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TTArtisan’s New 17mm f/4 Tilt-Shift Lens

Tilt-shift lenses are few and far between these days, especially for mirrorless systems, but TTArtisan’s latest release looks set to change that. The company has announced the TTArtisan Tilt-Shift 17mm f/4 ASPH., an ultra-wide manual lens that is arriving first for Sony E and Fujifilm GFX, with Canon RF, L-Mount, and Nikon Z versions on the way.

The lens offers ±8° of tilt and ±8mm of shift, giving you control over both depth of field and perspective, two of the main reasons tilt-shift lenses exist in the first place. Tilting the lens changes the plane of focus, which can be used to keep everything from foreground to background sharp in one shot, or to create that miniature “toy city” look when shooting wide open. Shifting, on the other hand, lets you move the lens parallel to the sensor, which is great for architecture shooters who want to keep vertical lines straight instead of distorted. The lens can also rotate 360°, with 15° click stops that make it easy to line up the tilt or shift in whatever direction you need.

Optically, the 17mm f/4 is built around 17 elements in 11 groups, including two aspherical elements, and it features a 10-bladed aperture for smooth bokeh. The lens has a 64mm image circle, which comfortably covers full-frame sensors and even the larger Fujifilm GFX medium-format sensor, giving GFX shooters a roughly 13.4mm full-frame equivalent field of view.

The lens body is all metal, with a clicked aperture ring, engraved markings, and a dedicated hood. It is manual focus only, of course, with both imperial and metric distance scales on the ridged focus ring. You can focus as close as 0.3 meters (0.98 feet) and unfortunately, because of its large front element, filters can’t be attached to the lens. Weight varies slightly depending on the mount, but sits around 1,050 grams (2.3 pounds).

Pricing for the TTArtisan Tilt-Shift 17mm f/4 ASPH is at $509. It is available for Sony E and Fujifilm GFX, with other mounts coming soon.

A few sample shots:

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Interview with Pedro Patricio

This week’s Interview with Pedro, a talented photographer from Lisbon. I am truly honoured to have had the opportunity to interview him again, this time with a closer look at his new work!

You can find him on Instagram as: @pedropatricio.photo

Enjoy the amazing Interview ;)

Can you tell us a bit about yourself?

I’m Pedro Patrício, born in a small town about 70 kilometers from Lisbon. I’ve lived in Lisbon since university, and honestly, it feels more like home than anywhere else ever has. I’ve always been drawn to the artistic, slightly chaotic world, books, music, film, photography. When I was younger, I was reading Rimbaud and Baudelaire and watching Godard and Tarkovsky while my friends were into football. Those influences shaped how I see things.

I spent most of my adult life working as a film producer, good money, a lot of responsibility, and constant stress. A few years ago, I realized I needed to slow down and do something that felt more honest. That is when I turned to photography full-time. Around the same time, I went through a divorce, which changed everything. My daughter (she is eight) is my best company now. She loves photography too. Sometimes she even joins me when I go out shooting.

How did you get into photography?

It started seriously during my university days. I studied Communication Sciences, and in my third year, I chose the specialization in Cinema, Video, and Photography. For two years, I lived between the darkroom and the editing suite. I always had top grades in Photography, it just came naturally. I was fascinated by William Klein’s chaos, Vivian Maier’s honesty, Peter Lindbergh’s humanity, and Nan Goldin’s raw intimacy.

But when I graduated, my father arranged an internship in a film production company, and life took me in that direction. My parents had sacrificed a lot to support me through university, so I couldn’t just turn down a paid opportunity. I became a producer and built a solid career, but the deeper I went, the further I drifted from my creative instincts. Eventually, I reached a point where I needed to reclaim that side of myself.

In 2021, I made the decision to stop producing films and start producing my own work, photographs. I shot every day. Six months later, I quit my job and never looked back. I also went back to school, finishing a professional photography course at IPF with distinction in 2023. I finally felt aligned with who I was meant to be.

How do you approach storytelling through your photos?

