When it comes to the production, supply and sale of third-party optics that will fit a slew of different manufacturers’ mounts, lens specialist Tamron says it is number one for global sales – claiming as recently as last month that it holds as much as 60% market share.

No wonder, then, that Sony is eyeing up Tamron for a possible takeover bid – the intention and the approach, if not yet the actuality, currently being confirmed by both parties. As it is already in possession of a 15% stake in the company, the electronics giant’s plan is that it will make the lens specialist a wholly owned subsidiary.

Yes, Tamron currently lists 23 lenses directly compatible with the Sony mount at the time of writing. But it also produces plenty of other directly compatible lenses for Canon, Fujifilm and Nikon users.

If Sony were to acquire Tamron – which has currently set up its own committee to consider the bid – I can imagine Sony taking a similar approach to when it exclusively snapped up Konica Minolta’s imaging expertise in 2006.

Konica Minolta immediately exited the camera business, while Sony was able to quickly introduce its first ever Alpha-branded DSLR, based on existing Minolta tech.

So, my worry for the wider photographic community is that Tamron itself may cease to exist – with its lenses hereon marketed as Sony lenses, with the same mix of decent build quality, performance yet affordability that the optical specialist offers now.

If that scenario plays out, I can’t imagine Sony continuing to do what Tamron currently does in offering lenses to other, non-Sony users. Plus I also wonder how it will impact its current relationship with Nikon, for whom it makes several Nikkor-branded OEM lenses.

Factor in a camera market that is experiencing a slowdown this year anyway, according to official figures from CIPA Japan, and the prospect gets even more intriguing.

Cutting out other camera owners might lessen the value of Tamron as a standalone brand. But if it’s subsumed by Sony, then that becomes academic anyway.

At present it’s not a done deal, just one under serious consideration that Sony certainly has the industry clout to pull off. It all comes down to whether Tamron, which independently has its own ambitious growth targets despite the uncertain economic climate, gives the green light.

If the market for interchangeable lens cameras really is in decline, and the current slowdown persists, I feel Tamron may well be tempted to take Sony’s money and run. However bad that is for competitive pricing going forward – and potentially the wider photographic community.

Ultimately, there will be winners as well as losers if a deal is done.

But to end on a positive note, among the winners will not just be Sony’s existing user base, who may theoretically get a boosted and continuing supply of affordable optics, but also rival third-party lens manufacturers such as Sigma, Laowa, Viltrox and more, who will have one less competitor out there.

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Tamron's photography business weakened in the first half of 2026, as the 2nd Quarter FY2026 Consolidated Financial Results report shows. Sales fell 8.2% and operating profit dropped 29.3%.

But those numbers hide a significant shift in the direction of Tamron's lens business. Own-brand lens sales increased 4.2% to ¥17.1 billion (approx. $107.9 million / £80.3 million), while sales of OEM products (made by Tamron but carrying the badge of another brand, such as Nikon) fell 23.2% to ¥10.4 billion ($65.7 million / £48.9 million).

That makes Tamron's own lens business increasingly important – particularly as the company plans to launch 10 or more new own-brand models in FY2026 and accelerate its move into multiple camera mounts.

And all this is happening while Sony is proposing to acquire Tamron.

The split between own-brand and OEM

Tamron's Photographic Products division generated ¥27.53 billion ($173.9 million /£129.3 million) in sales in the first half, down from ¥29.98 billion ($189.3 million / £150.8 million) a year earlier.

But the decline isn't evenly distributed.

Own-brand revenue rose from ¥16.4 billion ($103.5 million /£77.1 million) to ¥17.1 billion ($108 million /£80.3 million). OEM revenue fell from ¥13.5 billion ($85.2 million /£63.4 million) to ¥10.4 billion ($65.7 million /£48.9 million).

The unit figures reveal that Tamron's own-brand shipments fell only 2.3%, while OEM shipments plunged 32%.

So the part of Tamron's photographic business that carries the Tamron name is holding up considerably better than the business it does for other companies.

That distinction matters because Tamron's strategy is built more and more around its own brand, accelerating its shift towards a multi-mount lens business.

Tamron is spreading across camera systems

Tamron's current strategy covers Sony E, Nikon Z, Canon RF and Fujifilm X.

Canon's mount, previously all but locked down to third parties, is particularly notable because Tamron has now introduced its third RF lens, the 17-70mm f/2.8 VC RXD.

This is more than simply adding individual lenses to a product catalog; Tamron is trying to make its own-brand business less dependent on any one camera manufacturer – and less dependent on OEM orders in general.

The mirrorless market is becoming more valuable

Tamron's figures also show the changing shape of the camera market: interchangeable-lens camera shipments fell 5% in the first half, but market value increased by 4%. Mirrorless units fell just 2%, while value increased by 6%. SLR units fell 27%, with value down 35%.

This creates an opportunity for Tamron to generate more revenue from higher-value lenses even if overall market volumes soften, something reflected in the own-brand numbers.

China is currently a complication, as Tamron says inventory adjustments caused a sharp decline there, while the US, Europe and India delivered growth and Japan remained strong.

Then there's the Sony question

Sony has proposed acquiring Tamron and making it a wholly-owned subsidiary.

Sony has also confirmed that Tamron is among the third-party lens makers with access to Sony mount basic specifications.

The proposal is so far just that – a proposal – but the timing adds an interesting layer to Tamron's latest results.

The company is putting more focus on its own-brand lenses and expanding beyond the E-mount at the same time that Sony is seeking to bring it fully into the fold.

Photography is no longer Tamron's main growth engine

There's another important part of the results that has little to do with cameras.

Tamron's Surveillance & FA business grew 29% in the first half, while Mobility & Healthcare grew by roughly 40%.

The company's longer-term strategy is to position photography as a highly profitable "cash cow" while investing more heavily in industrial markets including automotive, healthcare, sensing and AI-related applications.

In other words, Tamron is strengthening its own-brand lens business while positioning photography as the business that funds expansion into faster-growing industrial markets.

For photographers, the question is what those 10 or more new products will be – and how far Tamron takes its multi-mount strategy.

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Third-party lenses are a popular budget alternative – but the best third-party lenses are often those that the first-party brand trusts enough to share data with through licensing. Sony has now revealed a list of the third-party optic makers that have an E-Mount license, a major hint as to what third-party lenses will deliver the best performance – and there are a few surprises on the list.

The list of third-party optics that have a license for the Sony E-Mount comes amid the news that Sony has made an offer to buy popular lensmaker Tamron. Tamron had already confirmed the rumor, but Sony also recently broke its silence as to why the major tech brand wants to buy Tamron.

In a post from Sony Support Japan released in July 2026, Sony says that “E-Mount basic specifications have been disclosed” to the following brands:

• Carl Zeiss AG
• Cooke Optics Limited
• Cosina Corporation
• Fujifilm Holdings Corporation
• Kenko Tokina Corporation
• LK Samyang Co., LTD.
• Sigma Corporation
• Tamron Corporation
• Thales Las France SAS

A licensing agreement means that Sony is sharing some E-Mount data with those lens makers, though Sony says that doesn’t guarantee “the compatibility or quality of all functions.”

Sharing mount data tends to mean that the third-party optics meet a set of quality standards. Chief among these standards, brands sharing mount data tend to offer better autofocus performance than those without.

The list reveals a few key revelations over which companies have a license and share data with Sony for the E-Mount. Sony is a partial shareholder in Tamron, so the inclusion of Tamron on the list doesn’t come as a surprise. Sony also has a longstanding agreement with Carl Zeiss with several co-branded products, so Carl Zeiss is another expected name on the list.

Sigma has also said on several occasions during lens launches that E-Mount optics are built under a licensing agreement with Sony, so that name on the list doesn’t come as a surprise either.

Beyond those well-known partnerships, the list says that popular budget brands like Smayang, Tokina, and Cosina also have agreements in place.

The inclusion of Fujifilm – a company that’s known more for its first-party cameras and lenses than as a third-party optics maker – is an unexpected name to see on the list. However, Fujifilm’s cinema line does have a few special-order lenses that are compatible with E-Mount.

But another key takeaway is the names that aren’t on the list – chief among these, no China-based optic companies pop up on the list. Companies like Venus Optics (Laowa), Viltrox, TTArtisans, 7Artisans, Meike, Sirui, and Thypoch do not make an appearance on the list of licensed E-Mount lens makers.

Along with the official list of third-party lens license agreements, Sony has also commented about the potential purchase of lensmaker Tamron for the first time.

Speaking during a Q&A session at Sony’s latest investor meeting, Sony Chief Financial Officer Lin Tao said that Sony has proposed making Tamron a wholly owned subsidiary.

“Our thinking is that this proposal will create optimal value for both Tamron’s shareholders and our imaging business,” she said (translated by Google). “Our proposal is based on the hypothesis that it will enhance Tamron’s corporate value, leverage the strengths of both companies, and lead to the development of our imaging business.”

While both brands have now confirmed the potential buyout, Sony’s offer to purchase Tamron is still in the proposal stages.

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The third-party lens market is a highly competitive one with an increasing number of names in recent years. But long-standing optics maker Tamron says it now leads the third-party lens market with a share of approximately 60%.

The data comes from Tamron’s integrated report, an annual document that looks at the company’s achievements and future goals.

In the report, Tamron notes that it now holds a “leading market share of approximately 60%” for third-party interchangeable lenses.

That number, however, does include the lenses that Tamron manufactures for first-party brands. Lenses that carry the Tamron name make up 59% of the company’s numbers for 2025, with lenses produced for other brands sitting at 41%.

While the figure includes both Tamron-branded lenses and those that it manufactures but carry another name, the statistic is an unusual glimpse into the standings in the highly competitive third-party lens market.

Both Tamron and Sigma have long been a key part of the segment, but recent years have brought an increasing number of optics from lens makers based in China.

Part of Tamron’s success comes from doubling the number of lenses launched each year. As recently as 2023, Tamron was launching around 5 lenses a year, but Tamron has “more than 10 new products scheduled for 2026.”

The report also says that Tamron’s goal of “establishing a four-mount lineup, including Canon RF Mount” remains. Tamron’s first RF-mount lens arrived in 2024, and the company is now up to three RF-supported lenses – all for APS-C sensors.

Tamron attributes part of its success to what it calls “user-centric designs”.

“We set ourselves apart from manufacturers’ genuine products by combining a design philosophy focused on practicality with product planning that achieves both compactness and lightness alongside high performance,” the report says.

“We have gained support through user-centric designs, such as the standardization of filter diameters.”

Tamron is also attributing its growth to an approach to manufacturing that now stretches across three countries, including a new Vietnam plant opened last year.

With facilities now in Japan, China and Vietnam, Tamron says it has also been able to adjust the volume of each plant to help offset some higher tariff costs.

But Tamron’s growth comes as the company expects a “shrinking digital camera market.” The company’s plan includes retaining and growing its core lens business, but says lenses are also a stable “cash cow” in which to grow its other avenues – which also include surveillance lenses, lenses for car cameras and healthcare devices.

Tamron plans to continue growing its core photography business, but at a slower rate than other segments in order to create more stable revenue where interchangeable lenses make up two-thirds of the company’s profits rather than three-quarters.

The English language report was published on July 27, following a Japanese version published one month prior. The report comes amid the news that Sony has proposed buying all shares in Tamron.

Tamron has confirmed that an offer was made, but has not shared any decision or further insight on the matter. But the potential of Sony having full ownership makes the insight on Tamron’s 60% share in third-party optics – with 41% of that chunk being lenses manufactured for other companies – all the more interesting.

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Tamron has launched a firmware update for the Tamron 25-200mm f/2.8-5.6 Di III VXD G2 that’s quite frankly mind-boggling. Rather than the usual tame improvements and bug fixes, firmware Ver. 3 actually increases the E-mount lens’ magnification ratio. I’m not even sure how that’s possible – but it is!

The magnification ratio at focal lengths of 25-70mm has been increased to 1:2 or greater. This is sometimes referred to as "half macro", given that a 1:1 ratio is known as "true macro". True macro is when a lens is able to focus close enough to a subject that it can be replicated at life size on the sensor.

Not satisfied with that, however, focal lengths of 35-50mm on the Tamron lens enable you to get even closer – now delivering a 1:1.7 reproduction ratio. Again, quite how it's possible to improve a lens' magnification via firmware is a mystery to me, but I'm definitely all for it!

So, while half macro technically isn’t macro, it still enables you to get very close to your subject – and a whole lot of half macro lenses are nonetheless marketed as macro optics, as it's still very capable for close-up images.

The improvement makes Tamron's 25-200mm an even better updgrade on its 28-200mm f/2.8-5.6 Di III RXD G1 predecessor, which was limited to a 1:3.13 magnification ratio.

To upgrade the lens, you need to connect it to Tamron’s proprietary Tamron Lens Utility software, available for both Windows and macOS, via the lens’s onboard USB-C port. You can find a comprehensive rundown of how to do that via the Tamron support website.

Tamron is in the spotlight today, having confirmed a report that Sony has bid to buy the lens maker. This macro-firmware wizardry probably isn't the reason that Sony is interested in buying the company, but it's certainly exciting to think what firmware wonders might be added to Sony's first-party lenses…

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Yesterday, a bombshell report from Diamond Online claimed that Sony had proposed an offer to acquire all the shares in Tamron. And today, Tamron issued an official statement to confirm that it has received a “non-binding proposal” from the consumer tech giant to make the optical manufacturer a “wholly-owned subsidiary of the Sony Group”.

Tamron says that it has put together a “special committee” to weigh up its options, but that currently public disclosure on any matter is not required.

Sony and Tamron’s long-standing relationship

While the news has certainly come out of the blue, it’s not exactly surprising that Sony would express interest in acquiring Tamron. The global consumer electronics conglomerate has been Tamron’s largest shareholder for years, with a percentage that rose to 15.35% in December of last year.

But a couple of weeks ago, Digital Camera Life reported that Sony was facing competition from the second-largest shareholder, Effissimo Capital Management, which increased its stake to 17.38% in April.

Having a business partner like Sony is something of a safety net for Tamron, so Effissimo’s aggressive play isn’t necessarily a welcome one. And given the timing, it’s certainly possible that losing its majority stake was the catalyst for Sony’s proposal.

What could Sony’s proposal mean?

Tamron hasn’t revealed any details beyond confirming Sony’s proposal. However, according to the Diamond Online report, this could mean a ¥200 billion offer, which equates to roughly $1.2 billion / £916.4 million / AU$1.75 billion / CA$1.72 billion.

And there’s another angle to this. If Sony does indeed acquire Tamron, what happens to the various mounts for which the company makes optics – could we see a future where Tamron is exclusive to E-mount?

In my opinion, I don’t think Sony will scupper lens sales for Nikon Z, Canon RF and Fujifilm X by limiting mounts. After all, it wouldn’t be the largest global supplier of image sensors if it only supplied its own cameras.

Digital Camera World will be monitoring the Tamron and Sony situation carefully. The story continues…

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Sony has held a slice of shares in third-party lens maker Tamron for multiple years, but an investigation led by a Japanese business publication hints that the camera giant has explored acquiring all of the shares in Tamron.

According to interviews from the Japanese business publication Diamond, Sony has proposed an offer to acquire all of the shares in Tamron. The report suggests a 200 billion yen proposal, which would be about $1.2 billion / £916.4 million / AU$1.75 billion / CA$1.72 billion at current exchange rates.

Neither Sony nor Tamron has validated the investigative report, and the report only describes a proposal, not an accepted agreement. The Japanese report has sparked an onslaught of rumors and speculation about whether such an acquisition would happen and, if it did, what such a move would mean for Tamron's non-Sony lenses.

Sony already owns a significant portion of Tamron’s shares. But, last month, reports suggested that Singapore-based investment fund Effissimo had surpassed Sony in share percentage, moving from a 10.76 percent stake to 17.38 percent.

Tamron’s most recent official shareholder list was updated in December 2025 and shows Sony as the leading shareholder at 15.35 percent.

Digital Camera World has reached out to both Tamron and Sony for comment.

Historically, Sony’s partial share ownership has been a positive for Sony photographers. Tamron lenses tend to launch to E-Mount first, though the brand hinted earlier this year that more new lenses may take a multi-mount approach at launch, rather than delaying the launch for additional mounts.

