In partnership with

TTArtisan’s 75mm f/2 AF Prime Now Available For L-Mount

TTArtisan just dropped an L-Mount version of its AF 75mm f/2 portrait lens, making it the brand’s first autofocus lens for L-Mount cameras. Up until now, this budget-friendly prime was only available for Sony E-mount and Nikon Z-mount, but now L-Mount shooters have another solid (and super affordable) option for portraits.

Even with its full-metal build, this thing is surprisingly lightweight—just 11.6 ounces (329 grams). It has a 32-degree angle of view and can focus as close as 2.5 feet (0.75 meters), which gives you plenty of room to get that nice subject-background separation. It also takes standard 62mm filters if you’re into adding a little creative touch.

Inside, you’ve got 10 elements in seven groups, including one extra-low dispersion element and four high-index elements to keep things sharp and minimize color fringing. Autofocus is powered by a lead screw stepping motor, which should make focusing fast, quiet, and accurate. TTArtisan says it fully supports eye, animal, and vehicle detection AF, so it should work seamlessly with modern autofocus systems.

The aperture ring has a nice clicked feel to it, and firmware updates are handled through a USB-C port. But here’s a cool twist: instead of putting the port on the lens itself, TTArtisan built it into the rear lens cap, keeping the design clean and uncluttered. That same minimalist approach means there are no external switches, so if you want to switch between autofocus and manual focus, you’ll have to do it in the camera menu.

L-Mount users already have a few 75mm primes to pick from, like the Meyer-Optik-Gorlitz Primoplan 75mm f/1.9 II ($999), the Leica APO-Summicron-SL 75mm f/2 ASPH. ($5,395), and the Kipon Iberit 75mm f/2.4 ($823). But at just $200, TTArtisan’s version is by far the most budget-friendly. And if history is any indication, it might even drop lower—E-mount and Z-mount versions have been spotted for as little as $170.

A couple sample images:

Image credits: TTArtisan

Get your Photos featured in this Magazine for Free

I am currently testing a new feature, where everyone can get a completely free chance to be featured in my magazine and get seen by thousands of fellow photography enthusiasts.

Advertisement (Absolutely make sure to check it out) ⬇️

The portfolio that's automatically up to date with your work.

• Authory saves you hours with a portfolio that's always up to date.

• Get backups of all your articles.

• Be ready to impress potential clients and employers, anytime.

Get your free portfolio today

Interview with Tokyo Candid

This week’s Interview with Toyko Candid, a very talented Photographer from Tokyo. I have been a fan of his for a long long time actually. I really enjoy his craft.

You can find him on Instagram as: @tokyocandid

Enjoy the amazing Interview ;)

Can you introduce yourself to our readers?

I’m Hal S., a Japanese office worker based in the Tokyo area, navigating the ups and downs of life in my mid-forties.

I was born and raised in Japan, but I also spent two and a half years living in New York City and San Francisco as a college student. That experience deeply influenced my perspective—not just in life, but also in how I see photography.

When I’m not behind the camera, I enjoy spending time with my family and watching pro wrestling. You might even see the occasional wrestling photo pop up in my feed—just another passion of mine.

How did your photography journey begin?

It all started with the film “Lost in Translation” by Sofia Coppola.

The movie beautifully captures a feeling of loneliness and disconnection within a foreign culture, even while appreciating its beauty. That really resonated with me because I’ve experienced something similar—being a Japanese person who has lived overseas.

I asked myself: Should I capture Japan’s famous landmarks? Should I present Japan as a local or as an outsider?

The answer was no to both. Instead, I wanted to capture Tokyo from a unique perspective—one that exists between Japanese and foreign viewpoints. My goal is to find and express moments that feel "lost in translation."

That concept has shaped my approach to photography ever since.

Do you prefer to shoot alone or with company?

I prefer to shoot alone. Most of my photos are taken after work, just before heading home. That time is like a reset button for me, a moment of solitude and creativity after a busy day.

Shooting with company sounds fun, but I worry that I wouldn’t be able to fully concentrate on my surroundings while talking to others.

When you go out to shoot, do you have specific shots in mind, or is it all freestyle?

80% freestyle. I love the serendipity of photography—the way all the elements (lighting, weather, shadows, people, timing) can unexpectedly come together to create a perfect moment.

These moments don’t happen often. Even though I take photos almost every day, I only experience that "perfect shot" feeling 2-3 times a year. It’s rare, but that’s what keeps me going.

It’s like buying a lottery ticket every day—hoping for that one incredible, unpredictable win.

Do you use presets, or do you edit from scratch every time? What software do you use?

I use Adobe Lightroom and a few custom-made presets.

Rather than starting from scratch, I usually pick a preset that fits the mood of the image, then fine-tune the color grading and adjustments until it feels just right.

