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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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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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.

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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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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

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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Tamron has announced a new all-in-one superzoom lens for Nikon Z-mount and Canon RF-mount APS-C mirrorless cameras. The Tamron 18-300mm f/3.5-6.3 Di III-A VC VXD (Model B061) is a reworked version of a lens first available in Sony E and Fujifilm X mounts that was released in 2021, and at the time was the world's first APS-C-format lens for mirrorless cameras to achieve a zoom ratio of 16.6x. We were impressed with these previous incarnations of the lens, as you'll see in our 4.5-star review.

The 16.6x zoom range lets you shoot everything from wide-angle to ultra-telephoto focal lengths, all without needing to change lenses. Designed exclusively for APS-C format sensors, it gives an effective focal length of 27-450mm on Nikon cameras with their 1.5x crop factor and 29-480mm on Canon cameras when taking their 1.6x multiplier into account. Combined with its compact design, the generous zoom range makes it ideal for use as a travel lens to capture a diverse range of subjects, including landscapes, snapshots, portraits, wildlife, and sports.

A minimum focus distance of just 0.15m (5.9in) at the wide-angle end, combined with a maximum magnification ratio of 1:2, makes it ideal for close-ups too, capturing a very high level of detail equivalent to half-size macro. A high-speed, high-precision VXD (Voice-coil eXtreme-torque Drive) linear motor focus mechanism and Tamron's VC (Vibration Compensation) stabilization enable fast, accurate focus while minimizing the effects of camera shake for sharper shots.

Rival third-party lens maker Sigma has since released the Sigma 16-300mm f/3.5-6.7 DC OS | C, which goes a little wider and has an even bigger zoom ratio of 18.75x, although this lens is a little slower at the telephoto end of the zoom range, with an f/6.7 rather than f/6.3 aperture.

A release date and pricing for the new Canon and Nikon variations of the Tamron 18-300mm f/3.5-6.3 Di III-A VC VXD are yet to be announced, but the Sony and Fujifilm versions cost around $699 / £529 / AU$1,099, and I would expect a similar price tag to these models.

Tamron has released a new firmware update for its 35-150mm F/2-2.8 Di III VXD Sony E-mount lens. Firmware version 5, released 19th February, contains the following benefits:

"AF performance during zooming is improved when shooting videos and still images in AF-C mode. Additionally, with the Sony α9 III, when the focus mode is set to AF-S, DMF, or MF, the lens will support continuous shooting at up to approximately 120 frames per second."

We've already seen Tamron release firmware with the exact same improvements for lenses like its 50-400mm F/4.5-6.3 Di III VC VXD. While any focussing improvements are certainly welcome, it should be noted that 120fps shooting looks as though it still isn't supported in AF-C mode; the very focussing mode you're most likely to want when shooting a continuous burst of stills. Granted, you'll still be able to track subjects moving across the image frame at a consistent distance from the camera, but you won't be able to maintain focus of a subject like a cyclist or racing car that's approaching you. We suspect Sony is still reserving 120fps burst shooting with AF-C for its own lenses, hence why Tamron's E-mount optics don't support it.

Tamron 35-150mm F/2-2.8 Di III VXD full review

But this minor annoyance doesn't dampen our enthusiasm for the 35-150mm F/2-2.8 Di III VXD. Not only does this lens have an exceptionally large aperture for its focal range (making it the fastest zoom lens in Tamron's mirrorless lens line-up), its sharpness in the center of frame is so high it can rival even the best E-mount prime optics. Factor the quality build, snappy AF, and Tamron's fair pricing, and the 35-150mm is one heck of a versatile lens.

To update the lens's firmware, check out the Tamron Lens Utility Download Page on Tamron’s global website.

Tamron has released its annual financial results for 2024. In amongst the corporate business speak is an interesting company pledge: to release 10 new lenses per year in 2026 and beyond. This would mark a significant ramp-up in production from the 5 new models per year launched prior to 2023, and it even beats Tamron's original projection for 2026 which was going to be 6-7 new lens models annually.

However, there's no additional detail on what these new lenses may be. We'd hope a "new model" means a unique lens and not simply a mount conversion of an existing design. What we do know is Tamron is continuing to produce lenses for Nikon Z, Fujifilm X, Sony E, and Canon RF - the 11-20mm F2.8 RXD being Tamron's first lens for the RF mount. With Tamron just starting its Canon RF collaboration, we wouldn't be surprised if a sizable percentage of its promised 10 new lenses in 2026 were made up of RF-mount models. Alternatively, with Sony owning a 14.99-per-cent stake in Tamron, there may be a corporate incentive to focus on E-mount optics as well.

Another interesting statistic revealed in the financial results publication is the percentage of its lens production that's made up from OEM optics. In 2023, around 38% of Tamron's lens sales apparently came from OEM, which we assume means lenses produced for other companies and sold under their brand names. Examples of this would include lenses like the Nikon Z 17–28mm f/2.8, which is a re-bodied Tamron 17–28mm f/2.8 Di III RXD, and the Nikon Z 70-180mm f/2.8: a lens that's essentially a Tamron 70-180mm f2.8 Di III VXD.