The rumors, however, have sparked another key discussion: What would happen to Tamron’s other mount options if Sony owned Tamron? Tamron’s financial reports don’t break down how much of the business’s sales are to other brands, but the multi-mount approach feels key to Tamron’s identity as a third-party lens brand.

The E-Mount by far makes up a majority of Tamron’s lens options. Tamron’s website currently lists 23 E-Mount lenses, 13 Nikon Z lenses, four Canon RF lenses, and four Fujifilm X-Mount lenses.

According to Tamron’s 2025 investor report, Tamron aims to increase the number of lenses launched each year from six to ten.

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Often referred to as ‘trinity’ lenses, wide-angle, standard and telephoto zooms with a constant f/2.8 aperture throughout the range typically include 14-24mm, 24-70mm and 70-200mm focal lengths respectively. They’re relatively ‘fast’ in terms of aperture rating, compared with f/4 zooms and those with a narrower and variable aperture rating that shrinks as you extend through the zoom range.

There’s a catch, however, in that trinity zooms tend to be big, heavy and expensive to buy. But that’s no longer the whole story. So-called ‘alternative trinity’ lenses have become popular, which generally have a slightly different zoom range but retain an f/2.8 constant aperture. Tamron was an earlier pioneer of these trend-setting lenses, including the Tamron 17-28mm f/2.8 Di III RXD wide-angle zoom, Tamron 28-75mm f/2.8 Di III RXD G2 standard zoom and Tamron 70-180mm f/2.8 Di III VC VXD G2 telephoto zoom, the last couple now being in their G2 (Generation 2) editions.

And there’s more! Although they don’t have a constant f/2.8 aperture, Tamron set about creating lenses with a more generous 35-150mm zoom range. These are ideal for wedding and event photography, as well as for general shooting. First up was the Tamron 35-150mm f/2.8-4 Di VC OSD for Canon and Nikon DSLRs, followed by the properly fast but still variable-aperture Tamron 35-150mm f/2-2.8 Di III VXD, available for Nikon and Sony mirrorless cameras.

The newer Tamron 35-100mm f/2.8 Di III VXD that I’m reviewing here comes in the same Nikon Z and Sony E mount options as the 35-150mm f/2-2.8 lens. It doesn’t stretch so far into telephoto territory, but builds a constant-aperture design into a much more compact, lightweight and affordable package, aiming to be one of the best wedding and event photography lenses. It’s potentially also one of the best alternative trinity zooms for people who prefer extra telephoto reach to greater wide-angle coverage.

Tamron 35-100mm f/2.8 Di III VXD: Specifications

Tamron 35-100mm f/2.8 Di III VXD: Price

What price a trinity standard zoom lens? The latest own-brand examples from the likes of Canon, Nikon and Sony cost around $2,500, so they certainly don’t come cheap. Now in its second generation, the Tamron 28-75mm f/2.8 Di III RXD G2 was something of a game-changer for Sony mirrorless cameras, the G2 also being available in Nikon Z mount. It has a slightly different zoom range but is much more lightweight and affordable, at around $849 / £649 / AU$1,599. Indeed, Nikon liked the original version of the lens so much that it remade it and badged it as its own, the Nikon Z 28-75mm f/2.8 costing around $1,049 / £889 / AU$1,599. By the way, I prefer the Tamon G2 lens out of the two.

Naturally, the Tamron 35-100mm shifts the zoom range compared with all of the above, but retains a similar pricing to its sibling 28-75mm lens, at $899 / £799 / AU$1,499. That’s not much more than half the price of the bigger and heavier Tamron 35-150mm f/2-2.8 Di III VXD, which sells for around $1,699 / £1,499 / AU$2,799 (look out for generous discounts in Australia). Whichever way you look at it, the new 35-100mm looks like it could be a proper bargain, if its performance is up to scratch.

Tamron 35-100mm f/2.8 Di III VXD: Design & Handling

I’ve done a fair bit of wedding photography and covered events from corporate gatherings to equestrian shows and competitions. One thing they all bring to the party, so to speak, is the risk of missing important, unrepeatable shots because you happen to be swapping between different lenses on your camera when a crucial moment pops up. The more I think about it, this is actually a potential problem that applies to many shooting scenarios and different types of photography. My usual solution is to use two camera bodies with a different type of lens on each, but that’s an expensive and cumbersome way of doing things.

The biggest attraction of this Tamron lens, as far as I’m concerned, is its combination of 35-100mm zoom range with a relatively fast and constant f/2.8 aperture rating. The zoom range works really well for weddings and events, from scene-setting and group shots to individual portraits. Some might feel that the wide-angle coverage at 35mm is a bit limiting for group shots but I wouldn’t go any wider, otherwise people towards the edges of the image frame are in danger of getting their heads stretched.

The Tamron has a fully internal focusing mechanism, but it does physical stretch in length as you sweep from the shortest to the longest focal length. Frankly, I’d expect nothing less in a lens with a 35-100mm zoom range. In fact, I’m surprised that the physical extension is as small as is it, equating to about three-quarters of an inch. You can see how that looks in practice by checking out the images above and below.

The advantage of shooting a lengthy wedding or other event with a single camera body and lens (for at least most of it) is somewhat negated if the lens in question is big and heavy. The Tamron 35-150mm f/2-2.8 Di III VXD that I mentioned earlier isn’t massive but it’s quite weighty at 1,165g or about 41oz, and can feel a bit of a lump after a couple of hours of shooting. The 35-100mm that I’m reviewing here is a relative lightweight, at just under half the weight of its sibling, tipping the scales at 1,165g / 20oz.

Diving deeper into the autofocus system, it’s of Tamron’s VXD variety, powered by Voice-Coil Extreme-Torque Drive. As such, it’s very rapid yet virtually silent in operation. There’s a big range on offer as well, as the focusing distance comes down from infinity to just 0.22m (8.7 inches) at the wide-angle end of the zoom range, and 0.65m (25.6 inches) at the telephoto end. This gives you a maximum magnification ratio of 0.3x (wide) and 0.17x (tele), so the lens is capable of pretty extreme close-ups.

The lens is based on 15 optical elements arranged in 13 groups, including three glass molded aspherical elements, two LD (Low Dispersion) elements and one XLD (eXtreme LD) element, aiming for optimum resolution and clarity with minimal aberrations. Tamron’s proprietary BBAR G2 (Broad Band Anti-Reflection) and nano-structure eBAND (Extended Bandwidth and Angular Dependency) coatings are added to minimize ghosting and flare.

There’s no dedicated aperture control ring but the lens does feature a customizable function button and 3-way custom settings switch. I tend to use the function button for AF-hold but plenty of other options are generally available from the host camera’s menu system. Using the Tamron Lens Utility and optional Tamron-Link Bluetooth adapter (see below) you can assign aperture control to the lens’s focus ring, as well as setting up focus points for automatically transitioning between them.

Various custom settings are available thanks to compatibility with the Tamron Lens Utility, which you can download onto your computer and then connect the lens using a USB-C cable. Alternatively, you can buy the tiny Tamron-Link Bluetooth adapter for around $50 / £59 / AU$80, which plugs into the lens’s USB-C port and enables wireless connectivity with a smartphone app, giving the option of custom settings and remote control of the lens.

The lens comes complete with a petal-shaped, reversible hood that has the usual bayonet-fit arrangement. You also get front and rear lens caps, the front one having a pinch-style mechanism that can be operated even with the hood is attached in its forward-facing orientation.

There are multiple weather-seals incorporated in the design, including a rubber gasket on the metal mounting plate. Overall, build quality feels solid and robust, despite the lightweight construction of the lens.

Tamron 35-100mm f/2.8 Di III VXD: Performance

Performance of the autofocus system in the Tamron 35-100mm f/2.8 Di III VXD lives up to its billing, with very fast and virtually silent operation of the Voice-Coil Extreme-Torque Drive system. I also found that autofocus was consistently accurate during my tests, and well able to keep up with moving subjects in conjunction with face/eye-detection AF modes.

The 35-100mm zoom range is very useful in practice, and the lens maintains excellent sharpness and clarity throughout. There’s no optical image stabilization, or ‘Vibration Compensation’ as Tamron calls it. That’s not really an issue with Nikon and Sony full-frame mirrorless cameras, which all feature IBIS (In-Body Image Stabilization) apart from the original first-generation Sony Alpha 7 series cameras. However, the omission of VC is a disappointment if you want to use the lens on an APS-C format Nikon or Sony camera, which mostly lack IBIS. It’s still a tempting option, as the lens has an ‘effective’ zoom range of 52.5-150mm on an APS-C body, neatly covering standard to medium telephoto focal lengths. The shots above and below show both extremities of the zoom range on a full-frame camera.

Naturally, image quality is never just about sharpness. The opposite comes into play, especially with relatively ‘fast’ lenses that can deliver a tight depth of field for isolating subjects against a blurred background. I’ve always thought that fast Tamron lenses tend to deliver very pleasant bokeh, and this one reinforces my opinion. The lens can’t compete with really fast primes with aperture ratings of f/1.2 to f/1.8, but it’s still capable of a pretty tight depth of field at f/2.8, especially towards the long end of the zoom range and when shooting close-ups.

Another performance bonus as far as I’m concerned is that the compact, lightweight build for an f/2.8 zoom adds versatility in practical terms. It puts travel, street and walkabout photography on the agenda, where the fast autofocus system enables you to react quickly to spontaneous moments.

The application of Tamron’s BBAR G2 and nano-structure eBAND optical coatings enhance the inherent design of the lens in terms of minimizing ghosting and flare. The example shot below was taken ‘against the light’ on a sun-soaked beach, just to prove the point.

Distortions and color fringing are technically present but of a low order and well within the remit of automatic in-camera corrections. Unlike many modern lenses designed for mirrorless cameras, especially those that aim to be compact and lightweight, the Tamron doesn’t rely on automatic correction for distortion being ‘forced on’ and you can disable it in camera settings if you wish.

Tamron 35-100mm f/2.8 Di III VXD: Sample Images

The example shots in the following gallery were taken at the English seaside (or at least Severn Estuary) town of Weston-Super-Mare in the county of Somerset. Some of the photos are in pairs, taken of the same scene from the same vantage point at the shortest and longest zoom setting, and there’s also a triplet that includes an interim focal length, to give an idea of the overall zoom range. I also used a variety of medium and wide aperture settings, the latter to show the lens’s ability to deliver a fairly tight depth of field.

Tamron 35-100mm f/2.8 Di III VXD: Lab Results

We run a range of lab tests under controlled conditions, using the Imatest Master testing suite. Photos of test charts are taken across the range of apertures and zooms (where available), then analyzed for sharpness, distortion and chromatic aberrations.

We use Imatest SFR (spatial frequency response) charts and analysis software to plot lens resolution at the center of the image frame, corners and mid-point distances, across the range of aperture settings and, with zoom lenses, at four different focal lengths. The tests also measure distortion and color fringing (chromatic aberration).

Sharpness:

Sharpness in the central region of the image frame is exemplary throughout most of the zoom range, even when shooting wide-open at f/2.8. Towards the long end, it pays to stop down to apertures of between f/4 and f/8 for premium sharpness, which also maximizes sharpness towards the edges and corners of the frame. Overall though, sharpness is very impressive.

Fringing:

Color fringing is very minimal across the entire image frame, at all apertures and focal lengths. You’d be hard pressed to see any lateral chromatic aberration even at the extreme edges and corners of the frame, with automatic in-camera correction disabled.

Distortion:

There’s a little barrel distortion at the most wide-angle zoom setting of 35mm, whereas pincushion distortion can be quite noticeable in the 50-100mm sector of the zoom range. Even so, the Tamron relies less on automatic in-camera correction for distortions than many modern lenses designed for mirrorless cameras.

Tamron 35-100mm f/2.8 Di III VXD: Verdict

I’m often a big fan of an ultra-wide-angle perspective, which is off-limits with this lens. But the sacrifice is one that’s well worth making if I can get a 35-100mm zoom range from a single lens, complete with a constant f/2.8 aperture rating. For weddings and event photography, it could well be the only lens you really need, especially as it can take pretty extreme close-ups as well (I’m thinking wedding rings and the like).

What’s more remarkable is that the desirable zoom range and fairly fast aperture are shoehorned into such a compact, lightweight and easily manageable build, complete with weather-seals. I found that I can shoot for hours on end without the Tamron literally becoming a pain in the neck. It also works a treat for street, travel and walkabout photography, the long end of the zoom range covering more distance than a typical standard lens.

Although small and light, there’s no skimping on performance. The lens has excellent sharpness and clarity and very good control over distortion, color fringing, ghosting and flare. The VXD autofocus system is another big plus point, being really rapid and virtually silent in operation. Okay, so the Tamron doesn’t have a dedicated aperture control ring or optical stabilization, but it does have a customizable function button and 3-way custom settings switch. And most Sony and all Nikon full-frame mirrorless cameras have IBIS anyway. All in all, the Tamron 35-100mm is a fabulous lens at a bargain price, and gets top marks from me.

Alternatives

With camera manufacturers now focused on mirrorless systems, it would be easy to assume DSLR lenses have faded into history. Japan's latest sales figures suggest otherwise. According to Japanese retailer Kitamura, a 11-year-old Canon DSLR lens climbed to No.2 in its best-selling lens chart for June 2026 – outperforming almost every modern mirrorless lens on the list.

The lens in question is the Canon EF 50mm f/1.8 STM. The only optic ahead of it is the Sigma 18-50mm f/2.8 DC DN Contemporary for Canon RF mount – the company's first RF lens. The zoom is also available for Sony E, L-mount and Fujifilm X-mount.

Kitamura's June Top 10 reflects today's mixed lens market, with two lenses each from Sigma, Canon, Sony and Nikon, while Tamron and Fujifilm each claim one spot. Yet among all those zooms, there's just a single prime lens in the ranking – and it's the budget-friendly DSLR fifty first released more than a decade ago.

Kitamura's 10 best-selling lenses, June 2026

1. Sigma 18-50mm f/2.8 DC DN | C (RF-mount)
2. Canon EF 50mm f/1.8 STM
3. Sigma 28-70mm f/2.8 DG DN | C ( E-mount)
4. Canon RF 100-400mm f/5.6-8 IS USM
5. Nikon Z 24-120mm f/4 S
6. Sony E 70-350mm f/4.5-6.3 G OSS
7. Fujifilm XF 16-55mm f/2.8 R LM WR II
8. Tamron 25-200mm f/2.8-5.6 Di III VXD G2 (E-mount)
9. Nikon Z 180-600mm f/5.6-6.3 VR
10. Sony FE 24-70mm f/2.8 GM II

Why the Canon EF 50mm f/1.8 STM is so popular

Launched in 2015, Canon's EF f/1.8 STM is still available for $169 / £129, making it one of the most affordable first-party prime lenses on the market.

In our review, we described the classic nifty fifty as an "affordable marvel that any Canon photographer should own."

Our reviewer, Matthew Richards, praised its combination of sharp optics, smooth bokeh, fast and reliable AF (autofocus) and exceptional value for many, arguing that it outperforms Canon's EF 50mm f/1.4 USM in almost every meaningful area apart from its wider maximum aperture.

Its lightweight 160g (5.6 oz) design only adds to its appeal, making it an easy everyday lens for DSLR photographers.

Perhaps most impressively, our testing found that the budget-friendly prime delivered more accurate AF than the pricier EF 50mm f/1.4 USM, and produced sharper images across much of the f/1.8-2.8 aperture range.

It also offered better edge sharpness on APS-C cameras, along with lower levels of color fringing and distortion.

Taken together, those qualities help explain why a decade-old DSLR lens continues to attract buyers, even as the camera industry shifted almost entirely to mirrorless systems.

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Third-party lens brand Tamron isn’t afraid to stray from the usual focal length combinations in order to create something unusually versatile – and now some of the brand’s best lenses have dropped to the lowest-ever price.

Case in point? Tamron’s 35-150mm hits an unusually bright f/2-2.8 for an all-in-one zoom. The lens is not only unusually wide at f/2, but covers a rare wide-to-telephoto range. The E-Mount option has dropped down to its lowest price yet – but Tamron’s unusually versatile, unusually bright zooms have discounts across several mounts, including Sony, Nikon, Fujifilm, and, yes, even a Canon RF discount.

