With some areas of the world appearing to be turning the corner on Covid-19, we explore whether the pandemic has fundamentally changed art, the new creative impulses and business incentives it may have precipitated, and what kind of films and photographs we expect to see coming out of this bizarre period in human history.

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National Geographic photographer and Asia specialist Michael Yamashita joins us in this episode, discussing the vast changes to the photography industry that have taken place across his career, disappearing communities and environments, NatGeo's booming presence online, and his role as a volunteer fireman in the small town he calls home.

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A Puerto Rican-born photographer now living in New Jersey, Paola Franqui has, under her handle @monaris_, become known for her cinematic street photography, often shot in New York City and evoking the feeling of a bygone era. We talk to her about finding movie moments among the everyday, how she was influenced by photography greats Vivian Maier and Saul Leiter, and doing client work on something as simple as an iPhone.

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Not focus the lens kind but focus the human kind: being able to concentrate and stay determined is crucial to success in pretty much anything, so how can you foster it? We are certainly not experts *checks phone notifications*, but here we discuss attempts at focus in a world of distractions and health/political crises.

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Ford v Ferrari, Nebraska, Downsizing and 3:10 to Yuma cinematographer Phedon Papamichael joins us, to discuss the future of movies, using a blue light in a black and white film, Hollywood's reluctance around b&w films, working with camera cars, the incentives around doing flashy rather than naturalistic cinematography, and much more.

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Indian street photographer Vineet Vohra joins us to discuss his distinctive, playful style, trying to capture photos that feel like hitting a 'pause' button on life, shooting in Varanasi and his native New Delhi, and much more.

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We're a mere blip in history. Many of the artistic mediums that are dominant now weren't as little as a hundred years ago, and with technology progressing so fast, they'll likely change again on a much shorter timeframe. Here we attempt to take stock of photography, cinema and other forms of storytelling at this moment in time, assess the outlook for them, and think about where the world of art/storytelling/whatever-you-want-to-call-it may be headed.

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Friend and confidante of the great Stanley Kubrick, Larry Smith was the cinematographer on 'Eyes Wide Shut', lit 'The Shining' for which he served as gaffer, and was also on set for 'Barry Lyndon'. We speak to him about Kubrick's unique directing and business style, using Christmas lights for effect on 'Eyes Wide Shut' (the longest film shoot on record) Larry's work with Nicolas Winding Refn on 'Only God Forgives', and much more.

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