes its design cues from a rock climber’s chalk bag with a drawstring-toggle closure and carabiner. Varia is straightforward, but brightly colored, so you can color-code gear. Dublin is a handsome, two-tone option with a protective flap. And Melbourne catches the eye with appealing screen prints.

We’re always looking for new and inventive ways to build a better camera case. And our designers love the challenge of surprising and delighting with flexible, stylish, modern and innovative solutions. Ridge is one of our classic pouches, compact but filled with cool features. Austin opens like a book and serves as a kind of camera wallet. Helsinki is lean, streamlined and minimal. And our D-Wrap is the wrap-around protection your camera wears—even while you’re shooting.

GPS & Accessories

Behind The Design

1 8

GPS Cases

Accessories

1 Navi™ Traveler 2 Navi™ Shield 3 Navi™ Bag 4 Navi™ Sleeve

5 Filter Pocket 6 DMC-Z 7 PixelPak 8 Vertebral Tech™ Shoulder Strap

Anyone who relies on his or her GPS system to guide their travels will appreciate the protective, practical and purpose-built designs of our cases. Each provides maximum protection for touchscreens, plus compact and streamlined shapes that neatly fit in a vehicle, or stash away in a bag or backpack. Our larger cases feature easy-to-access and easy-to organize storage space for GPS-related accessories like batteries, chargers, mounts, cords and extra memory—the stuff you need to get you there.

You never know when you’ll need a little something extra. Our thoughtfully designed camera straps, memory card holders, shoulder straps and filter pockets each serve a specific purpose and do it well with Lowepro’s trustworthy construction and materials. Whether you’re carrying a heavy load from location to location or safeguarding a month’s worth of images for an editor’s review, you can rely on our accessories to protect your efforts.

Purpose built. Professional grade. We’re passionate about inventing ways to make a photographer’s life easier. It’s who we are, it’s what we do and it’s all about you. Like our patent-pending Vertebral Tech™ Shoulder Strap. Inspired by the human spine, it makes even the heaviest loads more comfortable to carry. The flexible design with a double layer of EVA foam conforms to your shoulder—no matter how you wear it—right shoulder, left shoulder, face up or face down. Comfort, protection, durability and performance—that’s what it’s all about.

Product Series Index Backpacks

37 ProTrekker™ AW 37 Vertex™ AW 37 DryZone™ AW 38 Primus™ AW 38 Rover™ AW II 38 Lens Trekker 600 AW II 39 Flipside 400 AW 39 Flipside 39 Versapack™ 200 AW 40 Pro Runner™ AW 40 Fastpack 40 CompuDayPack

Sling Bags

41 Classified™ Sling AW 41 Passport Sling™ 41 SlingShot™ AW

Video

49 Magnum™ DV AW 49 Edit & Clips™ 49 Impulse™

Pouches

Leather Luxury 50 Portofino 50 Luxe Hard Cases 50 Volta 50 Geneva Stretchy Neoprene 50 Hipshot™ 50 Dublin 50 Varia™ 10 50 Melbourne 10

42 Pro Roller x-Series 42 Pro Runner™ AW Roller/Backpacks

Multi Purpose 50 Ridge™ 50 Austin 10 50 Helsinki 10 50 D-Wrap

Modular

GPS

Rollers

™

43 Street & Field™ System 43 SlipLock™ Add-Ons/Lens Cases

Toploaders

44 Toploader Pro™ AW 44 Toploader Zoom™ AW 44 Cirrus™ TLZ

Beltpacks

45 Inverse™ AW 45 Outback™ 45 Photo Runner™ 100 AW

Shoulder Bags

46 Magnum™ AW 46 Classified™ AW 46 Stealth Reporter D AW 47 Nova AW 47 Rezo™ AW 47 Apex™ AW 48 Terraclime 48 Exchange Messenger™ 48 Adventura 48 Stockholm

51 Navi™ Traveler 51 Navi™ Shield 51 Navi™ Bag 51 Navi™ Sleeve

Accessories

51 Filter Pocket 51 DMC-Z 51 PixelPak 51 Vertebral Tech™ Shoulder Strap This brochure suggests the camera equipment you can expect to carry in a bag. However, equipment and bag sizes can vary, and we recommend testing your own system in a bag before you buy.

Contact Information Corporate Addresses Australia Unit 6, 11-21 Underwood Road Homebush, NSW 2140, Australia Phone: 61.2.8756.6400 Canada 55 Valleywood Drive, Markham, ON, Canada L3R 5L9 Phone: 1.905.944.9400 Germany Mollsfeld 2, D-40670 Meerbusch-Osterath Germany Phone: 49.2159.69610 Switzerland Kirchgasse 24 CH-8001, Zurich, Switzerland Phone: 41.44.500.5353 United Kingdom Merryhills Enterprise Park Park Lane, Wolverhampton WV10 9TJ U.K. Phone: 44.1902.864646 United States 1003 Gravenstein Hwy. North, Suite 200 Sebastopol, CA 95472 USA Phone: 1.707.827.4000

All trademarks in this brochure are the property of their respective holders. We hope you enjoy, and keep, this photography annual. Should you need to dispose of it, please recycle. Thank you. ÂŠ 2010 DayMen / Lowepro

To learn more about us, visit our web site: lowepro.com Youâ&#x20AC;&#x2122;ll find information about our products, a complete list of our distributors and profiles of the photographers who rely on our gear.