The 35-150 isn’t the only Tamron lens hitting a new low price. The Tamron 28-75mm f/2.8 Di III VXD G2 rewrote the rule book, shaving a few mms off the wide end and tacking it on the long end. The lens is more compact and lightweight than most first-party workhorse lenses, and the popular zoom has dropped back down to its lowest price yet for both Nikon Z Mount and Sony E-Mount options.

Sony E-Mount

Nikon Z-Mount

Fujifilm X-Mount

Canon RF-Mount

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Tamron's newest lens is an impressive 12-20mm f/2.8 that brings in a key design (and name) change. Read the Tamron 12-20mm f/2.8 review and learn where to pre-order.

The ultra-wide zoom doesn’t just cover wide perspectives – the category also tends to be “ultra” pricey, not to mention oversized. But the new Tamron 12-20mm f/2.8, available in full-frame E-Mount and Z-Mount, slides into the category with not just a competitive third-party price but a lightweight design.

Beyond offering a tantalizingly more affordable ultra-wide zoom, Tamron's lens also marks a new era for the brand. The Tamron 12-20mm f/2.8 is its full name, dropping the usual “Di III VXD G2” jumble of letters at the end. (Tamron tells me the designation for APS-C and stabilization will remain, but this lens doesn’t fall in either category.)

The lens also features a new design that’s somehow full of sleek, clean lines yet packed with extra controls. I spent a week with the Tamron 12-20mm f/2.8 shooting the stars and landscapes – including getting photobombed by lightning bugs. This is how well the new optic holds up.

Tamron 12-20mm f/2.8 review: Specifications

Tamron 12-20mm f/2.8 review: Price

The Tamron 12-20mm f/2.8 retails for $1,699 / £1,449 / CA$2,299 for E-Mount and $1,799 / £1,529 / CA$2,399 for Nikon Z Mount.

While that’s still a four-figure price, it puts the lens at around half the cost of Sony’s 12-24mm f/2.8 GM and around $600-700 less than the Sony 12-24mm f/4 G and Nikon 14-24mm f/2.8 S in the US.

Tamron 12-20mm f/2.8 review: Design and Handling

The Tamron 12-20mm f/2.8 doesn’t look like a typical Tamron, as the lens marks the beginning of a new look for the popular third-party optics maker. The design is all clean lines and shiny black surface that, outside of the wealth of different controls, gives the lens a streamlined, minimalistic feel.

When I first picked up the lens, I was surprised at how light it is, as it looks like it should be heavier. That’s due in part to the new finish that looks almost metallic, though Tamron sticks with plastic for the lighter profile.

The lens weighs 20.2 oz / 570g for the E-Mount variant and slightly more for the Z mount.

In comparison, Sony’s 12-24mm f/2.8 GM reaches farther, but comes in at a heavier 1.86 lb / 847g – and the Tamron is only five grams heavier than Sony’s 12-24mm f/4 G. Nikon’s native ultra-wide zoom is 14mm at the widest and still slightly heavier at 1.4 lbs / 650g.

While the design of the lens feels more minimal, the lens barrel actually houses a ton of controls. The first ring out from the mount is a control ring, which controls aperture on the Sony E-Mount version and can swap between aperture and exposure compensation on the Nikon Z Mount.

The Z Mount option has a control lock that prevents an accidental bump from throwing off the exposure settings, and both variants have a switch to click or declick the aperture or control ring.

That bank of control switches also includes a customizable lens function button, a custom switch, an auto-to-manual focus switch, a manual focus lock and a zoom lock.

That focus lock was excellent for shooting astrophotography and keeping the stars in focus between frames – though the number of switches meant I had to turn on a flashlight to make sure I flipped the right one.

After that bank of controls is the zoom ring, followed by the focus ring. Both rings have a slightly different grip pattern to them in order to help differentiate by feel.

Like most ultra-wide zooms with a bright aperture, the front of the Tamron 12-20mm f/2.8 has a curved piece of glass that prevents using the standard front filters. Sheet filters can be cut to size to fit the back of the lens instead.

The lens has a built-in petal-shaped hood and a nice oversized lens cap that still fits over the hood and curved front. The lens also includes a self-gripping lens wrap for added protection.

That lens design is completed with one of my favorite features: weather-sealing. Tamron says the lens has multiple seals through the controls, rings and mount, as well as fluorine coating on the front to help repel buildup.

There’s a USB-C port to support firmware updates and the Tamron Link accessory, but that port has the same waterproofing as the iPhone’s charging port.

Tamron 12-20mm f/2.8 review: Performance

The genre that I was most excited to try with the Tamron 12-20mm f/2.8 was astrophotography. I’m always looking for a wide view and a bright aperture when photographing the stars, and the 11-20mm range is excellent for this type of shot.

Astrophotography, of course, requires manual focus. Getting the stars locked in sharp took some patience (and focus peaking) hindered by the swarm of mosquitoes that comes with astrophotography in the summer.

The focus lock was very helpful, and I managed to get several star shots that I was happy with – and even a few lightning bugs.

Switching to autofocus, the lens didn’t seem to have any issues locking on to the usual suspects in front of an ultra-wide lens and had a few misses across the landscapes and perspective play the lens is built for.

The focus range is also aided by a minimum focus distance of 7.1” / 0.18m at the widest zoom position. That’s certainly not macro territory, but it is enough to exaggerate the perspective distortion of a 12mm lens by getting in really close to the subject.

The mix of ultra-wide perspective, bright f/2.8 aperture, and close focusing capabilities captured an impressive gallery of images across astrophotography and landscapes.

At the center, subjects are sharp without being overly sharp. Towards the edges, the sharpness can soften a bit. For astrophotography, the stars on the edges appeared slightly more smudged than the stars at the center. The focus was also very sensitive at f/2.8, so getting the stars locked in was a challenge.

On the flip side, while ultra-wides aren’t known for bokeh, get close to the subject and shoot at f/2.8 and there’s a bit of background blur to be had here. Bokeh is round with smooth edges and no evidence of soap bubbling.

There’s a light vignetting in some shots, particularly at 12mm, but nothing too troublesome.

Direct the lens towards the sun, and the optic can catch a bit of sun flare and an occasional arc of light, but ghosting spots are well-controlled. Step the aperture down, and the sun becomes a 12-point starburst.

I didn’t spot any colored fringing or chromatic aberration over the course of my week with the lens.

While full lab testing is needed to see how the optic directly compares with its competitors, I was overall happy with the Tamron 12-20mm f/2.8 – I just wished for a little more edge sharpness in some shots.

Tamron 12-20mm f/2.8 review: Early Verdict

The Tamron 12-20mm f/2.8 doesn’t reach quite as far as many competing ultra-wide zooms, but the lightweight design and more affordable price are well worth the trade. The lens has plenty of controls and an understated design, but most importantly it comes in an easily transportable weight for the category.

The 12-20mm offers some versatility while still hitting the ultra-wide perspective. Images are acceptably sharp at the center and only slightly smudged towards the edges. Vignetting is minor and I didn’t spot any aberration.

I did wish for a tad more sharpness on the edges – and getting the stars perfectly in focus was a challenge. The Tamron 12-20mm f/2.8 has just launched, so our forthcoming lab tests will offer a better overall picture of how the image quality compares to competing optics.

My early experience with the lens, however, has been overwhelmingly positive.

Alternatives

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Tamron’s lenses come with so many suffixes that the names sound almost royal. So when Tamron told me about the new 12-20mm f/2.8, I had my fingers poised, waiting for the second half of the name. Except… that’s it.

Tamron’s new lens is named simply the “Tamron 12-20mm f/2.8” – it’s not followed by the usual jumble of “Di III VXD G2” at the end.

Photographers will be undoubtably excited over the Tamron 12-20mm f/2.8 lens’ lightweight design, which is nearly half the weight and half the cost of the farther-reaching Sony 12-24mm f/2.8.

The full-frame lens also comes in the Nikon Z mount, where it still comes in under the price, under the weight and slightly wider than the Nikon 14-24mm f/2.8 S.

Tamron tells me that lens abbreviations will still be used for VC (Vibration Compensation or stabilization) and the Di designation for APS-C lenses – but the Tamron 12-20mm f/2.8 is neither of those things.

Tamron’s new lens doesn’t just have a new naming convention, but launches a new look for the popular third-party lens maker as well.

The lens leans towards a more mechanical, robust design and focuses on more "tactile joy", leaning into the feel of the materials and plenty of physical controls in the era of smartphone photography.

Ultra-wide zooms tend to sit on the heavy side, but the Tamron 12-20mm f/2.8 slides in at a 20.2oz / 570g in E-Mount and just 5g more in the Z-Mount. I had no problems carrying the lens around, spending a week shooting landscapes and astrophotography with the new optic.

The 12mm focal length is an encompassing view that captures striking scenes, and the f/2.8 aperture lets in a lot of light – for the zoom category, anyway. I snapped shots with sharp centers and only a minor tendency to smudge towards the edges.

The ultra-wide can also create some fun perspective distortion, helped by the fact that the lens can focus as close as 7.1 inches / 0.18m. That focus system uses Tamron’s modern VDX (Voice-coil eXtreme-torque Drive), even though there’s no VXD listed in the name itself.

Shooting with the Tamron 12-20mm f/2.8 for a week, I think this is a lens that a lot of photographers will be excited about.

The lens is rather lightweight and affordable for the category. My biggest complaint was the difficulty of manually focusing such a wide perspective – and a very slight softening in the stars towards the corners.

Photographers won’t have to wait long for Tamron’s new ultra-wide. The Sony E-Mount variant is set to ship on July 30, with the Z-Mount to follow on August 27. The lens retails for $1,699 / £1,449 / CA$2,299 for the E-Mount and $1,799 / £1,529 / CA$2,399 for the Z-Mount.

For more insight, read my Tamron 12-20mm f/2.8 review.

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This photograph, Galaxy on the Rise, was captured in Tenerife, the Canary Islands, where the photographer spent nearly four hours searching for a hidden cave that proved remarkably difficult to find.

"I'm always drawn to locations that feel unique and relatively undiscovered, and this cave was a perfect example," says astrophotographer Anastasia Gulova, reflecting on the image that has now been selected for Capture the Atlas 2026 Milky Way Photographer of the Year collection.

The search became even more demanding due to intense heat and powerful winds, which pushed the photographer against the surrounding rocks. Almost abandoning the attempt, Gulova finally located the cave that would become the foreground for one of her most memorable Milky Way images.

How 'Galaxy on the Rise' was captured

Gear: Canon EOS RP Astro-modified (for sky), Canon EOS R5 (for foreground), Tamron 35mm f/1.4 SP Di USD, Canon EF 16-35mm f/4L IS USM

Accessories: Leofoto Ranger, Sky Watcher Sky Adventurer Pro 2i, VF foto white mist filter

Exposure: Sky: Pano 1 row x 6 panels x 4 frames at 60sec, 35mm, f/1.8, ISO 800; Foreground: Pano 1 row x 6 panels at 60sec, 16mm, f/4, ISO 100 (focus stacking + bracketing)

"The conditions made the process demanding," Gulova explains. "Intense heat combined with powerful winds made movement difficult, at times pushing me against sharp rocks.

"After nearly giving up and heading back, I finally came across the cave, a moment that made the entire search worthwhile.

"Capturing the image proved just as challenging. Composing and shooting the panoramic foreground required careful positioning, while properly illuminating the upper section of the cave was particularly difficult.

"To manage this, I used focus stacking across different planes, including the upper edge, the horizon and the lower foreground, all in near-total darkness, where the brief blue hour offered little assistance.

"With the Milky Way sitting low on the horizon, bringing out its color and detail required additional effort in both capture and processing.

"In the end, the result reflects not only the scene itself, but also the persistence and experience behind it, making it especially meaningful."

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Tamron has released the latest firmware for its 35-150mm f/2-2.8 Di III VXD Sony E-mount lens, one month after the rollout was initially set to happen.

The company had originally promised firmware version 6 for Sony shooters by mid-June, but cited autofocus tracking and connectivity bugs on certain Sony camera bodies, such as the A9 III and A7 V, for the delays.

Firmware version 6 for the 35-150mm f/2-2.8 Di III VXD brings support for Tamron Lens Utility version 5.0 for both computer and smartphone devices.

Tamron Lens Utility is the accompanying app enabling you to control your lens settings and functionality from an external device. With the app, it's possible to program custom physical buttons on your lens, set A-B focus points, and adjust aperture using your smartphone or computer.

Released in February of this year, version 5.0 of the app enables you to do this wirelessly, as long as you have the Tamron Link Bluetooth adapter connected to the lens, while previous versions required a wired USB connection.

Tamron Firmware Version Download

Firmware updates for Tamron lenses are carried out through the Tamron Lens Utility app, which you can download here.

It’s a good idea to hold off downloading the latest firmware for a few weeks. This should give enough time for any new issues to arise in community chatter, and for Tamron to address them. Keep an eye on Digital Camera World, and we'll let you know about any problems.

Note: you cannot downgrade a Tamron lens to a previous firmware

Nikon shooters need not worry about this firmware update. The Z-mount version of the 35-150mm f/2-2.8 Di III VXD was already compatible with Tamron Lens Utility version 5.0, having gained support with firmware version 3 earlier this year.

That’s it for this Tamron firmware update. Although it brings just the one change for Sony users, it’s a seemingly impactful one, enabling easier control of your 35-150mm f/2-2.8 Di III VXD lens, especially for videographers.

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Sony's new FE 100-400mm f/4.5 GM OSS has made an immediate impact, shooting straight to the top of Japan's best-selling lens rankings just weeks after launch.

According to sales data from retailer Yodobashi, Sony's latest telephoto lens (available for $4,298 / £4,399) claimed the No.1 position during the first half of June – an impressive debut for what Sony says is the world's first full-frame mirrorless zoom lens to offer a constant f/4.5 aperture.

Photographers were eager to get their hands on the new optic, which replaces Sony's long-running FE 100-400mm f/4.5-5.6 GM OSS with a brighter aperture, faster AF (autofocus), and an internal zoom design. While Sony celebrates, the question is: what happened to last month's No.1, the Nikon Z 70-200mm f/2.8 VR S II?

Yodobashi's Top 10 lenses (1st half June)

1. Sony FE 100-400mm f/4.5 GM OSS
2. Sony FE 24-70mm f/2.8 GM II
3. Sony FE 70-200mm f/2.8 GM OSS II
4. Hasselblad XCD 35-100E
5. Tamron 25-200mm f/2.8-5.6 Di III VXD G2 (E-mount)
6. Canon RF 100-400mm f/5.6-8 IS USM
7. Sony FE 50-150mm f/2 GM
8. Nikon Z 24-70mm f/2.8 S II
9. Canon RF 70-200mm f/2.8L IS USM Z White | Black
10. Nikon Z 24-120mm f/4 S

Success for Sony's top-tier lens lineup

Alongside the debut of the FE 100-400mm f/4.5 GM OSS at No.1, Sony demonstrated the strength of its premium G Master lineup by placing four lenses in Yodobashi's latest Top 10.

The Sony FE 24-70mm f/2.8 GM II claimed second place, followed by the Sony FE 70-200mm f/2.8 GM OSS II in third, while the Sony FE 50-150mm f/2 GM secured seventh.

No other manufacturer matched Sony's representation in the rankings, highlighting the continued demand for its high-end E-mount lenses among photographers in Japan.

Premium glass: the fastest zoom for medium format

The Hasselblad XCD 35-100E secured fourth place, continuing a strong run that has seen it regularly feature among Japan's best-selling lenses throughout 2026.

Designed for the Hasselblad X, the XCD 35-100E remains the fastest zoom lens currently available for a medium-format camera, with a maximum aperture of f/1.8 at the wide end.

This premium optic can effectively replace seven high-end prime lenses worth over US$20,000, making it one of the most versatile workhorse lenses in professional photography

Where did Nikon's champion zoom go?

Claiming the top spot after its release, the Nikon Z 70-200mm f/2.8 VR S II has dropped out og Yodobashi's Top 10 entirely.

The rapid fall shows how competitive Japan's lens market can be. Newly launched optics often win from a surge of pre-orders and early demand, getting them to the top of the sales charts before interest naturally levels off.

Whether Sony's new FE 100-400mm f/4.5 GM OSS can maintain its momentum remains to be seen.

