With the imminent launch of their new factory and global headquarters—the first move for the brand in 80 years—Filson invited us in for a first look at their new space. We got a unique peek behind the scenes and learned how this classic luggage and outdoor clothing company manages concepts, sales and production all under one roof. Originally outfitting pioneers for the Alaskan wilderness, Filson has maintained their heritage elements as they expand the function and fit of their products for the modern world.

No longer does traveling fast and light also have to mean leaving your camera gear behind. Case in point: the Befree Tripod from Manfrotto. Weighing just over three pounds and standing under 16 inches when folded, we found the portable tripod to be more than manageable on a few recent excursions. Central to the experience is the time-saving quick release switch at the base, which allows for fast set-ups into two level leg positions, as well as speedy breakdowns as the legs can be folded 180º from standing. Then it's easily stashed in the shoulder-strap-ready padded pouch—a handy accessory for location jumping.

While its compact size may ultimately be the Befree's strongest selling point—it's certainly carry-on luggage compatible—the tripod is far from dinky. The Italian-made aluminum body can take a beating and keep on standing, further proving its travel readiness. And, to accommodate a wide range of shooting positions and framing adjustments, an aluminum ball head tops the Befree, which as a whole can be extended to over 56 inches.

The Befree travel-ready tripod can be found at Manfrotto for $233.

Images by Graham Hiemstra

With the history of art stretching back to the earliest stages of humanity, it can be difficult to enter unexplored frontiers. The following artists presented work at this year's Art Basel that, whether by means of innovation or refreshing clarity, delivered on the festival's promise of the world's best work. Mediums were mixed, thoughts were refined and never-before experiences were born.

A character study, equal parts outer-space and undersea, Wangechi Mutu's "Second Born" (2013) crafts scene and character blended from 24-carat gold, collagraph, relief, digital printing, collage and hand-coloring. The feminine figure at its center engages and entices, all the while owning her strange, other-worldly identity. Mutu's piece was seen at the Pace Prints booth.

Maxime Rossi dots the Hahnemühle paper backing "Père Lachiase" (2013) with bright pigments, linked together by drips and dribbles. The partnership between the organized musical notes and the droplet disarray allows this Galerie de Multiples piece to sing.

Donald Moffett's "Lot 042313 (second sacrifice)" (2013), shown by Anthony Meier Fine Arts, opens like a present. Incorporating acrylic paint, polyvinyl acetate with rayon and a steel zipper on linen and Duron, this "painting" holds its form across a wood stretcher. The angled striping of the piece's interior has carnival qualities and convey a "what's in that circus tent" emotion when contrasted with its monotone exterior.

Layers constructed via reverse painting on glass, ink and anodized aluminum backing coalesce to form David Renggli's "I Love You (Strub Colour D.W.O.)" (2013) featured at Galerie Peter Kilchmann. Bright swipes of color counter splattering and splotches and the overall experience mixes chaos with structure—begetting a calm freedom.

Perhaps the most challenging endeavor of any artist is landing innovative simplicity. Gottfried Honegger's two color silk-screen, "blanc-vert" (2012-203), accomplishes this with precision. The piece, at Atelier-Editions Fanal, gracefully joins two relatives of a half-circle shape. Modern, crisp and direct, the 96-year-old artist's piece quietly wows.

"Hotel Talabashi" (2013), Franz Ackermann's mixed media on paper and Alu-Dibond collage relishes in pure chaos—shown in detail above. A landscape at the core, photographs have been dressed up with cut-outs and scrawling lines, ultimately yielding a tennis-match-style viewing. Eyes weren't allowed to settle when taking in this piece at Meyer Riegger.

Photos by Alexandre Corda