So after several years of many great DSLR lenses being discontinued, the news that production of lenses for mirrorless cameras could be set to rise is very welcome.

A very interesting Tamron tidbit has appeared on Sony Alpha Rumors – an optics diagram of a patented 200-800mm f/6.7 for Sony E-mount cameras. And I’m pretty excited about the prospect and its potential to liven up the best 150-600mm lens ballpark. The rumor site has quite rightly likened it to the Canon RF 200-800mm f/6.3-9 IS USM, which my colleague, Gareth Bevan, reviewed very favorably.

Sony Alpha Rumors revealed that the patent lists the lens at 41.5cm in length, which is 10cm longer than Canon's effort. But the upside, of course, is that constant f/6.7 aperture. Let’s face it, the Canon's f/6.3 is fine in a pinch but most photographers would want a much wider aperture at 200mm, so losing less than 1/3 of a stop – in my opinion – is much of a muchness. But at the telephoto end, the difference between f/6.3 and f/9 is roughly a whole stop. Now that does make a difference.

I love motorsport photography and when panning I often don’t need to worry too much about widening the aperture to let in loads of light, since I'm often shooting in the middle of the day and using relatively slow shutter speeds. So, for that usage, a lens like this would be fantastic, especially if you’re working at an international track with long run-off areas that require extra reach.

But for wildlife photography, I’m more excited about the other lens Sony Alpha Rumors found in Tamron's patent, a 200-600mm f/5.6. I like to use my Nikon Z 180-600mm f/5.6-6.3 VR lens for wildlife photography and 600mm is a great focal length to work with. And while it wouldn’t make a huge difference, a constant f/5.6 aperture would certainly be welcome.

I don’t know if we’ll ever see these lenses come to light – patented products don't always see the light of day – but I for one hope so. Pretty please Tamron?

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If you're into long lenses, my Nikon Z 180-600mm is my favorite lens. You can also find out how to use a 500mm lens to photograph wary wildlife. And if you're looking to upgrade your kit, check out the best lenses for bird photography.

The Tamron 50-400mm F4.5-6.3 Di III VXD is one of our favorite full-frame superzoom lenses. Its combination of superb optical performance, accomplished autofocus and effective optical stabilization gives consistently sharp results throughout the lens' entire zoom range. This is a lens ideally suited to action, sports and wildlife photography: it enables you to zoom between a standard field of view and serious telephoto reach for different compositions, eliminating any risk of missing a fleeting shot due to swapping lenses.

Tamron 50-400mm F4.5-6.3 Di III VXD full review

The Tamron 50-400mm comes in Sony E and Nikon Z mounts, and Tamron has now released a firmware update for the E-mount edition. It states that with the new Ver.4 firmware, there's improved AF performance during zooming when shooting stills and video in AF-C mode. What's more, if you're using the lens on a Sony A9 III, its headline-grabbing 120fps continuous shooting will now work in conjunction with Tamron 50-400mm when the focus mode is set to AF-S, DMF, or MF.

However, this implies that 120fps shooting still isn't supported in AF-C mode; the very focussing mode you're most likely to want when shooting a continuous burst of stills. Granted, you'll still be able to track subjects moving across the image frame at a consistent distance from the camera, but you won't be able to maintain focus of a subject like a cyclist or racing car that's approaching you. We suspect Sony is still reserving 120fps burst shooting with AF-C for its own lenses, hence why Sigma and Tamron E-mount optics don't support it.

To update the firmware for your Tamron 50-400mm, simply download Tamron's Lens Utility software.

December tends to bring with it a whole host of data on the previous year and predictions for the next – but the annual report coming from US gear rental company LensRentals highlights a few odd blips in DSLR growth, as well as a decline in rentals of third party optics. While both Canon and Sony continue to dominate the top 20 list, the Canon EOS 5D Mark IV outrented Sony mirrorless bodies like the A7S II and A7 IV.

The data shared earlier this week is surprising and contradictory to the fact that rentals of Canon DSLR lenses overall declined, while RF rentals jumped. Rentals for the Canon EF mount were down by nearly 17% compared to the previous year, while RF mount rentals increased by about 19%.

Despite the overall decline in EF rentals, the 5D Mark IV was the tenth most popular rental and the third most popular body on the 2024 list. In 2023, that same DSLR was only 14th on the list. The most rented camera body in 2024 was the Canon EOS R5, followed closely by the Canon EOS R6 Mark II.

Could that mean the DSLR is making a comeback? Possibly but, taken with other end-of-the-year data, I think what’s more likely is that the DSLR still holds appeal for photographers on a budget. I consider LensRentals' annual report the list of gear that everyone wants but no one can afford, though some renters use it as a try-before-you-buy strategy.

It makes sense for photographers who only photograph a handful of weddings a year as a side gig to rent, rather than buy, a pricey 24-70mm f/2.8 lens. It makes sense that a DSLR may still be on the top of a rental list while sales overall fall because renting is even more affordable than buying a DSLR.