Its groundbreaking constant f/4.5 aperture gives it a unique selling point, but future rankings will reveal whether its early success reflects sustained demand or typical post-launch excitement.

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Tamron is no stranger to producing lenses with unconventional focal ranges. There's the 35-150mm f/2-2.8 Di III VXD, 20-40mm f/2.8 Di III VXD, 17-70mm f/2.8 Di III-A VC RXD, and most recently, the 35-100mm f/2.8 Di III VXD. All are excellent lenses though, with their non-standard focal lengths bringing benefits like additional shot versatility and better overall portability.

Now it seems Tamron could be planning another unique lens, this time with a 50-130mm focal range. The tip-off comes from a recent release of a Tamron patent application, which mentions an extremely precise focal length of "51.5100-130.9425". 'F value' is quoted as 2.8840, so presumably the design would feature a constant f/2.8 maximum aperture.

Judging by the patent diagrams, the design features 17 lens elements, arranged in 7 groups. Three separate diagrams show the position of the elements with the lens set to its shortest, medium and longest focal lengths, and it's clear from these that focussing would be internal, unlike Tamron's 35-100mm lens where the barrel extends as you increase focal length.

As this is only a patent application, there is absolutely no guarantee Tamron will actually manufacture such a lens, let alone when we might get our hands on one. However, if it did choose to put a 50-130mm lens into production, the focal range could be very handy for applications like portraiture. At 50mm you'd have the option to shoot full-length images, or even small group shots. 130mm would be suitable for tight close-ups, and there's every option in between for other compositions. What's more, if the lens was to also have a reasonably high magnification factor, it could also double as a useful tool for macro photography.

Tamron has announced that it will collaborate with a youth mountaineering project in Japan to equip hikers with some of its top-tier lenses to take to summits and capture the adventures along the way. As an avid mountaineer myself, I think this is a solid move from Tamron and something all photography brands should at least consider.

According to the announcement, Tamron will lend some of its top-tier lenses to members of the Mountain Climbing Youth Support Project (TYSP), a mountaineering initiative for young people organized by Tokyo-based Yamakei Publishers, in a bid to help hikers capture the "emotions" of the mountains.

Included in the list of loaned models are high-magnification telephoto lenses such as the 28-200mm f/2.8-5.6 Di III VXD G2 and the 18-300mm f/3.5-6.3 Di III-A VC VXD for Sony E, Nikon Z, Canon RF, and Fujifilm X mounts. Tamron is also loaning large-aperture standard zooms, including the full-frame 35-150mm f/2-2.8 Di III VXD, although this model will only be available for Sony E-mount and Nikon Z-mount users.

For mountaineering photography, which I do a lot of, my pick of these lenses would be the 35-150mm f/2-2.8 Di III VXD. It would force me to get nice and close to my subject, which should hopefully create a more immersive feel in the final image. There's always a trade-off, though, and here it would be not being able to capture surrounding peaks in the distance as effectively.

Alongside supplying the gear, Tamron will host workshops to teach TYSP members how to use its lenses and get the most out of their camera systems. The sessions are set to take place during the fall and will also include tutorials on shooting techniques.

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When I think about third-party lenses, I think about optics that sit at a more affordable price range – but the latest trends list coming out of Japan suggests that third-party lenses aren’t only about snagging a bargain.

According to Minna Camera, an online “flea market” of sorts for selling new and used camera gear, the trendiest third-party lenses in Japan over the last seven months are almost exclusively zooms. But, some of the most popular third-party optics are those that cover a range that’s hard to find from the first-party brands – and many of the lenses aren’t budget picks either.

The top ten third-party lenses in Japan are a near even split between Sigma and Tamron, with Sigma at 54.7 percent and Tamron at 45.3 percent. While a Carl Zeiss lens made the top 20, only those two popular optics brands make up the top ten list, which includes:

• Sigma 28-70mm f/2.8 DG DN (Sony E)
• Tamron 17-70mm f/2.8 Di III-A VC RXD (Fujifilm X)
• Sigma 150-600mm f/5-6.3 DG OS HSM (Canon EF)
• Sigma 18-50mm f/2.8 DC DN (Fujifilm X)
• Sigma 24-70mm f/2.8 DG DN II (Sony E)
• Tamron 90mm f/2.8 Di III Macro VXD (Sony E)
• Tamron 18-300mm f/3.5-6.3 Di III-A VC VXD (Sony E)
• Tamron 150-500mm f/5-6.7 Di III VC VXD (Nikon Z)
• Tamron 50-300mm f/4.5-6.3 Di III VC VXD (Sony E)
• Sigma 24-70mm f/2.8 DG DN (Sony E)

While there are a number of standard focal length options on the list, including multiple 24-70mm f/2.8 workhorse lenses, several of the top lenses are options that don’t quite have an exact match in the brand native to the mount.

The Tamron 17-70mm f/2.8, for example, covers an equivalent of a 25.5 to 105mm, all-in-one lens that still maintains that bright f/2.8 throughout the range. That’s an unusual combination that doesn’t have an exact match from Fujifilm – and the crop sensor lens is also available in the Sony E, and now Canon RF and Nikon Z.

Similarly, Tamron’s 18-300mm and 50-300mm cover an all-in-one approach that makes the lenses more unusual.

Even the top lens, the Sigma 28-70mm f/2.8 DG DN doesn’t have an exact match, though Sony does offer the same focal length range in an even brighter f/2 lens.

The number of lenses on the list that don’t have an exact match from a first-party brand, combined with the number of lenses selling for more than ¥100,000 ($618 / £468 / AU$839 / CA$877), leaves Minna Camera drawing one key conclusion: Buying a third-party lens isn’t necessarily about getting a better price.

The other thing that surprised me about the list of top third-party lenses is that only one prime makes the list, a Tamron 90mm that has macro capabilities. While I’m not surprised that there are more zooms than primes, I would have expected at least one of Sigma’s popular Art series primes to be a trending option.

Another surprise? While I fully expected Sigma and Tamron to dominate the list, the growing number of third-party Chinese lens brands hasn’t become popular enough to break into the top 20, though expanding the list to 20 options does bring in a Carl Zeiss lens.

The top trending third-party lenses in Japan – and from an app that has both new and used lenses – may not match up exactly with the trends in other regions. But, the data offers an interesting insight into the popularity of some third-party lenses – and it seems it’s not just about price.

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Canon RF and Nikon Z crop sensor shooters are finally getting an affordable f/2.8 all-in-one zoom. The longstanding favorite Tamron 17-70mm f/2.8 Di III-A VC RXD will begin shipping for Canon RF Mount and Nikon Z Mount next week on July 02, bringing a best-selling third-party E-Mount and X-Mount lens to more crop sensor bodies.

The Tamron 17-70mm f/2.8 is a highly versatile lens that earned 4.5 stars in tests of the Sony E-Mount version, which launched in 2021.

The new mount updates of the 17-70mm is only the third Tamron lens launched for the Canon RF mount, but join a list of ten other Nikon Z mount optics from the popular third-party brand.

Moving the lens to Canon RF mount is notable, as Canon doesn’t offer its own native constant f/2.8 zoom made specifically for crop sensor cameras – though pricier full-frame f/2.8 zooms will also work on crop sensor bodies. The Tamron will join a highly limited number of third-party constant-aperture lenses for crop sensor RF bodies, including the Sigma 18-50mm f/2.8 and Sigma 10-18mm f/2.8.

Nikon Z mount shooters already have access to a native constant aperture zoom with the Nikon Z DX 16-50mm f/2.8 VR, but Tamron’s launch notably extends the long end of the zoom range by another 20mm.

The new Canon RF and Z Mount options keep what made the earlier E Mount and X Mount options a popular choice, including the constant aperture, stabilization, and weather-resistant construction.

The 17-70mm range is equivalent to a 25.5-105mm full frame range on the Nikon Z and 27.2-112mm on Canon RF. That allows the lens to capture both a wide angle and shorter telephoto without lens swaps. Adding to the versatility is a minimum focus distance of .19m / 7.5 inches for close-up capabilities.

Packing that wide zoom range and constant aperture into one lens creates an optic that is larger than most variable aperture kit lenses, putting the RF mount version at 117mm / 4.6 inches long and the Nikon Z at 121.3mm / 4.8 inches long. The lens weighs around 530g / 18.7 oz on Canon RF and 540g / 19 oz on Nikon Z.

As an existing lens arriving on more mounts, it’s fairly easy to predict the image quality coming from the new lens. Based on the E-Mount tests, photographers (and videographers) can expect pleasant images with soft bokeh and solid sharpness – though a few settings create softer edges, and the images look best with lens profile corrections applied.

The Tamron 17-70mm f/2.8 for Canon RF and Nikon Z begins shipping on July 02. Both mounts are expected to retail for $749 / £549.99 / CA$949 – which converts to about AU$1082.

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Some people might not be aware that Tamron's largest shareholder is Sony. Which, in a very roundabout way, kinda means that Sony makes lenses for rivals like Canon and Nikon. However, that could be about to change thanks to "a massive capital upheaval, perhaps the largest since the company's founding".

For years Sony has owned the biggest share in Tamron, enjoying a 15.35% slice of the company as of December. But according to a report by Digital Camera Life, the second-largest shareholder – activist hedge fund investor Effissimo Capital Management – could might have muscled its way to a majority interest.

As of December, Effissimo owned 10.76% of Tamron. However, as of April, the group has increased its ownership stake to 17.38%. So unless the electronics giant likewise bought a bigger stake in Tamron, Effissimo now owns 29,691,800 shares compared to Sony's 25,038,000.

Who is Effissimo Capital Management?

Effissimo is a Singapore-based hedge fund investment firm that has made a name for itself by strategically buying into Japanese manufacturers such as Nissan and Toshiba, the latter leading to a buyout that privatized the company.

Described by the Financial Times as "a secretive fund run by Japanese managers," Effissimo is "known for its high-profile campaigns against some of the biggest names in corporate Japan".

Often acting in the background, Star Magnolia Capital notes that "Effissimo quietly built large, economically decisive stakes in target companies and then pushed for change through behind-the-scenes engagement".

All of which suggests that its controlling interest in Tamron is not a benign investment but may signal an intention to modify the direction of the company.

What does Effissimo's move mean for Tamron (and Sony)?

So what does this all mean? Digital Camera Life has some interesting insights.

The outlet clarifies that Tamron may not necessarily welcome Effissimo's aggressive purchasing of shares, but may be using its presence "as a legitimate 'justification' for management reform" following the 2023 scandal that saw former president and CEO, Shiro Ajisaka, depart Tamron over misappropriation of company funds.

"Does Tamron want to be free from Sony? The answer is 'no.' Sony will continue to be Tamron's most important 'guardian angel' and 'biggest business partner.' There is virtually no reason for Tamron to want to separate from Sony.

Sony's firm hold of 15.35% of the shares acts as a safety valve (a white knight-like role) that prevents the company from being taken over by another company."

It posits that Tamron's recent announcement that it plans to launch more than 10 lenses per year "might be a positive response (or defense) to the pressure from these funds (demands to increase corporate value instead of letting cash sit idle)."

As such, it could actually be a positive move for all concerned – specifically in terms of accelerating the push into the Canon RF lens ecosystem.

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A US$4,599 medium-format lens isn't the kind of model you'd expect to see competing with mainstream full-frame best-sellers. Yet the Hasselblad XCD 35-100E has been doing exactly that in Japan, consistently ranking among the country's most popular lenses and now claiming the No.1 spot in Yodobashi's latest sales chart for the second half of May.

The world's fastest medium-format zoom is Hasselblad's second "trinity" lens for the X-System and is versatile enough to replace up to seven premium prime lenses worth over US$20,000.

That winning formula has helped it outperform some of photography's biggest pro workhorse lenses, including Sony's flagship Sony FE 70-200mm f/2.8 GM OSS II and Nikon's new Nikon Z 70-200mm f/2.8 VR S II.

Yodobashi's 10 best-selling lenses (2nd half May)

1. Hasselblad XCD 35-100E
2. Sony FE 70-200mm f/2.8 GM OSS II
3. Canon RF 100-400mm f/5.6-8 IS USM
4. Sony FE 24-70mm f/2.8 GM II
5. Tamron 25-200mm f/2.8-5.6 Di III VXD G2 (E-mount)
6. Nikon Z 70-200mm f/2.8 VR S II
7. Fujifilm XF 16-55mmf /2.8 R LM WR II
8. Sigma 28-70mm f/2.8 DG DN | Contemporary (E-mount)
9. Nikon Z 24-70mm f/2.8 S II
10. Canon RF 100-500mm f/4.5-7.1 L IS USM

Why is the XCD 35-100E so popular?

In real-world use, the XCD 35-100E can handle a wide range of genres.

From street photography and architecture to portrait, it replaces multiple prime lenses while maintaining the image quality expected from Hasselblad's high-resolution system.

That versatility is one of the reasons it has become such a strong seller in Japan.

The fastest (and best) zoom lens for medium format cameras

With the Hasselblad XCD 35-100E, the brand has delivered one of its most capable lenses to date.

And the competition is strong: Sony's 70-200mmm is a key lens in the company's pro lineup, while Nikon's latest Z 70-200mm successor arrived to huge acclaim after the original was described as "probably the best 70-200mm zoom in the world," in our review.

While the XCD 35-100E is not a constant f/2.8 throughout its entire range, its ability to reach f/2.8 at the wide end still makes it the fastest autofocus (AF) medium-format zoom currently available.

Combined with Hasselblad's latest AF system in the X2D II 100C, it delivers a level of responsiveness that brings medium-format shooting closer to the speed and flexibility traditionally associated with full-frame systems.

Lower demand for 70-200mm in Japan

The second half of May shows a modest shift in the ranking. Canon's RF 70-200mm f/2.8 L IS USM Z is absent from the top 10 this time, with the popular 70-200mm category represented by one fewer lens overall.

At the same time, the rankings continue to favour versatile zoom ranges. Standard 24-70mm lenses remain a staple, while extended-range options such as 24-105mm, 28-200mm, and 100-400mm optics continue to appear regularly across the top 10.

The next best-seller chart could see further changes following the arrival of Sony's FE 100-400mm f/4.5 GM OSS.

High-profile launches have historically performed strongly in Japan's rankings, with Nikon's Z 70-200mm f/2.8 VR S II, for example, quickly climbing to the No.1 spot after release before settling into the chart.

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Photographers across a variety of genres, from wildlife and portraiture to events and action, have long gravitated towards 70-200mm lenses.

In March 2026, the successor to what we described in our review as "probably the best 70-200mm zoom in the world" entered the market – and it has already begun making waves in Japan's latest sales rankings.

Yodobashi's latest best-seller charts for the second half of April 2025 place the Nikon Z 70-200mm f/2.8 VR S II in the top slot. The result highlights continued demand for high-end professional telephoto lenses, with Nikon's latest flagship outperforming competing optics.

The rankings span a broad field, covering zoom lenses from 24mm wide-angle options to 400mm super-telephoto designs. Despite this competition, Nikon's updated 70-200mm has secured the top position.

Yodobashi's 10 best-selling lenses (2nd half Apr)

1. Nikon Z 70-200mm f/2.8 VR S II
2. Hasselblad XCD 2.8-4/35-100E
3. Sony FE 24-70mm f/2.8 GM II
4. Tamron 25-200mm f/2.8-5.6 Di III VXD G2 (E-mount)
5. Sony FE 70-200mm f/2.8 GM OSS II
6. Canon RF 100-400mm f/5.6-8 IS USM
7. Canon RF 70-200mm f/2.8 L IS USM Z White | Black
8. Nikon Z 24-120mm f/4 S
9. Tamron 35-100mm f/2.8 Di III VXD (E-mount)
10. Canon RF 24-70mm f/2.8 L IS USM

Nikon's success story

In our review of the Nikon Z 70-200mm f/2.8 VR S II, we noted that it was "hard to believe Nikon could improve upon an already winning formula this much."

The lens is lighter than the original Nikon Z 70-200mm f/2.8, offers improved optical performance and introduces usability upgrades – including a removable tripod collar, closer focusing distance and enhanced control features for video users.

Combined with faster AF (autofocus) and improved handling, it refines what was already regarded as one of the best 70-200mm zoom lenses ever made.

The rest of the top 10 lenses

Unsurprisingly, three 70-200mm lenses appear in the top 10 best-seller list.