For me, storytelling starts with observing. When I pick a spot, a metro, a street, a ferry, I stay there for a while and just watch. I look for rhythm, movement, small interactions. People’s body language tells more than their faces sometimes. I shoot a lot. In a few hours, I might take a thousand shots. But the story really happens later, when I edit. I build little sequences, almost like short films made of still frames. One photo shows the moment, but a series gives it depth. Architecture also plays a part in that, the structure, the lines, the way it frames people. I like finding those patterns that tie humans and the city together.

How did you find your photography style?

It took time, a lot of trial and error. I shoot every day, and I edit every day. Slowly, you start to notice what feels like you. My style is a mix of classic and experimental. Some days I go for clean compositions and perfect timing other days I chase reflections, motion blur, distortion, things that make an image feel a bit off balance, more alive. I take inspiration from everywhere, films, paintings, books, music. I might be editing photos and think of a Tarkovsky scene or a Hopper painting. I also like getting close to people, especially when they look straight into the camera. It is risky sometimes, but I want that human connection.

What attracts you to street photography compared to other types?

Freedom. Absolute freedom. Street photography is one of the few creative spaces where it is just you and your intuition. No producers, no clients, no deadlines. Coming from the advertising world, where ten people give feedback before you can move on, this autonomy feels like breathing. It is also unpredictable, you can’t control the light, the people, or the timing. You have to adapt constantly, and I find that both humbling and energizing. I think the best kind of art is made under pressure, not from others, but from the world itself. Street photography gives you that. You can fail completely one day and create something beautiful the next. It’s like jazz, improvisation built on discipline.

How do you capture emotion in your photos?

By paying attention. I like to arrive somewhere and just stand still for a few minutes before shooting. Every place has its own rhythm. You start to notice how people move, how they look around, how light hits their faces. Emotion usually lives in the small things, a glance, a posture, a quick smile etc. I also use composition to make it stronger. Low angles can make people look powerful; high angles make them look fragile. Light and weather help too (fog, rain, harsh sun) they all set a tone. I try to use those elements instead of fighting them.

What gear do you use?

Gear is never the heart of photography, but I do like to feel comfortable with what I use. Right now, I work with a Nikon Z8, a Nikon Zf, and a Leica Q3. I also shoot film occasionally with a Nikon F3 and an Olympus 35 SP. My lenses are all from Nikon’s Z-series, 24–70mm f/2.8, 70–200mm f/2.8, 135mm f/1.8, 85mm f/1.8, 50mm f/1.8, and 20mm f/1.8.

How were your university days studying cinema and photography?

My university days truly transformed me. I majored in Communication Sciences and Culture with a focus on the arts. After the initial two years, I chose to specialize in Cinema, Video and Photography, where I consistently earned top grades in Photography. I particularly liked the hands-on experience of using film, handling everything from shooting to developing in the darkroom, it felt magical. In the realm of cinema and video, we formed shooting crews, developed scripts, and embraced various production roles. I frequently found myself in the role of Director of Photography, which really honed my eye for detail and composition. We learned to edit our footage using tools like Avid and Premiere. Our school had excellent equipment, which enriched our learning experience.

Do you prefer black and white or color photography, and why?

That is always a difficult choice. I love both for different reasons. Color allows me to explore emotion through temperature and tone. Black and white strips everything down to structure and gesture. On my website, you’ll see both and that is intentional. I believe life exists between those two worlds. I like viewers to experience them together. Color feels alive,black and white feels eternal. When mixed properly, they create rhythm and contrast, like music. Some of my black and white shots exist because I wanted to focus on shape, while others are in color because I wanted to highlight the light’s texture. In the end, the photo itself decides.

What does photography mean to you?

Happiness and freedom. It is what I love most at this stage in my life. Photography gave me back a sense of purpose after years in a demanding industry. It is a way to move through the world with awareness, to notice, to feel, to connect. It also gave me peace. I no longer chase external validation or financial targets. I go where the work takes me, and I trust that.

You’ve shown your work in exhibitions. How has that been, and what advice would you give?