What gear do you use?

Most of my work is shot on a Sony A7RV with Sigma Art series lenses.

I used to shoot with a Canon EOS R5, so I still use some Canon lenses with a Mount Converter MC-11. Some of my favourite lenses: Sigma Art 35mm f/1.2 DG DN – My current favourite for its perfect field of view and bokeh. Sigma Art 40mm f/1.4 (Canon version).

I have several lenses, and I rotate them daily—I love them all like different children.

How do you stay motivated when photography feels repetitive?

I actually don’t believe in staying 100% motivated, 24/7. Life is full of other responsibilities—work, family, daily stress. Some days, my focus isn’t on photography. Maybe I’m thinking about my salary, what to drink at the izakaya, or helping my kids with their exams.

And that’s okay. When I do have time to fully immerse myself in photography, I do. But I don’t force it. That balance is what keeps me going.

What are some of the biggest challenges facing photographers today, and how do you address them?

Hahaha, I’d say family cooperation!

Since the pandemic lockdowns ended, we can travel freely again. But every time I want to go shoot, I have to ask my wife:

“Can I go to Osaka this weekend?”

“How about Shinjuku tonight?”

“Shibuya okay?”

Her answer is always: “Sure, just let me know if you’ll be home for dinner.” She’s not into photography, but she respects my passion. And I love her for that.

Do you have any advice for photographers who are just starting their journey?

Trust your own feelings. Be honest with yourself. Even at a famous photo spot, I try to shoot from my own perspective, not just copy what others have done. I don’t want to duplicate someone else’s vision—I want to discover my own.

After you take a photo, ask yourself:
“Is this really the moment I wanted to capture today?”

If the answer is yes, then you’re on the right path.

Do you ever shoot film, or only digital?

Right now, I’m all digital, but I have deep respect for film. If I ever slow down from daily shooting, I’d love to experiment with medium format film photography.

What’s your dream location to shoot outside of Japan?

I’d love to return to New York City and see how my photography perspective has changed since I lived there as a student.

What’s a common mistake beginners make?

The rest, 3 more questions, of this Interview are for Premium subscribers only.

Subscribe to the Premium Version here

The New Asus Monitor For Creatives

Asus just launched the ProArt Display OLED PA32UCDM, a 31.5-inch 4K monitor that brings QD-OLED technology into the professional workspace. That means you get the deep blacks and fast pixel response of OLED, but with better brightness and burn-in resistance. It’s built for creatives—photographers, filmmakers, video editors, and colorists—who need top-tier color accuracy without sacrificing screen clarity or performance.

This monitor is a true 10-bit display with 99% DCI-P3 coverage, 100% sRGB, and 97% Adobe RGB, all with a delta E of less than one for near-perfect color reproduction. It peaks at 1,000 nits of brightness and is factory hardware-calibrated, so it’s ready for serious work right out of the box. What’s really impressive is that it pairs this level of colour precision with a 240Hz refresh rate, making it a solid option not just for colour work but also for game developers, 3D artists, and visual effects pros who need smooth, flicker-free motion.

HDR support is another highlight, with Dolby Vision, HDR-10, and Hybrid Log Gamma (HLG) all on board. Asus was one of the first to bring Dolby Vision to a monitor, which is a big deal for video editors mastering high-end footage. Connectivity is well thought out too, with an HDMI 2.1 port, two Thunderbolt 4 USB-C ports (which support 96W power delivery and daisy chaining), and a USB 3.2 Gen 2 hub with both Type A and Type C ports. The monitor works seamlessly with both PC and Mac setups, and the stand is fully adjustable with tilt, height, and pivot controls.

At the core of this display is QD-OLED, a technology developed by Samsung that enhances traditional OLED by using quantum dots to boost brightness and lifespan. Older OLED screens were known for incredible contrast but struggled with brightness and burn-in. QD-OLED fixes that, offering the best of both worlds—OLED’s rich colors and contrast with the punchy brightness of LCDs.

Asus dipped into QD-OLED tech back in 2023 with a gaming monitor, but this new ProArt model is built for professionals, ditching the flashy gamer aesthetics for a more refined, work-focused design. If you’re looking for a high-end display that blends exceptional colour accuracy, high brightness, and a super-fast refresh rate, the ProArt Display OLED PA32UCDM is available for (a pricey) $1,899.

Image credits: Asus

Photo Analysis

Welcome to the new part of the Magazine Issue where we take a closer look at a photo and analyse it so that you can learn and better your own photography from it ;)

Photo by: @fredrik.axling

Let’s Analyse this Image

Composition

What works well:

• That massive diagonal shadow slicing through the frame? Absolute gold. It doesn’t just divide the image—it makes the image.