Alongside the Nikon Z 70-200mm f/2.8 VR S II in first place, Sony's FE 70-200mm f/2.8 GM OSS II sits in fifth, while Canon's RF 70-200mm f/2.8 L IS USM Z ranks seventh – all established workhorse optics commonly found in professional photographers' kitbags.

There is also strong representation from the 24-70mm f/2.8 category, with Sony's FE 24-70mm f/2.8 GM II in third place, Nikon's Z 24-70mm f/2.8 S II in eighth and Canon's RF 24-70mm f/2.8 L IS USM Z in tenth.

Once again, Yodobashi's sales rankings highlight a trend: flexibility continues to outweigh prime lens performance. Zoom lenses remain the preferred choice thanks to their versatility and all-around usability, offering photographers more creative range in a single investment.

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The biggest part of my day job is testing and reviewing lenses for Digital Camera World, and it’s been that way since the website began. Over the years, I’ve tested more lenses than I’ve had hot dinners, although I should admit that I major on salads. I usually get review samples of lenses on loan for about a month. It’s a bit of a heartbreak when some of them have to go back, I’m not too fussed about a few others, and there are some that I can’t wait to see the back of.

When it comes to cameras, I’ve tried pretty much all makes and models. I grew up with Nikon cameras and invested in Big N kit for my professional photography work, then switched to Canon cameras for a few years, and finally swapped back to Nikon when everything went mirrorless.

My current camera line-up includes a couple of Sony full-frame and APS-C format bodies but my go-to cameras are the Nikon Z6 III, Nikon Z7 II and Nikon Z fc. I’d really like to trade in the Z7 II for a Nikon Z8 but don’t want to be greedy.

Needless to say (I’ll say it anyway) I’ve built up a large collection of Nikon Z-mount prime and zoom lenses over the last few years. I’ve been highly impressed with the image quality and overall performance of pretty much every single Nikon Z-system lens that I’ve tested and reviewed. And I’ve tested pretty much all of them. However, my pockets aren’t deep enough for some of the more exotic glass, and Viltrox has become one of my favorite brands for high-quality prime lenses on a tight budget.

Part of my reasoning for buying cut-price Viltrox primes is that I find it hard to justify spending top-dollar on a lens that I’m only going to use occasionally. The same goes for buying one of the best 100-400mm lenses or best 150-600mm lenses. I like to dabble in motorsport and wildlife photography, but it’s definitely a hobby rather than part of something I do for a living. So what lens to buy?

I’ve spent hours trying to decide whether to buy the Nikon Z 100-400mm f/4.5-5.6 VR S or the Nikon Z 180-600mm f/5.6-6.3 VR. On paper, or whatever designers actually use for dreaming up new lenses these days, the Z 100-400mm is the better option. It’s one of Nikon’s premium S-line lenses with uncompromising build quality, performance and image excellence. It’s also relatively lightweight for its type, at 1,355g (excluding the removable tripod collar). The downsides are that the maximum telephoto reach of 400mm is relatively limited for really covering the distance, and it’s a definite heavyweight in terms of purchase price, at $2,947 / £2,499 / AU$4,399.

Enter the newer contender, in the relatively chunky shape of the Z 180-600mm. On a different sheet of paper, this looks the better option. Sure, it’s not an S-line lens but I’ve heard that some pro photographers swear by it. Compared with the Z 100-400mm, it has much longer maximum telephoto reach and, again, image quality and all-round performance are extremely satisfying. It’s also less expensive to buy at $2,197 / £1,799 / AU$2,999. However, it’s also significantly bigger and heavier, tipping the scales at 1,995g (again without the tripod collar). Given that motorsport and other events can last for hours on end and that I’m not keen on using a monopod as I find they restrict my movement to some extent, a lens of this weight can feel a bit of a strain.

Decisions, decisions. How often will I actually use either of these lenses? I’m almost thinking that I’d be better off hiring one for occasional weekends, as and when I need it. But then Tamron threw a curved ball at me in the relatively diminutive, lightweight and inexpensive form of the Tamron 150-500mm f/5-6.7 Di III VC VXD, which costs around $1,199 / £1,099 / AU$2,199. Shop around a bit and in some world regions (mine included) the Tamron is only about half the price of the less expensive of the two Nikon options. Sure, it only stretches to 500mm instead of 600mm at the long end of its zoom range but I’m generally hard-pressed to tell the difference in practical shooting scenarios.

In its favor, the Tamron lens weighs in at a manageable 1,720g and is conveniently compact for stowage at 93x210mm. In terms of design, handling and performance, it boasts a fast VXD (Voice-coil eXtreme Torque) autofocus system, Tamron’s proprietary and highly acclaimed 5-stop VC (Vibration Compensation), high-tech BBAR G2 coatings, specialist glass elements, weather-seals and a fluorine coating on the front element. It’s also available in Fujifilm X and Sony E mount options, as well as Nikon Z.

All things considered, I felt that the Tamron was the right lens for me in terms of quality, handling, and performance. Equally important in this day and age, it also comes at the right price for what I’ll use it for, and for how often I’ll use it. I’m sold. I’ve put my money where my mouth is and am now onto the important business of drumming my fingers on my desk, waiting for the courier to arrive.

Tamron has often launched E-Mount versions first, but the popular third-party lens brand may be moving towards bringing more mounts to market without the wait. At the CP+ show in Japan in February this year, Tamron hinted that the Sony E-mount would no longer be the third-party lens manufacturer's first mount to launch.

Speaking to DP Review at the trade show in Yokohama, Kei Nagai, section manager of Tamron's overseas sales department, said: "In the past, we often expanded to other systems after launching the Sony E-mount. However, with recent releases like the 16-30mm F/2.8 Di III VXD G2 and the upcoming 35-100mm F/2.8 Di III VXD, we are moving toward simultaneous multi-mount launches."

Nagai went on to explain that Tamron is shifting its focus to take an “essential holistic” view of the entire market to better determine which mounts to prioritize going forward.

Tamron has been a leading producer of more affordable, high-performing E-mount lenses than those crafted by Sony itself, and a major part of its previous Sony-first approach was Sony’s early adoption of mirrorless technology and subsequent rapid expansion of its mirrorless offerings.

However, other major camera brands, most notably, Canon and Nikon, have since closed the gap on Sony and now boast their own diverse mirrorless camera ranges.

Tamron has already started launching Nikon Z mounts at the same time as the E mount with the 16-30mm G2, although the Nikon variant shipped about a month later.

Canon in particular poses an interesting prospect for Tamron going forward as a mount that has been more hesitant to welcome third-party lenses, particularly for full-frame and autofocus.

In a different interview that also took place at this year’s CP+ show, albeit between Canon and French photography news outlet, Phototrend, Canon executives indicated that "collaboration with new third-party lens manufacturers will intensify in the future, but there may be some restrictions."

However, the Canon executive made no comment on the prospect of third-party autofocus lenses for full-frame Canon RF cameras which, currently, remains largely limited.

Another factor playing into Tamron’s decision to broaden its focus could be what it sees as threat from other third-party lens companies. Viltrox stands out as a prime example as the rapidly-growing Chinese company already has an array of budget-friendly lenses for Sony E-mount, Nikon Z-mount, and Fujifilm X-mount.

Tamron isn’t leaving Sony behind with this latest announcement; after all, the E-mount system has been the most lucrative for the off-brand lens producer. However, Tamron is definitely vying on a future with a more diversified mount selection at launch.

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I’ve been shooting with Fujifilm since before the X100 series made the brand a major trend – and much to my dismay, Fujifilm deals have become incredibly hard to come by lately. Case in point? Outside of a few Instax deals, I haven’t uncovered any Fujifilm deals in the Amazon Big Spring Sale. But, that makes these X-Mount lens deals that much harder to resist.

A number of X-Mount lenses have steep discounts right now – and the options range from tiny pancakes to bright f/2.8 zooms. Tamron’s 150-500mm super zoom is back down to its lowest ever price, while the company’s X-Mount f/2.8 zooms for 11-20mm and 17-70mm are also discounted. The tiny TTArtisan 27mm f/2.8 has similarly dropped to its lowest price yet.

As a Fujifilm photographer, these are the spring lens deals that are most worth adding to a camera bag. (And no, you don’t need an Amazon Prime membership either!)

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A Tamron patent highlighting an autofocus (AF) 75mm f/1.4 prime lens for full-frame cameras came to light not too long ago – and the compact design combined with the low competition for this focal length has me thinking that, if the lens comes to fruition, it could do rather well.

Patent 2026-016892 was published in February on the Japan Patent Office platform and reveals a full-frame 75mm f/1.4 prime lens, with an optical design consisting of 8 elements arranged in 2 groups. This is a more refined approach to 75mm prime lenses, as you typically see primes covering this focal length made up of at least 10 optical elements.

While the patented Tamron lens would do well to become the smallest and most lightweight 75mm prime on the market (the Samyang AF 75mm f/1.8 FE, which measures just 65x69mm and weighs a mere 8oz / 230g, currently wears this crown) the optical design paired with the suggested f/1.4 aperture would surely put it in market-leading position.

Bolstering this potential is Tamron’s strong reputation as a top-tier third-party lens manufacturer and the fact that only a select few 75mm prime lenses exist for full-frame cameras.

These factors in themselves work strongly in Tamron’s favor. But, if Tamron did manage to build the patented design in an even more compact way than the Samyang 75mm f/1.8, then surely there would be no doubt as to the lens’ success.

I could easily see this potential Tamron 75mm f/1.4 becoming a go-to piece of kit for portrait and street photographers wanting something a little different to the established 85mm, but this would be determined by the price. What do you think?

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Warranties are meant to protect the buyer from manufacturing defects, not accidental drops – but if you buy a new Tamron lens and it suffers damage from drops, water, or sand in the first six months, Tamron will cover half of the repair costs.

Tamron has refreshed its warranty program in the US and Canada, continuing the previously available six years of coverage, but adding a handful of new perks.

That list includes covering some accidental damage repairs, which aren’t typically covered under warranties. Tamron is now offering 50 percent off repairs from accidental damage, including liquids, impacts, sand, and “similar incidents” if something happens within the first six months of owning the lens.

While that accidental damage coverage spans six months rather than the six years that the lens is protected from m manufacturing defects and only covers half the repair costs, accidental damage due to drops and liquids typically isn’t included in most manufacturers' warranties.

The refreshed warranty program also includes a new $50 rebate, free replacement for zoom and focus rubbers, and a 25 percent discount on new replacement hoods, as well as front and rear lens caps.

Those updates were added to Tamron’s existing six-year warranty program in the US, Canada, and Mexico, which also includes a free annual clean and check service.

Those benefits are available to anyone in North America who purchases a new Tamron lens from an authorized dealer after January 1, 2026, and registers the lens online. The warranty doesn’t apply to gray market products from unauthorized dealers and also excludes used lens sales.

As with any warranty, customers should review the full terms for full eligibility and details. Online registration is required.

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Tamron will have a Back to the Future-themed booth at CP+ 2026, taking place next week at the Pacifico Yokohama convention center in Kanagawa, Japan.

The optical giant is hailing the film as “the greatest science fiction adventure film in cinematic history” and, while the George Lucas fanboy in me might take the teeny tiniest exception to that, I doubt there’s a science-fiction fan on the planet who doesn’t list Doc and Marty’s 1985 outing in their top five sci-fi adventure flicks (at the very least).

And great Scott, judging by the official renders of the booth, it’s going to be awesome!

The stand itself surrounds what looks to be a life-size DMC DeLorean time machine from the film, against a backdrop of the iconic Hill Valley Courthouse. What better way to test out a selection of Tamron lenses than travelling back to 1955?

Tamron buffs will know that the company can trace its roots back to November 1950, with the company currently celebrating its 75th anniversary.

CP+ revellers will be able to travel back through Tamron’s decades of history via a special Tamron Lens History Board, showcasing some of its milestone creations – and, of course, the newly announced Tamron 35-100mm f/2.8 and Tamron-Link remote focus and aperture dongle.

With regard to the collaboration, Tamron has devised the slogan ‘Focus on the future’. The idea behind the Back to the Future collab is that the company resonates with the message, “You create your own future.” And what a future that might be, if the manufacturer manages to make good on its promise of ten new lens models over the coming year.

The booth will also feature a video shooting demo, where visitors can get to grips with the Tamron Lens Utility and a slider, enabling them to “experience filming a scene from the movie.”

A collaboration concept movie called Together, Towards an Exciting Future will also be shown at the booth, while those in attendance can look forward to original merchandise being given away, with more details to be released in the future.

This isn't the first time that Tamron has collaborated with a pop culture brand for a CP+ display. My colleague James attended the show last year, when Tamron's booth was built around a giant diorama of Godzilla fighting Mechagodzilla!

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Smartphones have been able to remotely control digital cameras since built-in Wi-Fi and Bluetooth became commonplace – but Tamron has launched an unusual new accessory that will allow photographers and videographers to control a mirrorless lens from a smartphone app. The Tamron-Link is an add-on lens accessory that remotely controls the lens for focusing tricks.

The Tamron-Link is a dongle that plugs into the USB-C port on supported Tamron lenses. That dongle adds Bluetooth capability, opening up the possibility of using Tamron’s mobile app to adjust and automate focus features without cords.

Tamron-Link arrives alongside an update to the Tamron Lens Utility mobile app and enables the use of the app’s tools without a USB-C cable. Importantly, Tamron’s mobile app doesn’t support corded connections on iOS, so the launch of Tamron-Link also comes with support for Apple devices in addition to Android.

The new accessory can control focus remotely, allowing for a handful of different effects and tools to be used from the smartphone app, including:

• Focus and Iris markers: Using the app, creatives can set focus markers, then adjust to that preset position with a tap from the app. That brings a common videography technique to the Tamron app, without cords or a follow focus system.
• Focus time-lapse: This tool works with the camera’s interval shooting settings, but adjusts the focus in between shots in order to create a time-lapse that adjusts focus over time.
• Asto focus lock: Astrophotographers know the pain of finally painting the right focus point for sharp stars only to accidentally bump the lens. The astro focus lock prevents accidentally bumping the focus ring out of place. But, it also allows photographers to fine-tune the manual focus and then save the focus position to recall again later.
• Aperture and Focus ring stopper: This function allows users to set a stopping point for the aperture and/or focus rings in order to prevent over-adjusting.
• Night mode: The brightness of a smartphone screen can ruin night vision while out photographing the stars, so Tamron includes a new Night Vision mode for a dimmer, red screen.

The list of new tools joins the mobile app’s existing list of tools, which includes options like customizing the len’s buttons.

The Bluetooth 5.4 dongle is rated to work up to 16.4 feet or 5m away, though like any wireless communication, that range can be shortened by physical obstructions and other connected devices within range. Tamron also notes that the use of the accessory can drain the camera battery faster.

The Tamron-Link needs to be used with a compatible lens with updated firmware supporting the new accessory. Tamron’s compatibility chart indicates which lens supports which features.

The Tamron-Link will be available beginning February 19 with a retail list price of $50 / £59 / CA$70. Australia pricing is not yet available, but a direct currency conversion is about AU$71. Pre-orders have opened at a number of retailers, including Adorama and B&H in the US and Wex Photo and London Camera Exchange in the UK.

The mobile app update will also be available on February 19. The app is compatible with iOS 16-18 and iOS 26 and Android OS 6.0-16.

Tamron-Link is not supported by the brand’s desktop software, but the desktop version also updates to the latest version, available for MacOS 13-15 and MacOS 26, as well as Windows 11 64-bit. The desktop software supports lens firmware updates.

The accessory was announced alongside the new Tamron 50-100mm f/2.8 Di VXD III lens.

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The 24-70mm f/2.8 is considered a must-have workhorse by many – but Tamron just packed more focal lengths into a constant aperture f/2.8 zoom that’s lighter and more affordable than comparable 24-70mm lenses. The Tamron 35-100mm f/2.8 Di III VXD puts portrait-ready focal lengths into a single zoom that weighs just 19.9 oz / 565g in the Sony E Mount and 20.3oz / 575g in the Nikon Z mount.

Notably, the new Tamron 35-100mm f/2.8 is inspired by the brand’s earlier 35-150mm f/2-2.8 Di III. The new lens takes that popular optic and cuts back some of the zoom and aperture to create a more portable lens.

