In the wake of social-distancing and self-quarantine, galleries have had to strategize on new ways to prevail during the absence of the life line and heartbeat that allows them to survive; social gatherings and foot traffic. There’s an amazing article about the fast transitions these establishments have to, or have already done, in order to fight the tide that will undoubtedly affect nearly all businesses. You can now virtually walk through private viewing rooms to stay current, procure and adore the works that move you.




If you’re like us and have been spoiled by having your film processed at your local photo lab and are now uncertain as to how you’re going to keep up with your analog workflow while being stuck at home, fear not, the Italy based, Ars-imago®  has introduced the Lab-Box® (via a very supportive Kickstarter campaign). If you don’t have the space for a darkroom or don’t want to go back to developing tanks in your sink (although it’s still a fun and very inexpensive way of getting it done), than this is a very easy and sufficient way of bringing those negatives to life.  We’re excited to take this baby for a spin and give you a full review on the results it produces.



A lot of creatives have been forced to rethink their approach when in comes to producing content which has re-fueled the Facetime photoshoot. This isn’t anything new, in fact, Kim Kardashian brought it into the mainstream mindset in 2015 for her Interview Magazine cover but yesterday Bella Hadid kicked the digital window wide open again. Her Vogue Italia shoot pushed the boundaries as it had multiple people on FT including a stylist for the project. I think this is something we’re going to have to get used to in the days, months and perhaps years to come as things are undeniably changing. Do I like it? I can see how the voyeuristic factor plays a roll and how it can be extremely relatable to the younger viewers because let’s face it, kids would rather FT than hangout and text instead of call. I don’t love the concept and I’m not opposed to it, but I am curious to see how far this will go. Is it going to get to a point where we can remotely access cameras (not like this) from across the world? Will this devalue the need of a “pro photographer” or eliminate the financial compensation for all of those whom are usually on set directing and aiding the project? I suppose only time will tell.

If you’re interested in trying a FTPS, we found some pointers for you here.