• The woman is placed nicely in the lower third, which keeps the shot balanced while also adding to the sense of movement.

• The warm, earthy tones of the wall contrast beautifully with the deep shadows, making the whole shot feel rich and textured. (the texture of the wall is very nice (especially under the light))

What could be better:

• The upper left corner feels a little empty. It doesn’t ruin the shot, but compared to how strong the lower half is, it’s just kind of there.

• The woman is not perfectly in the middle of the light streak, she is very close to the right edge. If the photographer had snapped that shot like half a second earlier she would have been more to the left (basically exactly in the centre). This in my opinion would have turned this shot into a 10/10.

Lighting

What works well:

• The lighting here is perfect. That dramatic, high-contrast look makes the scene feel cinematic.

• The golden light isn’t just hitting the wall—it’s bouncing off it, warming up the whole frame. And the way it matches the woman’s dress? That’s some serious visual harmony.

What could be better:

• That harsh contrast is what makes the image pop, but if you wanted a slightly softer, more dreamy vibe, waiting for a different time of day (like golden hour) could have given a more gradual fade between light and shadow. (however you then also probably wouldn’t have gotten that amazing light space that the shadows create)

Framing

What works well:

• The shadow itself is the frame. It naturally pulls your eyes right to the woman, making her stand out despite the big, dramatic backdrop.

• The awning in the top right isn’t just a random detail—it subtly helps guide your eye back into the image. It’s like a little visual loop that keeps everything connected.

• The sidewalk and street crossing at the bottom help ground the shot. It’s a small thing, but without them, the scene might feel a little too abstract or disconnected from reality.

What could be better:

• The street sign on the left is a tiny distraction. It’s not bad, but it competes just a little with the main subject. (However it also gives a sense of location —> Stockholm (which is a good thing))

Storytelling

What works well:

• The contrast between light and shadow makes it feel like she’s walking out of the darkness and into something new. There’s a subtle metaphor there—stepping into the light, into a new phase, into the unknown.

• The warm tones and deep shadows give the photo a nostalgic, almost timeless quality. You could tell me this was taken today, or 30 years ago, and I’d believe either.

What could be better:

• If there was a second person just out of frame or some small sign of life in the shadows or the woman were on her phone, it could add another layer to the story—who is she walking toward? Where’s she coming from? Who is she talking with? However all of that is more or less not in the hands of the photographer.

Photography Tip of the Week

The weekly photography tip is only accessible to Premium Subscribers of The Magazine For Photographers.

Subscribe to the Premium Version here

Photographer of the Week

Photographer of the week goes to: Ylias Visuals

You can find him on Instagram as: @ylias_visuals

A few of his images:

Don’t forget to check out the advertisement up top ⬆️

Canon’s PowerShot V1 Releases Next Month

Canon has officially launched the PowerShot V1 worldwide, including in the U.S., and it’s set to hit shelves next month for $899.99—the same price as Sony’s ZV-1 Mark II. While we already knew the specs from CP+, we now have the final details.

Designed for creators looking for a step up from a smartphone without the hassle of interchangeable lenses, the PowerShot V1 features a new 22-megapixel Type 1.4 sensor. It’s slightly larger than Sony’s 20.1-megapixel Type 1 sensor and roughly the same area as a Micro Four Thirds sensor, just a bit wider and shorter due to its 3:2 aspect ratio. While not quite APS-C, it still delivers much better image quality than most smartphones.

The built-in 16-50mm equivalent lens (f/2.8-4.5) is close to Sony’s 18-50mm f/1.8-4 but trades a bit of brightness for Canon’s strong autofocus. Borrowing from the R6 Mark II, it offers fast subject tracking for people and animals, though no vehicle detection.

For video, the PowerShot V1 pulls features from Canon’s EOS R series, including C-Log 3 and “video shooting moods,” a first for a PowerShot. It shoots 4K at 60fps (with a 1.4x crop) and full-width 4K at 30fps. Unlike Sony’s ZV-1 II, which tops out at 4Kp30, Canon is betting that creators will prefer 60fps, even with a slight crop and slower lens.

A built-in cooling fan allows for extended recording, with no limits on 4Kp30 or Full HD—only battery and storage constraints.

Although video is the focus, it can also capture 22.3-megapixel RAW and JPEG stills at up to 30fps. It supports live streaming via USB and works as a webcam, connecting easily to Canon’s Camera Connect app via wired or wireless.

The Canon PowerShot V1 arrives in April for $899.99, directly competing with Sony’s ZV-1 Mark II.

Image credits: Canon

The Rest of this Issue is for Premium Subscribers

The Premium Version of this Magazine is now on a ‘‘Pay What you Want’’ model. Meaning you get to decide the price.