That 19.9 oz / 565g weight is just a touch heavier than Tamron’s own 17-70mm f/2.8. But, notably, the lens comes in a bit lighter than some of the wider standard workhorse 24-70mm options. The Sony FE 24-70mm f/2.8 GM II comes in at 24.5 oz / 695g and the Nikon Z 24-70mm f/2.8 S II slides in at 23.9 oz / 675g.

The new Tamron 35-100mm f/2.8, of course, isn’t as wide as a standard workhorse. Why the less common zoom range? Tamron wanted to pack the most common focal lengths for portraits into one lens. The 35mm is popular for environmental portraits without the extreme wide-angle distortion. 50mm is the classic nifty fifty, while the 85mm and 100mm focal lengths compress the background even further. Tamron also notes the lens was designed with travel photography in mind.

That focal length range is paired with Tamron’s Voice-coil eXtreme-torque Drive or VXD autofocus motor, which can focus as close as 8.7 inches from the front of the lens for a 1:3.3 magnification ratio on the wide end and 1:5.9 on the long end. Notably, Tamron says the lens is made with license agreements from Sony and Nikon – and cooperation with the first-party company tends to suggest better autofocus performance than reverse-engineered lenses.

The lens is built from 15 elements in 13 groups and a nine-blade circular aperture. The lens will take up about a 4.7 inch / 119.2mm spot in a camera bag for the E Mount variant and about 4.8 inches / 121.5mm for the Nikon Z mount.

The lens was announced alongside the Tamron-Link, a USB-C accessory that allows some Tarmon lenses to be controlled with a mobile app for focusing tricks.

The lens is competitively priced compared to some high-end 24-70mm workhorses, but sits above the price point of Tamron’s own 17-70 f/2.8. The Tamron 50-100mm f/2.8 Di III VXD is expected to retail for $899 / CA$1,249 in Sony E and $929 / CA$1,299 in Nikon Z mounts. In the UK, both mounts retail for £799. Australia pricing has not yet been announced, but that translates roughly to AU$1,273.

Pre-orders have now opened at a number of retailers. In the US, B&H (Z Mount / E Mount) and Adorama (Z Mount / E Mount) have pre-orders available. In the UK, Wex Photo (Z Mount / E Mount) and London Camera Exchange (Z Mount / E Mount) are among the retailers with pre-orders open.

See our full Tamron 35-100mm f/2.8 Di III VXD review

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Lens maker Tamron plans to launch ten new lenses in 2026 – a plan that would nearly double the optics brand’s typical annual launches. This month, Tamron shared plans to hit a target of ten new lenses for 2026, across four mounts, including Canon RF, as well as Nikon Z, Sony E, and Fujifilm X.

Inside of Tamron’s annual financial results, the lens maker gave investors – and photographers – a glimpse of the company’s plans for the year. While the company launched six new lenses in 2025, Tamron plans to launch 10 new lenses in 2026.

Tamron typically counts launching an existing lens in a new mount as a new launch, so it’s unclear how many of those ten lenses will be completely new and how many will be migrating to a new mount. But, Tamron indicates that it plans to continue establishing a four-mount lens line-up, including the Canon RF Mount.

Tamron’s first RF lens came in 2024, but the company’s lineup for Canon’s mirrorless mount contains just two options as of today. The RF mount has been limited to third-party lenses, and while Canon has opened the mount a bit, third-party RF mount options remain largely focused on APS-C and manual focus options.

Tamron’s Fujifilm line-up is also on the shorter side, with four options, while Z-mount Tamron optics number twice that. The E-Mount remains the mount with the most options from Tamron at 21 lenses – one possibility for hitting that goal of ten lenses in 2026 could be bringing some of the existing E-Mount options to more camera bodies.

Tamron’s plans for 2026 come amid mixed financial results for 2025. Both net sales and gross profit declined in the 2025 fiscal year, with sales dropping by 3.5 percent and gross profit by 5 percent. Looking at only Tamron’s photography division, sales dropped by 6.5 percent compared to 2024.

However, Tamron’s lens sales grew by 10 percent in the Americas and by 12 percent in Japan. Sales declined in both Europe and China.

The company notes that DSLR lens sales continued to decline while mirrorless remain strong. Tamron noted that it had a slight increase in the number of lens sales, but the value of those lenses remained flat compared to the previous year.

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A sparrow mid-song, perched on a single tulip, has captured the top prize in the Tamron User Photo and Video Contest 2025 in the Wildlife category. The moment, frozen in perfect clarity and atmospheric shallow depth-of-field, immediately drew the judges' attention.

Photographer Lourdes Venard shot the winning image in Oak Harbor, Washington, US, using the Tamron SP 150-600mm f/5-6.3 Di VC USD G2 optic. DCW praised the optic as the top DSLR choice, highlighted in the guide to the best 150-600mm lenses.

Every detail – from the sharp feathers to the subtle blooms – is rendered with remarkable precision shot at at 600mm f/6.3, 1/1000sec, ISO 320. Venard combined technical skill, timing, and visual storytelling, making the photo stand out among thousands of submissions.

Judges' statement

"This image is spectacularly beautiful, immediately drawing the viewer in with its vibrant, intense color palette and elegant simplicity.

"The photographer's masterful control of depth of field isolates the sparrow and the single sharp tulip, allowing them to stand out boldly against the softly blurred background and foreground.

"Capturing the precise moment of the bird singing adds emotion, story, and a sense of life to the scene – an achievement that speaks to patience, timing, and deep knowledge of the subject and environment.

"With perfect aperture choice, sharp focus, thoughtful composition, and attention to light and detail, this image delivers a breathtaking visual experience and is truly deserving of top recognition."

The gear behind the shot

Venard used the Tamron SP 150-600mm F/5-6.3 Di VC USD G2 lens, a DSLR super-telephoto optic celebrated for its long reach, upgraded AF (autofocus) and class-leading image stabilization.

Its 4.5-stop Vibration Compensation (VC), fast USD AF, 2.2m minimum focus distance, and robust, weather-sealed construction make it ideal for capturing fast, unpredictable wildlife moments.

Since 2024, this lens is officially discontinued, but it remains a favorite among DSLR wildlife photographers, especially when shooting in challenging conditions or at long focal lengths.

For photographers shooting mirrorless, the lens' successor is the Tamron 150-500mm f/5-6.7 Di III VC VXD. Smaller, lighter, and faster, it is optimized for mirrorless systems and available in Sony E, Nikon Z and Fujifilm X-mounts.

With a linear VXD AF motor, three VC stabilization modes, and excellent balance on mirrorless bodies, it provides a powerful option for wildlife and action photography – even handheld.

See more contest winners

The full gallery of 2025 Tamron User Photo and Video Contest winners showcases striking images. The awarded images were selected from entries across the United States, Canada, and Mexico, competing in six categories.

If you want to discover more winning photography, visit the Tamron website.

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A Dalmatian Pelican floats across the glassy waters of Lake Kerkini in northern Greece, captured with a Sony A1 and Tamron 70-180mm f/2.8. The image by Gary Neville, crowned overall winner of the SINWP Bird Photographer of the Year 2025, showcases one of Europe's most iconic waterbirds.

Photographed at a man-made reservoir created in 1932, and renowned for its biodiversity, the scene highlights a location that has become an important habitat for Dalmatian Pelicans and other waterbirds – and a great destination for bird and wildlife photographers.

Selected as the number-one image from more than 2,200 entries, Neville's image topped the competition that celebrates outstanding avian photography, from kingfishers and flamingos to eagles and owls. For more information about the Society of International Nature and Wildlife Photographers, visit the SINWP website.

About the award-winning shot

Neville explains, "The image was taken in Lake Kerkini in northern Greece. The lake, actually a man-made reservoir, is rich in wildlife and is especially renowned for its Dalmatian Pelicans, a favourite subject among photographers worldwide.

"I captured this image while leaning over the side of a boat, keeping my camera away from the surface of the water, while watching the Dalmatian pelicans slowly get closer and closer to the boat in anticipation of a fish from the boatman – the fish are considered low quality and unsuitable for sale, and are instead thrown back to the local wildlife."

The gear behind the shot

In bird and wildlife photography, using the right tools is essential to capture fleeting moments with precision and sharp detail.

Neville chose the Sony A1, one of the most versatile professional mirrorless cameras available, paired with a Tamron 70-180mm f/2.8.

The A1's high-resolution sensor (50.1MP full-frame EXMOR RS CMOS), fast AF (autofocus), and 30fps (frames per second) burst capability allow photographers to record decisive moments without compromise.

Meanwhile, the Tamron 70-180mm f/2.8 delivers a lightweight, high-quality telephoto range that makes framing, tracking, and isolating birds fast and intuitive – crucial when photographing subjects that move unpredictably.

Settings for the award-winning shot were 1/400 se at f/4, ISO 100m around 95mm focal length, combining technical precision with natural light to bring out the brid's vivid plumage and the reflective qualities of the lake.

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Workhorse zooms with bright f/2.8 are highly versatile lenses – yet typically sit at a higher price point. But Tamron’s compact 28-75mm f/2.8 has just dipped under $700 for the first time in the US.

The Tamron 28-75mm f/2.8 Di III VXD G2 earned a five-star review, thanks to its outstanding performance, excellent build, and reasonable price point. The E-Mount variant of the lens has just dipped below $700, a $200 price drop that price trackers suggest is the lowest ever price for the lens. (Tamron also makes a Nikon Z mount variant, but it’s not discounted currently).

The 24-70mm is the more common focal length for so-called workhorse zooms. Tamron shaves a bit off the wide end and adds a bit to the long end. But, along with being a more affordable third-party optic, the Tamron 28-75mm is also impressively compact and well-built.

The G2 variant of the lens brought a considerable boost in the popular lens’ sharpness, both at the center and towards the edges. Distortion and chromatic abberation is also minimal on this lens.

The Tamron 28-75mm was already an excellent budget alternative to Sony’s 24-70mm f/2.8, and the price cut makes it even more so. The lens typically sells for $899, but it’s currently $200 off.

The 28-75mm isn’t the only workhorse zoom for Sony E Mount on sale either. If the 28mm isn’t wide enough, the Tamron 17-28mm f/2.8 Di III RXD for Sony E Mount is also $699, a $200 discount. The five-star wide-angle zoom has superb optics, review Matthew Richards says, along with excellent weather-sealing.

For more reach, the compact Tamron 70-180mm f/2.8 Di III VC VXD G2 for Sony E Mount is discounted by $100, dipping the cost of the longer workhorse to under $1,000. This lens also earned five stars in DCW testing, boosted by its mix of sharpness and bokeh.

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Tamron may be preparing to shake up the standard zoom landscape. It has filed a patent for a 28-70mm f/2 lens, a design that promises the brightness of a prime with the flexibility of a zoom.

If realized, this lens could rival Sony and Canon's 28-70mm f/2 optics while offering a smaller, more manageable form factor and a more affordable price tag – as until now, wide-aperture standard zooms have been dominated by heavy, expensive optics.

Tamron's patent, with the publication number P2025163723, spotted by Asobinet, hints at a compact, optically corrected design that maintains a constant f/2 aperture across the zoom range, while addressing common issues such as chromatic aberration, distortion, and focus breathing.

Tamron's 28-70mm f/2 patent: what we know

The patent outlines a constant f/2 zoom lens for full-frame mirrorless cameras, with a focus on compactness, lightweight construction, and optical precision.

The lens design features a lightweight focus group with a high-speed drive mechanism, ideal for tracking fast-moving subjects in both photography and video.

How it stacks up against the competition

If built, this lens would compete directly with Sony's FE 28-70mm f/2 GM, which features floating focus elements driven by four linear motors, focus tracking up to 120fps and an 11-blade aperture for smooth bokeh. However, Sony's GM lens is relatively heavy at 918g and carries a premium price tag of $3,349.99 / £2,749 / AU$4,599, limiting its accessibility.

Canon's RF 28-70mm f/2L USM delivers prime-level performance, but weighs 1,430g and is priced at a level aimed almost exclusively at professionals ($3,399 / £3,400 / AU$5,249).

Sigma also launched an ambitious standard zoom lens, the 28-45mm f/1.8 DG DN Art – world’s first constant-aperture f/1.8 zoom lens for full-frame cameras – but it sacrifices zoom versatility for focal range, weighing 950g, available for $1,489 / £1,299/ AU$2,755 E-mount and AU$2,000 L-mount.

Tamron's design could blend the strengths of these lenses: a constant f/2 aperture for low-light and shallow depth-of-field control, full 28-70mm coverage, a compact size for handheld use, and a more affordable price tag.

Whether this lens will reach production, and which camera mounts it will support, remains to be seen – but the patent hints at a potential game-changer in the fast standard zoom category.

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Zoom lenses continue to dominate Japan's photography market. That's no big surprise, given that most photographers prioritize flexibility and workhorse lenses. Map Camera's top ten best-selling lenses of 2025 once again show this strong preference, as the list is dominated by standard-zooms, telephotos, and super-zooms.

And – for the second year in a row, one versatile zoom has topped the charts: the Nikon Z 24-120mm f/4 S. Despite competition from newer releases, it continues to outsell rival optics thanks to its balance of range, reliability, and consistent real-world performance.

2025's lens ranking features a familiar mix of proven favorites and newer arrivals. Professional standard zooms such as the Sony FE 24-70mm f/2.8 GM II remain highly popular, while affordable primes and high-magnification super-zooms, including the Canon RF 45mm f/1.2 STM and Sigma 20-200mm, are also included.

MapCamera 2025 best-selling lenses

1. Nikon Z 24-120mm f/4 S
2. Nikon Z 24-70mm f/2.8 S II
3. Canon RF 45mm f/1.2 STM
4. Sony FE 24-70mm f/2.8 GM II
5. Sony FE 70-200mm f/2.8 GM OSS II
6. Canon RF 100-400mm f/5.6-8 IS USM
7. Sigma 20-200mm f/3.5-6.3 DG | Contemporary (Sony E-mount)
8. Nikon Z 50mm f/1.8 S
9. Tamron 25-200mm f/2.8-5.6 Di III VXD G2 (Model A075S, Sony E-mount)
10. Nikon Z 26mm f/2.8

Single lenses that can handle "it all" remain in high demand. The list also highlights a growing appetite for super-zooms that let photographers move from wide-angle landscapes to telephoto action and close-up detail without the need to swap lenses.

The unbeatable all-rounder

The Nikon Z 24-120mm f/4 features a remarkable 5x zoom range that makes it a perfect all-around companion for travel, street, and everyday photography.

It strikes a sweet balance. It's more versatile than the 24-70mm f/2.8 S II, lighter than professional telephoto lenses, and more accessible than high-end optics. Its combination of reliability and all-around performance is exactly why it continues to top sales charts year after year.

The lens builds on the popularity of Nikon's classic AF-S 24-120mm f/4G ED VR for full-frame DSLRs, but now in a mirrorless design. The Z-mount version takes full advantage of a larger mount diameter and closer proximity to the sensor, resulting in enhanced sharpness and image quality across the entire zoom range.

While the lack of vibration reduction (VR) makes it less suitable for DX-format cameras (like the Z 50 and Z fc), the in-body stabilization (IBIS) found in full-frame Z-series cameras easily compensated for this.

In the end, the Nikon Z 24-120mm f/4 S proves that the best lens isn't always the fastest or the most exotic. Often, it's the one that can handle everything you need, from landscapes to portraits, street photography to travel, with consistent quality and effortless convenience...

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November was a fantastic month for new lenses – but the lenses topping the sales lists in Japan all have unusual features. Japanese retailer Yodobashi has shared the sales data for lenses for the second half of November, a list that’s topped by unusual optics.

The top three lenses for the retailer are all new launches with relatively unusual features: the Tamron 25-200mm f/2.8-5.6 Di III VXD G2, the Sony FE 100mm f/2.8 Macro GM OSS, and the Canon RF 45mm f/1.2 STM.

Tamron 25-200mm f/2.8-5.6 Di III VXD G2

As the G2 in the name suggests, the Tamron 25-200mm f/2.8-5.6 Di III VXD G2 isn’t exactly a first of its kind, but I would still call the lens a bit of an oddball (in a good way). All-in-one zooms aren’t hard to find, but the Tamron 25-200mm packs a lot of capabilities in a single lens.