Last year, I have had the opportunity to participate in two international group exhibitions. The first took place from late March to early April at the Street Soup Gallery in Milan, Italy. The second was in June at the Hellenic American Union in Athens, Greece, where I was part of an exhibition associated with a Moments Collective contest and received an award. I've been invited again to participate in another exhibition and contest, that will happen next December, this one focusing exclusively on monochrome photography (portrait and street photography), hosted again by The Street Soup in Milan, Italy. Exhibiting is special, it is different from sharing online. Seeing your work printed, framed, hanging in a space where people stop and look it is just so completely different. My advice to anyone is to apply to open calls, submit to contests, say yes to opportunities. Just make sure your prints are top quality and consistent.

Do you have a specific location or city that you think offers the best opportunities for street photography?

Yes, the most famous and iconic cities offers a lot more opportunities than the others in terms of visibility. People know them from cinema or TV Series, New York, Chicago, Los Angeles, London, Istanbul, Tokyo, Hong Kong (when in University I remember the impact of Chungking Express, a film by Wong Kar-Wai shot in Hong Kong, so modern at the time). The same with the first Blade Runner by Ridley Scott shot in Los Angeles. In Portugal, Lisbon and Oporto are good cities for street photography, but they can’t compete with New York in terms of visibility.

Do you think AI will replace photographers?

No, I don’t think AI is going to replace photographers. It is a powerful tool, but it is created by humans, so it is far from perfect. My experience using AI in tools like Lightroom Classic and Photoshop shows that while it can work perfectly and quickly at times, it can also completely fail in similar tasks on other occasions. AI is still evolving. The creative process, storytelling, and the ability to capture emotions are inherently human. AI serves as a great tool to assist in these processes, but it cannot replace the human touch that is central to photography.

Any advice for beginners?

First, make sure you love it. If you are in it only for recognition, you will burn out quickly. Try different genres until something truly connects. Start with a camera that feels right in your hands, a mirrorless around 24 megapixels with a 50mm lens is more than enough. Learn to see before learning to edit. Don’t rush into presets or trends. Study composition, light, and patience. And most importantly, shoot. Every day if you can. Experience will teach you more than any tutorial.

How important is social media for you as a photographer?

For me, social media is very important as it is where I showcase my work frequently, sometimes on a daily basis, and receive people’s feedback. Right from the start, the positive reception to my work was crucial for my confidence and motivation. It’s a valuable tool for exposure and feedback! But it is essential to go beyond just posting online. Building a photography career requires networking, continuous learning and resilience. 

Are you a professional photographer now, and can you live off it?

I studied to become one, and I am on that path. But right now, I am in a transition phase. Photography doesn’t pay all my bills yet and that is fine. I see it as an investment in myself. I worked hard for years in production; now I’m giving myself the time and space to grow as a photographer. This period is like a creative sabbatical. It’s about building a foundation, refining my craft, showing my work, connecting with the right people.

What do you love most about photography?

The sense of discovery. Photography forces you to look at the world with curiosity again. Every time I go out, I learn something new. The act of seeing, of waiting, of capturing something fleeting, it is endlessly rewarding. It is also freedom as I said many times before. There is nobody telling you what to do. You decide where to go, when to shoot, and what to say through your art.

How has your style evolved since you started?

Since I started, my photography style has really taken shape, especially after studying it formally. I've focused a lot on street photography, but I also do portraits and editorial work. Architecture photography has caught my interest too, but I've learned that if you want to make a career out of it, having a drone is almost essential. Each of these areas has helped me carve out my path and define my style more clearly.

Where do you see your career heading in the next five years?

That is a really good question, and I wish I had a straightforward answer. What I do see is a lot of work ahead, and that's my main focus, to work hard every day. It is about constantly thinking about photography, keeping my eyes open to everything around me. It is also important to travel and connect with other people, which I haven't done much of since I devoted myself to photography.

How important is expensive gear?