First, the lens gives photographers the ability to shoot at a bright f/2.8. Yes, that’s only for the widest angle, but the capability is there for when lighting is limited. Second, there’s the 200mm reach on the long end. But the biggest improvement from the earlier 28-200mm is that the all-in-one also has half macro.

Sony FE 100mm f/2.8 Macro GM OSS

The Sony FE 100mm f/2.8 Macro GM OSS isn’t just the first macro for the high-end GM series – it’s also a 1.4x macro, growing above and beyond the usual 1:1. That gives the lens the ability to enlarge tiny objects beyond lifesize. The lens is also compatible with teleconverters for up to 2.4x magnification.

I had the chance to test the new macro, and the sharpness and stabilization are impressive, living up to the standard that I’ve come to expect from the high-end GM optics.

Canon RF 45mm f/1.2 STM

The Canon RF 45mm f/1.2 STM isn’t just one of the most popular lenses in Japan in November – it’s also on US retailer B&H’s list of the most popular lenses for the YEAR. So why is the lens that Canon only just announced on November 28 already so popular?

Bright f/1.2 primes tend to be pretty pricey, but that’s where the new Canon is a bit of an oddball – it’s just $469 / £479.99 / AU$699.95. While Canon’s pricier primes have features like weather-sealing that the new 45mm does not, it’s a move towards making ultra-bright apertures more accessible to more photographers on limited budgets.

More top 10 lenses

While the top three on Yobodoshi’s list for the second half of November are brand new oddballs, that doesn’t mean more standard focal lengths are falling by the wayside. Rounding out the rest of the top ten list, the list includes:

4. Canon RF 100-500mm f/4.5-7.1 L IS USM
5. Sony FE 24-70mm f/2.8 GM II
6. Sigma 20-200mm f/3.5-6.3 DG Contemporary (E-Mount)
7. Nikon Nikkor Z 24-120mm f/4 S
8. Sony FE 70-200mm f/2.8 GM OSS II
9. Hasselblad XCD f/2.8-4 35-100mm E
10. Nikon Nikkor Z 24-70mm f/2.8 S II

Comparing two weeks of data from Japan to the trendiest lenses of the year at a US retailer is like comparing apples to oranges, but it’s interesting to see a few lenses pop up on both lists, including the Canon 45mm f/1.2, along with the Nikon Z 24-120mm f/4 and the Nikon 24-70mm f/2.8 S II. Seeing a medium format lens on the list may be a bit of a surprise, but less so considering how well the Hasselblad X2D II 100C has been selling.

If the November sales data from Japan is any indication, photographers aren’t afraid to buck the usual focal lengths and go for a lens that’s a bit more unusual.

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A popular E-Mount telephoto lens from Tamron has just gotten a firmware boost. The Tamron 150-500mm f/5-6.7 Di III VC VXD in the E-Mount format has a few tweaks, including improved autofocus and up to 120 fps bursts on the Sony A9 III, thanks to firmware launched on December 04.

The firmware is for the E-Mount variation of the lens only – it doesn’t include updates for the Fujifilm X or Nikon Z mounts.

First, Tamron says that the 150-500mm f/5-6.7 update brings improved autofocus while zooming. This applies to both photo and video when using continuous autofocus. The AF assist is also improved.

Mounted on the Sony A9 III, the lens will now support bursts of up to 120 fps. The improved burst speed, importantly, doesn’t apply to continuous autofocus but rather only when using AF-S, MF, and DMF.

Tamron isn’t the only lens-maker that had – at least initially – reduced burst speeds on the Sony A9 III. Last year Sigma started rolling out firmware updates supporting AF-S 120fps on some lenses. Tamron has also updated a handful of other lenses previously with AF-S support at 120fps. At launch, only native Sony E-Mount lenses supported the 120fps burst on the A9 III, and many remain unsupported.

Without continuous autofocus, however, comparable Sony lenses will have an advantage.

The new firmware is available from Tamron, and the company says users should update using through the camera body.

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Tamron calls itself “the originator of modern all-in-one zoom lenses” – and the third-party lens brand has just unveiled another optic worthy of the all-in-one moniker. The Tamron 25-200mm f/2.8-5.6 Di III VXD G2 is a travel zoom lens that packs wide angles, telephoto, half, macro, and an f/2.8 aperture at 25mm into a single lens.

Tamron previously teased that the 25-200mm was in development, but with the October 21 announcement, unveiled the lens’s full list of specifications – and price, which is $899 / £729.99 / CA$1,199.

In the US, that’s $100 more than the existing 28-200mm f/2.8-5.6 Di III RXD G1. While Tamron says the 25-200mm is the successor to the 28-200mm, Tamron says the G1 version will continue to remain part of the lineup.

The Tarmon 25-200mm f/2.8-5.6 Di III VXD G2 is a full-frame superzoom lens available in Sony E-Mount. But besides the wider end of the lens moving from 28mm to 25mm, there are several key changes Tamron adjusted for the G2 version.

First, the 25-200mm has closer macro capabilities than its predecessor, capable of taking half-macro 1:2 images. In comparison, the earlier lens had a 1:3.13 magnification ratio. While the 1:2 ratio isn’t enough to earn the macro designation, the half-macro capabilities help push the lens as an all-in-one with close-up versatility.

Tamron has also upgraded the autofocus system on the 25-200mm using the VXD (Voice-coil eXtreme-torque Drive) autofocus motor, which the company says improves speed and precision.

Despite the upgrades, the lens is only slightly longer than the G1 at 4.8 inches / 121.5mm. The lens’s weight also remains similar to the processor, coming in at 20.3 oz / 575g, and the filter size remains at 67mm.

Like the original, the 25-200mm is designed from 18 elements in 14 groups, while the 9-blade aperture is also a change from the 7-blade design on the original. Tamron also says the lens has an “enhanced exterior surface.”

If the new lens is anything like the earlier optic – which Digital Camera World gave 4.5 stars – the lens may be a tempting choice for travel with the Sony E-Mount system. Like the predecessor, however, the new lens remains without stabilization.

The Tamron 25-200mm f/2.8-5.6 Di III VXD G2 is expected to begin shipping on November 20.

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As dominant as mirrorless camera systems are these days, DSLRs are far from dead – and most of us can relate to why. That familiar mirror slap, the weight in hand, the intuitive controls – there's something undeniably tactile and satisfying about shooting with a DSLR that mirrorless, even with all its compactness and tech-forward features, doesn't quite replicate.

Despite industry momentum shifting toward mirrorless, DSLRs still shipped close to 1 million units in 2024, led almost entirely by Canon. And at the 2025 Salon de la Photo trade show last week, two major lens manufacturers weighed in on where DSLR lens demand really stands today – and their opinions and strategies couldn't be more different.

In a separate interview with Phototrend, Foucauld Prové, Managing Director at Sigma France, and Jean-Christophe Thiry, president of Tamron France, offered opposing takes on the future of DSLR lenses – and in doing so, revealed a broader strategic divide within the lens manufacturing world.

DSLR lives on vs all-in on mirrorless

Sigma confirms: DSLR lens demand remains strong. Its classic 150-600mm f/5-6.3 DG OS HSM Contemporary, launched over a decade ago, reportedly sold more units in the first half of 2025 than the same period in 2024. What's more, the only thing slowing production isn't a lack of interest – it's component shortages.

Beyond that, Sigma points out that many photographers are still using their DSLR lenses – even on mirrorless bodies – with lens adapters. This dual use has extended the lifespan of popular DSLR glass. Sigma sees real value in catering to the loyal base of DSLR users, as well as those bridging the gap between systems.

Tamron, by contrast, has taken the opposite route: it stopped producing DSLR lenses altogether. While some residual stock – like the SP 24-70mm f/2.8 G2 – remains available, Tamron has shifted its entire focus to mirrorless systems, particularly Sony E-mount, Nikon Z, and the increasingly important Canon RF-S.

Tamron's message: demand for DSLR lenses has dropped too low to continue production. Instead, it is investing in the mirrorless market, which it sees as more innovative, flexible, and catering to a new generation of photographers.

In short, Sigma believes in the continued relevance of DSLR lenses, thanks to consistent demand and adaptable use cases. Tamron sees mirrorless as the only path forward and has exited the DSLR space entirely.

What does this mean for the industry – and us photographers?

The divergence between Sigma and Tamron reflects a broader tension in the photo industry: a significant portion of photographers still love and rely on DSLR systems, but manufacturers are increasingly pulling away from that support.

For DSLR users, Sigma's comments may be reassuring: some third-party support still exists. But Tamron's exit is a reality check – the era of regular DSLR lens development is clearly winding down. Meanwhile, brands like Pentax continue to treat DSLRs as an artistic niche, focusing on unique analog-style offerings.

The market may be moving on – but not everyone's following. And maybe that's the point.

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Tweaking the focal length of a traditional workhorse zoom can create a versatile lens that’s lighter and more affordable than competitors – and that’s exactly what Tamron is doing with its new trinity zoom lens. The Tamron 70-180mm f/2.8 Di III VC VXD G2 is the lightest f/2.8 telephoto zoom available, according to the company, and now it's coming to more camera bodies.

On Tuesday, October 7, Tamron announced the Nikon Z Mount variant of the 70-180mm f/2.8 Di III VC G2, effectively completing the so-called Holy Trinity for Z Mount creators alongside the G2 versions of the 16-30mm and 28-75mm.

Tamron previously launched the 70-180mm G2 in Sony E Mount – a lens that DCW reviewers gave five stars for its sharpness, bokeh, stabilization, and price. The Z Mount announcement brings that lens to Nikon’s mirrorless bodies, and for less than half the cost of the Nikon Z 70-200mm f/2.8 VR S.

Like the Tamron 28-75mm f/2.8 G2, the 70-180mm tweaks the standard 70-200mm focal length to create a lens that’s just as bright but easier to haul around. The lens weighs 30.5 oz or 865g, a considerable weight savings over lenses like the Nikon Z 70-200mm f/2.8 VR S, which weighs three pounds or 1360g.

The lens uses a VXD (Voice-coil eXtreme-torque Drive) linear autofocus system, which Tamron says delivers autofocus that’s both quiet and quick. The lens can focus as close as 11.8 inches from the front, which allows the lens to be used for genres like close-cropped portraits and food photography.

As the VC in the name indicates, the lens is stabilized. The lens is designed with 20 elements in 15 groups, wrapped inside a barrel with moisture-resistant seals. The lens uses a 67mm filter – the same size as the other two lenses in the Tamron G2 trinity.

While Tamron’s trinity doesn’t reach quite as long as the more traditional set, the lens brings an f/2.8 aperture and zoom to a more budget-friendly price. Cutting off 20mm on the long end also helps create a lens that’s considerably lighter, without sacrificing that f/2.8 aperture.

The Z-Mount Tamron 70-180mm f/2.8 G2 is expected to begin shipping on October 23. The lens will retail for $1,149 / £999.

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As I was packing for a brief three-day weekend away, I eyed my camera backpack that has two bodies and several bright prime lenses tucked safely inside – and then I grabbed a cheap mirrorless camera and an all-in-one superzoom lens, tucked it into a small bag, and left.

I didn’t take my usual and much beloved Fujifilm camera gear on my last vacation; instead, I grabbed the Nikon Z50 II and the Tamron 18-300mm f/3.5-6.3 Di III-A VC VXD. That camera and multi-purpose lens were the only digital gear I brought besides my Pentax K1000 film camera (and my iPhone, if that counts).

It may seem strange not to reach for the camera with pro-level capabilities every time, particularly on a road trip driving an SUV with plenty of cargo space. But when I grabbed the all-in-one lens instead of my usual and much beloved primes, I wasn’t thinking about image quality; I was thinking about how liberating it felt to use a compact camera when I flew to Florida earlier this year.

I was thinking about how my mental health needed a break from the stack of photos I still had to edit, a break before the busy fall season started.

I wanted to channel that digital minimalism and, more importantly, the ability to hike without wearing a camera backpack. I eyed my waterproof camera, but this latest trip I knew was filled with trails for birding, and I wanted something that balanced portability with a bit of telephoto reach – and that’s where the all-in one superzoom comes in.

Superzooms earned the moniker because they contain both wide-angle focal lengths for snapping landscapes and longer telephoto lengths without swapping lenses. The Tamron 18-300mm in particular also has fairly close focusing capabilities that enable it to function like a half macro lens.

Did Tamron’s affordable all-in-one zoom lens deliver images on par with those from my bright primes? Of course not.

Tamron’s 18-300mm may be fairly good compared to similar lenses that pack wide and telephoto into a single optic, but there’s some edge softness, barrel distortion, and vignetting to contend with. Most noticeably the narrower aperture requires upping the ISO, which introduces more grain and tends to muddle those fine details.

Yes, I did miss the bokeh on my beloved 50mm f/1 lens, but I did not miss wearing a bunch of gear on my back. This was, after all, supposed to be a mini vacation.

A budget all-in-one lens isn’t going to deliver pro-level image quality, but it does deliver the ability to pack light, leave the backpack behind, and still get wide, telephoto, and macro shots. It may not be as trendy as compact cameras, and it certainly doesn’t fit in a pocket, but that superzoom was my compromise between wanting to snap a variety of different photos without hauling a lot of gear around.

I happen to be lucky enough to turn my two biggest hobbies – writing and photography – into a career. But there’s a subtle shift that happens when hobbies become work in that it’s hard not to feel like I’m always working.

I don’t mean to say that I no longer enjoy photography; I do, even when I’m photographing a paying client. But I do find that, when I spend my weekends and vacations taking more photos, I end up getting out of bed on Monday morning feeling like I haven’t really had a weekend at all.

Shooting with more minimalist gear makes my photography feel more like a hobby again – along with (gasp!) not editing those weekend photos and just sharing JPEGs. Keeping a genre strictly as a hobby, as I do with birding and wildlife photography, also helps retain some semblance of a photography hobby.

Am I going to run out and buy the Tamron 18-300mm? (That writing-photography career also means I have the opportunity to try more gear than most, but I do still have to send it back.)

I’m tempted, but there’s gear that sits higher up my wish list (like a brighter telephoto zoom for birding and something wider than 18mm for astrophotography). But I don’t think it’s a bad buy, particularly for hobbyists who can’t afford to get multiple lenses.

The experience also got me excited that Tamron is working on a 25-200mm f/2.8-5.6 that doesn’t reach as far, but has the option to shoot with a wide aperture, or a longer focal length, and still even includes half macro.

There are plenty of trends that I roll my eyes at, but minimalism isn’t one of them – and an all-in-one zoom is a compromise between a compact camera and a heavy backpack full of kit.

More all-in-one zoom lenses

Take a look at the best superzoom lenses for Nikon cameras, and check out some popular options like the Tamron 18-300mm, the Tamron 28-200mm, the Nikon Z 28-400mm and the Sigma 16-300mm.

Tamron is reimagining the all-in-one zoom. The full-frame Tamron 25-200mm f/2.8-5.6 Di III VXD G2 upgrades the brand’s previous 28-200mm lens with a slightly wider zoom range, half macro, and an improvement in both autofocus and image quality.

Tamron shared the development of the new 25-200mm f/2.8-5.6 G2 on Tuesday, September 09, and says the lens will launch this fall, available in Sony E-Mount. But, as a development announcement, details like the price and full specifications are not yet available.

Tamron says that the all-in-one zoom maintains a compact design despite the revisions made for the G2 model. Beyond moving from 28mm at the wide end to 25mm, that wider angle also gives the lens half-macro capabilities, with a 1:1.9 magnification possible when shooting at 25mm.

Beyond the ability to focus closer, Tamron says the Voice-coil eXtreme-torque Drive or VXD linear autofocus motor delivers faster, more precise autofocus compared to the first-generation 28-200mm lens. The company says that autofocus and the zoom range make the lens ideal for capturing sports and pets.

Tamron says that image quality has also improved on the new 25-200mm lens, but full details on the lens’ specs and design are not yet available. The lens will feature an enhanced exterior surface, the company says, and user-friendly zoom and focus rings. The lens will accept 67mm threaded filters.

Tamron calls itself “the originator of modern all-in-one zoom lenses,” and says the lens helps celebrate the brand’s 75th anniversary. Along with the upcoming 25-200mm G2, Tamron also offers an 18-300mm f/3.5-6.3, a 28-300mm f/4-7.1, and a 35-150mm f/2-2.8 among its all-in-one category.