If you're serious about photography, I believe it is always better to invest in the best equipment you can, rather than settling for less. Compromising on gear can lead to regrets, it is something that stays on your mind. This applies to most things in life, really. It’s crucial that you feel good about the equipment you use. If you can't afford it this month but can stretch a bit to get it next month, then it is worth the wait. Higher quality equipment not only performs better but also holds its value and is easier to sell. I will say something that might sound silly to some, but it has always worked for me: you need to spend money to make more. Feeling confident and proficient with your gear helps elevate your self-esteem. 

How do you approach photographing strangers?

With respect, always. I don’t like hiding or sneaking around, I prefer to be visible, to be part of the scene. People can feel your energy, if they sense that you are genuine and not there to mock or intrude, they usually don’t mind. Sometimes I make eye contact and smile, and that little exchange changes everything. Other times I don’t interact at all, especially if I am trying to capture a certain mood or gesture. But I never take a picture that feels wrong.

Do you think printing your work is important and why?

The rest, 6 more questions, of this Interview are for Premium subscribers only.

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Caira The ‘AI-Native’ Micro Four Thirds Camera

Camera Intelligence, the company formerly known as Alice Camera, has announced Caira, an “AI-native” Micro Four Thirds mirrorless camera that connects directly to an iPhone via MagSafe. The company is calling it the world’s first interchangeable-lens mirrorless camera with Google’s generative AI model built right in.

The model in question, Google’s Nano Banana (now officially called Gemini 2.5 Flash Image), allows Caira users to edit images in real time using natural language prompts, everything from colour grading and lighting tweaks to full-blown scene or style changes. Essentially, it is a mirrorless camera that can also function like a generative image editor, merging capture and post-production into a single process.

When the Alice Camera was first introduced in 2020, it promised something similar: a mirrorless camera that attached to your phone and used AI-assisted computational photography. The tech was impressive for its time, but funding delays and the rapid evolution of smartphone imaging meant that by the time it reached customers last year, the world (and AI) had moved on.

Now under its new name, Camera Intelligence, the company is betting everything on AI as the next frontier in photography. “With Caira, we’re not just launching a new camera we’re introducing a creative partner,” says CEO Vishal Kumar. He argues that creators, especially solo shooters and small businesses, need tools that simplify their workflow rather than adding another layer of software between shooting and sharing.

Caira still follows the same basic concept as Alice, it pairs a Micro Four Thirds sensor with a fully interchangeable lens mount, and uses a connected smartphone as the primary interface. But the new twist is that it is built from the ground up for generative editing. You can use voice or text prompts through the companion app to instantly alter images (swapping skies, changing colours, modifying lighting etc.).

Whether that sounds like a creative breakthrough or a step too far depends on your view of AI’s role in photography. Camera Intelligence says it is aware of the ethical concerns that come with this kind of technology. The company insists that Caira follows an “ethics-first approach” meaning it will block edits that change a person’s ethnicity, skin tone, or defining facial features and will adhere to Google’s own AI content guidelines. “We want to empower creativity, not distort identity,” says Kumar.

Still, not everyone is thrilled. Some photographers worry that this kind of generative editing erases the whole point of photography, capturing what is real. One commenter summed it up bluntly: “A whole generation of people are going to end up capturing decades of ‘memories’ that are all fake.” Others are raising more practical questions, like whether the AI features will come with hidden costs.

Google’s Nano Banana API, which Caira relies on, currently costs about $0.039 per image at 1024x1024 resolution, billed through Google Cloud. Higher resolution output or unlimited use requires a Google One AI Premium or Gemini Advanced subscription, which runs $19.99 per month. Camera Intelligence hasn’t clarified yet whether those costs are baked into Caira’s retail price or if ongoing fees will apply. It also remains to be seen if users will be able to switch to a different AI model in the future.

Caira will launch on Kickstarter on October 30, with early backers able to reserve one for a $50 deposit. The full retail price will be $995 when it ships in January 2026, though early supporters can get one for $795.

A few sample images (all captured by Caira):

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Photography Tip of the Week

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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: @andrewoptic

Let’s Analyse this Image: 

Composition & Framing

What works well:

• The framing is really strong, the bridge takes centre stage, but the surrounding buildings naturally frame it, which keeps everything neatly contained in the middle of the image. It is composed/framed in a way that just leads your eye straight to where it needs to go.

• The scale here is amazing. Including that small car at the bottom was a great move (meaning it was absolutely worth waiting for). Normally, a car could feel like a distraction or a second subject, but in this case, it actually enhances the shot. It points out just how massive the bridge is —> it gives you a clear sense of proportion that makes the bridge even more impressive/giant.

• The bridge lines pull your eye deep into the image, and that strong diagonal adds a lot of depth. It creates this subtle 3D effect, like the bridge is actually popping out of the photo.

What could be better:

• The bird in the dead centre of the frame is a bit unfortunate (in my onion). It doesn’t have a clear silhouette, so it almost looks like dirt on the lens/your screen you are viewing this photo on. I would personally edit it out not just because of that, but also again because it sits right in the middle and overlaps with the bridge, breaking that perfect flow + it ends up stealing a bit of attention. If it had been up in the sky (up in the left corner, or down in the sunny area), it might have added something.

• The bottom of the frame feels just a touch cropped. A bit more space under the car would give the photo more breathing room and help emphasise the empty street.

• The street sign on the right is unreadable, which would usually be a minus for location clarity, but in this case it is fine → we know exactly where we are just by looking at the bridge (so not really a negative in this particular case).

Light & Atmosphere

What works well:

• The light here is pretty great, the rich golden glow just floods the whole scene and turns the bridge into this glowing structure cutting through the haze. The empty street, the golden light, slight haze all point us to the fact that this was probably shot in the early morning (also the (probably) blinking yellow traffic light is hinting at that -> it is morning --> no traffic --> blinking yellow light).

• The golden tones aren’t just nice to look at, they fit perfectly with the subject, the “Golden’’ Gate bridge, which is kind of a fun little ‘‘Easter egg’’ if you think about it. It makes the title of the bridge come alive visually.

• The haze also adds a ton of atmosphere. It softens the edges and gives that cinematic depth.

What could be better:

• The light might be a bit too intense for some. It is beautiful, but the highlights where the sun hits the water and shines through the bridge do blow out slightly, losing a bit of texture there.

• The strong golden colour cast could have been balanced out just a little better, now it dominates the photo so much that you lose some natural colour separation in the midtones.

Emotion & Story

What works well:

• This photo has a very calm, cinematic mood. The empty street, the glowing light, and our single car driving toward the bridge all come together to create a ‘‘quiet morning story’’

• As touched on before, the car adds a sense of scale but also a bit of narrative. It feels like the early start of the day for a construction worker (it looks like it is a work truck)/the city is slowly waking up.

What could be better:

• The photo is more about atmosphere than story. It is visually beautiful yes, but there is not much human connection that you can feel through/see.

• The car adds movement/scale/(a bit of a story), but it is such a small detail that it doesn’t really anchor an emotional story. A pedestrian or cyclist, could have pushed the story further and help the viewer connect better (because there would have been an actual human (visible) in the shot).

Colour & Tone

What works well:

• The colour palette is pretty good, those deep golden hues fading into soft blues at the very top give the image a subtle but nice gradient.

• The reflection of the light on the water ties the whole image together, connecting the top and bottom halves of the frame pretty seamlessly.

What could be better:

• The warmth (/gold) is a little overpowering, cooling down the shadows a bit could have added some nice contrast and made the bridge’s steel structure come out more.

• The highlights could use a touch of recovery. They are lovely but just on the edge of losing definition in the brightest parts of the sky and water.

Balance

• The balance is strong overall, the heavy, bright up top is anchored nicely by the darker street and car below.

• The warm light spilling through the bridge gives it a perfect centre of gravity, it is where your eyes immediately go, and everything else supports that.

• The big bush on the left gets balanced out by the orientation of the bridge (the bigger, ‘‘heavier’’ part of the bridge being on the right side).

Photographer of the Week

Photographer of the week goes to: Peter Zurla

You can find him on Instagram as: @peterz911

A few photos of his:

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