The announcement comes as part of the new gear announcements ahead of IBC 2025, the International Broadcasting Convention, in Amsterdam, September 12-15. That list of announcements includes Sigma’s new 20-200mm f/3.5-6.3 DG Contemporary for full-frame mirrorless, along with a new Canon EOS C50 cinema camera and the revival of Canon's cheap compact PowerShot ELPH 360 A.

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The Tamron 18-300mm f/3.5-6.3 Di III-A VC VXD is a highly-rated travel zoom that packs 16.6x of zoom versatility into a single lens – and now the lens is finally coming to the Canon RF and Nikon Z mounts.

When the Tamron 18-300mm lens originally launched in 2021, it was the first such lens to achieve a 16.6x ratio. But, the APS-C lens initially launched for just the Fujifilm X and Sony E Mounts. Now, however, Tamron is bringing that versatility to the Nikon Z and Canon RF mounts, the company announced on August 07.

The Tamron 18-300mm f/3.5-6.3 Di III-A VC VXD is an all-in-one lens that can capture wide angles and telephotos – and everything in between – without lens swaps. That versatility extends even to half macro with the lens’s maximum 1:2 magnification ratio at 18mm.

The lens is optically identical to the previous X Mount and E Mount variants, which Digital Camera World’s reviews team gave 4.5 stars. There are some differences to the newly launched lenses, however. The Canon RF mount variant has an AF/MF switch as well as a stabilization on and off switch.

The lens uses a linear autofocus motor designed to balance speed and noise from the motor. In DCW’s tests of the earlier mounts, the design proved to offer a quick, efficient autofocus performance, including effective subject tracking.

The optically stabilized lens is constructed from 19 elements in 15 groups along with a seven-blade circular aperture. As a crop sensor lens, the lens delivers a full-frame equivalent focal length of 27-450mm (28.8-480 on Canon RF). The lens offers moisture-resistant construction, as well as fluorine coating on the front to help protect the glass.

Despite the large zoom range, the lens weighs around 22oz / 625g for the RF mount version and 22.4oz / 635g for the Nikon Z variant. The lens will take up about a five-inch slot in a camera bag and accepts 67mm filters at the front.

Both the Nikon and Canon mounts can also be updated using Tamron Lens Utility when new firmware is released.

The Nikon Z Mount variant of the lens will be available beginning on August 28, with the Canon RF mount to follow on September 26. The lens retails for $629 / £529 / AU$1,149.

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According to the latest data on China's online digital camera market, Sony is the clear leader. Not just by a few numbers either – Sony tops all major categories, from the most popular camera brand to the best-selling lenses, in a market that remains one of the most competitive ones in the world.

The following rankings are based on sales data gathered by the Chinese e-commerce platform JD.com, and were reported by Sony Alpha Rumors, offering us a picture of what's trending in China's digital imaging space in 2025 so far.

Seeing Sony at the top may not come as a surprise. The company also led the mirrorless market in Japan during the first half of 2025. According to BCN Retail's latest market report covering January through June, Sony held a 30.4% market share in mirrorless camera sales, though that figure was down slightly – over 5% – compared to the previous year. Popular models are, for example, the ZV-E10, known for its strong appeal among vloggers, also ranking among the top five best-selling cameras in China.

In terms of brand popularity, Sony leads the camera category, followed by Canon, Fujifilm, Nikon, and Panasonic. The lens market reflects a similar hierarchy: Sony once again takes first place, ahead of Canon, Sigma, Nikon, and Tamron.

So, let's take a closer look at the top five best-selling camera models and lenses in China's online digital market for 2025.

Most sold cameras

1. Sony A7C II
2. Sony A7 IV
3. Canon EOS R6 Mark II
4. Sony ZV-E10
5. Fujifilm X-T5

Most sold lenses

1. Sony FE 24-70mm f/2.8 GM II (SEL2470GM2)
2. Sony FE 20-70mm f/4 G (SEL2070G)
3. Sony FE 70-200mm f/2.8 GM OSS II (SEL70200GM2)
4. Sony FE 70-200mm f/4 G OSS II (SEL70200G2)
5. Sony FE 50mm f/1.4 GM (SEL50F14GM)

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If you're keeping tabs on the camera market, then you'll want to check out the best mirrorless cameras, or dive into more sales numbers, to gain insights into the photography market:

- No compact cameras in Japan's top 10 best sellers
- Compact camera reclaims top spot in Map Camera's best-seller list for May
- Canon EOS R10 tops the BCN Ranking once again
- Kodak tops compact camera charts, Canon reigns for DSLR sales, and Sony dominates mirrorless market in Japan H1 2025

Online photography classes allow creatives to learn at their own pace, from their own couch or favorite coffee shop – and Tamron’s take on online photography education is completely free. This week, Tamron Americas unveiled Tamron University, an online platform for photography classes in a variety of genres led by pros in their field. The kicker? Tamron University classes are free.

Tamron University launched with four full classes available at the start, with five additional classes scheduled to arrive on the platform soon. Tamron says that each class is led by an industry professional who offers students a behind-the-scenes look at their creative process.

The first classes are all around an hour or an hour and a half long, with the video-based lessons divided into smaller lessons for photographers to watch at their own pace. The initial classes cover everything from the art of storytelling to photographing celebrities.

At launch, Tamron University includes four full classes, with five additional classes coming soon:

• The Art of Storytelling with Erica Robinson
• Nature Photography with Kurt Garnder
• Commercial and Celebrity Portraiture with Hernan Rodriguez
• The Art of Photographing Birds with David Akoubian
• Sean Parker: Capturing The Night Skies (coming soon)
• Michael Gilbert: The Creative Photographer (coming soon)
• André Costantini: Documentary Filmmaking (coming soon)
• Jonathan Thorpe: Cinematic Halloween Horror (coming soon)
• Charley Voorhis: Adventure Filmmaking (coming soon)

Tamron says that the classes are designed to be both practical and inspirational. Instructors will discuss things like technical approach, business philosophies, and artistic philosophies. Naturally, gear choices will also be part of the course.

Tamron says additional classes will continue to be added to the catalog, creating a continually growing resource. The online classes are available through the Tamron University website and Thinkific.

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BCN has published its latest market share report for the Japanese market, covering January to June 2025, including figures for compact cameras, DSLRs, mirrorless systems, action cams, and lenses.

These numbers provide us with an early snapshot of the BCN Award 2026 interim results, analyzing sales across 105 categories (90 hardware and 15 software categories). And this time we're seeing a notable shift in brand dominance: no Nikon, and no GoPro in the leading posts.

Let's dive into the results of camera and lens manufacturers and put them into perspective. You can find BCN's official statement here.

Best-selling brands January - June 2025 in Japan according to BCN (% of market share)

Compact cameras

Fixed lens digital cameras: Kodak with 21.7%
Kodak is on top in the compact camera market, claiming a 21.7% share. That's a surprise since Canon dominated this category last year. But this category might be shaken up in the second half of the year.

Kodak's affordable and accessible Pixpro C1 just entered the market this April. And, on the other end of the price spectrum is Sony's RX1R III, a full-frame compact camera available from this month. It costs $5,098 / £4,199 and the camera will go on sale in August in Australia at a price of AU$7,999. There are also rumors that Canon will launch a new PowerShot G series model later this year, with a photography-first approach...

DSLRs

DSLR cameras: Canon with 46.8%
Just like last year, Canon remains the leader in DSLR sales – but the numbers tell a different story. Canon's market share dropped significantly to 46.8%, down from a dominant 69.4% in 2024 – a loss of 22.6 percentage points.

Canon continues to offer a solid lineup of DSLRs, including the EOS 5D Mark IV, 6D Mark II, and the 90D. As many know, its focus has clearly shifted to mirrorless development, and it looks unlikely that we'll see another flagship DSLR like the EOS-1D X Mark III.

Mirrorless systems

Mirrorless cameras: Sony with 30.4%
Sony continues to lead in mirrorless camera sales, holding 30.4% of the market. However, that's a slight drop of over 5% compared to the previous year. In BCN's June best-selling camera charts, Sony dominated with its vlogging device, the ZV-E10 and ZV-E10 II (especially in kit lens bundles). The Sony A6400 also made it into the top 10 last month.

In BCN+R's May 2025 report, Nikon's monthly share was at 33.4%, being just 1.3% ahead of Sony. These numbers were down to Nikon's new full-frame entry model, with Nikon releasing the Nikon Z5 II in April 2025. Despite costing significantly more than the original Nikon Z5's release price, BCN+R has pointed out that in today's market, the Z5 II is simply good value.

Action cameras

Action cameras: DJI with 35.3%
In the first half of 2025, DJI beat GoPro to become Japan's top-selling action camera brand, securing 35.3% market share. It's no secret that GoPro has been losing steam, and DJI's strong lineup and competitive pricing helped push it into the lead. Interestingly, Insta360 couldn't quite catch up, but it was an exciting first half of 2025 for the manufacturer. After a 5-year-long partnership with GoPro, Insta360 became the official partner of Darkfest 2025, delivering 360° views, POV onboard footage, and even drone-like footage with its Insta360 X4 and Ace Pro 2.

Lenses

Interchangeable lenses: Tamron with 21.8%
Tamron continues to dominate the interchangeable lens market, holding a 21.8% market share, up from 17.5% in 2024 – an increase of 4.3%. With a broad lineup of Sony E, Canon EF or RF, Nikon Z, and Fujifilm X mount lenses, Tamron remains a favorite among photographers who want high-quality third-party lenses at competitive prices.

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If you're keeping tabs on the camera market, then you'll want to check out the best mirrorless cameras, or dive into more sales numbers, to gain insights into the modern camera market:

- No compact cameras in Japan's top 10 best sellers
- Compact camera reclaims top spot in Map Camera's best-seller list for May
- Canon EOS R10 tops the BCN Ranking once again

The Tamron 150–500mm f/5–6.7 Di III VC VXD for Fujifilm X-mount is now just $1,199 - down from $1,499, saving you a clean $300.

• See all of today's Amazon Prime lens deals

And for a superzoom lens that reaches all the way out to 500mm, that’s a seriously tempting deal for Fuji shooters looking to go long without going overboard on price.

This lens brings proper reach to the X Series system without the usual weight penalty of a massive telephoto. It’s surprisingly compact for what it offers, and Tamron’s excellent VC (Vibration Compensation) stabilisation means you can confidently shoot handheld even at the far end of the zoom. Whether it’s birds, distant wildlife, airshows or even motorsport, this lens gives you the flexibility to track and frame with ease.

Autofocus is handled by Tamron’s VXD linear motor, which is fast, silent, and accurate - more than up to the challenge for fast-moving subjects. Build quality is solid too, with a moisture-resistant construction and a lens barrel that feels well-balanced even at full stretch. It's the kind of lens that makes you want to get outside and shoot.

For me, this would be the lens I’d buy if I wanted to shoot wildlife or sports on Fujifilm. Fujifilm’s own telephoto offerings are good, but this Tamron is more affordable, goes longer, and doesn't weigh a ton. It fills a real gap in the X-mount system and opens up new creative possibilities without needing to break into the world of adapted glass.

At $1,199, it’s one of the most practical long-lens options for Fuji users, especially if you're after reach, quality, and portability in one package. If you’ve been waiting for the right moment to extend your range, this deal is that moment.

Tamron, once seen as the go-to for budget glass, has spent the past few years carving out a very different reputation. Its second-generation G2 line has quietly become a serious option for working photographers, offering sharp optics, compact builds, and pro-level features at prices that still feel within reach.

Now, Tamron has announced the final lens in its fast-aperture zoom trinity – the 16-30mm f/2.8 Di III VXD G2. Designed for full-frame Sony E and Nikon Z mirrorless camera systems, this new ultra-wide expands on the popular 17-28mm f/2.8 with a broader focal range, faster autofocus, and improved handling.

Size-wise, it remains impressively compact for a fast full-frame ultra-wide zoom, weighing just 440g for the Sony version and 450g for Nikon, with a constant internal zoom and a unified 67mm filter thread across the G2 lineup. It’s a clear nod to real-world usability being easy to pack, stable on gimbals, and simple to shoot with handheld.

The optical construction includes 16 elements in 13 groups, with XLD, LD, and GM elements designed to minimize aberrations and deliver sharp, contrasty results from edge to edge. It’s also coated with Tamron’s BBAR-G2 treatment, which helps cut down flare and ghosting, vital when shooting into light with wide angle lenses.

The fast, silent VXD linear motor is ideal for both stills and video, and the minimum focus distance is just 0.15m at the wide end, making it surprisingly versatile for close-up and tabletop work.

I got a brief hands-on with the G2 line at the Wales & West Photography Show, and the build quality stood out. It feels well-balanced and professionally made, with smoother zoom and focus rings than the previous generation.

For landscape and travel photographers especially, this looks like a smart, flexible option, particularly for Nikon Z users, who still have fewer native third-party lens choices. And when paired with the existing 28-75mm f/2.8 and 70-180mm f/2.8 G2 lenses, you’re looking at a full f/2.8 zoom range from 16mm to 180mm, all lightweight, customizable, and relatively affordable.

The Tamron 16-30mm f/2.8 Di III VXD G2 will be available on July 31, 2025, for Sony E-mount and August 22, 2025, for Nikon Z-mount, priced at $929 / £850.

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Tamron has been steadily increasing the number of lenses launched each year – and this year, the company plans to launch six new lenses. But by 2026, it expects to launch ten new lenses a year. The insight comes from Tamron’s quarterly financial report to investors. While the report doesn’t indicate which lenses are coming next, I hope Tamron’s expanded product launches indicate mirrorless mounts are finally becoming more third-party friendly.

Before 2023, Tamron launched around five new lenses a year. But by 2026, the company plans to have 10 new models yearly. The insight stems from the company’s medium-term management plan, which originally planned to increase new launches from five to 6-7 between 2024 and 2026. But, the company reached that goal in the first year of the plan, and now projects reaching ten new lens launches a year from 2026 onward.

While Tamron first shared the ten-lens-per-year goal during its 2024 year-end fiscal report, the latest report indicates that the company plans for six new lenses for 2025. The 2025 launches include the already teased Z-Mount and RF-Mount variants of the all-in-one 18-300mm f/3.5-6.3 VC VXD, which should mean there are four more lenses slated for this year.

That Canon RF mount is notable, as it’s only Tamron’s second RF mount lens in the catalog. Canon has been hesitant to open up the mirrorless RF mount to third-party autofocus optics, but last year Tamron launched the 11-20mm f/2.8 RXD for the Canon RF mount, and the 18-300mm zoom is slated for a summer arrival for both the RF and Nikon Z mount. Both of those Canon RF optics are for crop sensor bodies.

While a move from launching around five models a year in 2023 to twice that in 2026 is notable, Tamron counts the different mounts of the same lens as two models. For example, the brand’s count of seven new models for 2024 included the Tamron 90mm f/2.8 VXD twice, one for the E-Mount and one for the Nikon Z-mount.

The plans to introduce more new lenses could be influenced by more mirrorless mounts opening up to third-party autofocus optics. Tamron currently lists 20 different lenses in its Sony E-Mount catalog, while Z Mount includes six, Fujifilm X-Mount four, and Canon RF one. (Those numbers exclude the 18-300mm that won't arrive for the RF and Z Mounts until this summer.)

While I’d love to see more unusual lenses from Tamron, I’d also be excited to see the mirrorless brands loosen restrictions on third-party autofocus optics. Tamron has some excellent budget options, as well as optics with unusual zoom ranges, but only for photographers shooting certain bodies. Either way, I’m excited to see what Tamron is planning for next year.

The quarterly financial report also indicated how the changing US tariffs are impacting Tamron’s plans. The company plans to increase production in Vietnam from 25 percent to 45 percent by 2028, reducing the production in China from 65 to 45 percent over the same period. Tamron also produces some lenses in Japan, which is expected to remain unchanged at about ten percent. Imports from Vietnam are currently facing a 10 percent tariff in the US, while China’s rates sit at a much higher 145 percent.

For the first quarter of 2025, the Americas have been responsible for around 14 percent of the company’s lens sales, while China is 27 percent, Japan 20 percent, and other Asian countries another 20 percent.

While the company said that the uncertainty surrounding the tariffs has affected sales, the company hasn’t modified its 2025 projections because the impact is being absorbed by cost reductions.

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