The 5D Mark IV is the second most affordable body on the LensRentals top 20 list, at $104 / £82 / AU$163 for a single-week rental behind only the Sony A7 III, which is 16th on the list and costs $96 / £75 / AU$150 for a weeklong rental. While the most advanced technology lies inside mirrorless cameras, that doesn’t mean DSLRs take bad pictures – and the rise of mirrorless has meant a decline in the cost of owning a DSLR.

2024's most rented lenses

The 5D Mark IV body isn’t the only odd increase in DSLR gear, however. The most rented lens of 2024 was actually a DSLR lens, the Canon 24-70mm f/2.8L II. That received around 100 more orders than the second-place optic, though that same lens was the sixth most-rented the previous year.

Canon’s RF mount 70-200mm and 24-70mm f/2.8 lenses follow in second and third place for 2024, respectively. The longer sibling to the lens in the first place spot, the Canon EF-mount 70-200mm f/2.8 L IS III, was the fourth most rented lens. So-called holy trinity lenses typically sell for above $2,000 / £1,579 / AU$3,135 yet are considered versatile workhorses, so while the jump for the DSLR optics is odd, it's unsurprising that these lenses are slotted at the top of the most-rented gear.

What brands topped the list?

LensRentals' list of most popular photography and videography gear of 2024 exclusively lists two brands in the top 20: Canon and Sony. That’s consistent with the latest data on camera sales that consistently lists the two manufacturers on the top.

But Nikon made some gains in 2024. LensRentals says that rentals for Nikon gear increased by about 20% from 2023, moving from 4.88% to 5.91% of the market share based on revenue. Nikon Z mount lens rentals increased from 4.22% to 6.61%, a change of about 56% over the previous year. That led to LensRentals theorizing that the jump in Nikon rentals could be due to its push into mirrorless and its 2024 launches.

Another odd insight gleaned from the report is that while lens rentals from Canon, Sony, Nikon, and Fujifilm increased, rentals for Sigma and Tamron decreased. That suggests that renters shifted away from third-party brands slightly in 2024.

But, like the odd rise in 5D Mark IV rentals, it could be an anomaly unique to LensRentals and isn’t necessarily indicative of the industry as a whole. LensRentals also tracks this data by revenue, not the number of lenses rented, and third-party optics tend to sit at a more affordable price point.

Micro Four Thirds lens rentals dropped from 1.62% to 1.33%, a drop of about 17% compared to 2023. Olympus / OM System made up less than 1% of the lens brand rental shares for 2024, while Panasonic, which notably makes both MFT and full frame lenses, was at 1.25%.

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That's the top rented gear for 2024, but what cameras do our reviewers recommend? Read up on the best mirrorless cameras, the best DSLRs, or the best lenses.

In April of this year, Tamron announced that it was developing its first autofocus lens for Canon RF mount – the Tamron 11-20mm f/2.8 Di III-A RXD. Now, with the official release scheduled for mid-December 2024, Canon users have a new wide-angle lens to look forward to.

Although the Tamron 11-20mm f/2.8 Di III-A RXD isn’t brand new – the lens has been available for Sony E mount since 2021 and Fujifilm X mount since 2023 – this version for Canon RF mount is a big step forward.

Canon has been relatively conservative about allowing third-party manufacturers to make autofocus lenses for its RF mount, so this lens offers an exciting new option for Canon APS-C shooters using EOS R100, EOS R50, EOS R10 or EOS R7 mirrorless cameras. With autofocus performance and a solid build, it’s set to become a go-to for anyone using an RF camera system.

The Tamron 11-20mm f/2.8 offers a wide 11-20mm focal range (equivalent to 17.6-32mm on full-frame), making it ideal for architectural and landscape photography. The constant f/2.8 aperture delivers consistent light throughout the zoom range, which is great for low-light situations and video work. Whether capturing stills or shooting video, having a wide aperture wide-angle zoom in a compact package like this is an incredibly useful tool to have in your kit bag.

One of the features I think Canon users will appreciate about the lens is its portability. Despite its impressive f/2.8 aperture and complex optical design (12 elements in 10 groups), the lens remains surprisingly compact, measuring just 84.2mm in length and weighing only 340g. That makes it an excellent choice for anyone who needs a versatile lens without the bulk, especially when paired with the APS-C mirrorless cameras it's been developed for.

In terms of autofocus, Tamron’s proprietary RXD motor ensures fast, accurate, and near-silent performance. This is crucial for video, where noisy autofocus can be a big problem. Whether shooting fast-moving subjects or just trying to stay quiet during a shoot, the lens promises reliable, smooth performance making it a great choice for both stills and video.

At $659 / £650, the Tamron 11-20mm f/2.8 Di III-A RXD offers excellent value, especially for those looking for an affordable, high-quality wide-angle zoom lens. It’s set to be released on December 12, 2024.

Check out our Black Friday Hub for the latest and greatest photography deals!

And isn't it ironic, don't you think? China has become the victim of counterfeiting. Specifically, used and/or refurbished Tamron lenses have been fraudulently sold as brand new items by some Chinese retailers to Chinese consumers.

According to a statement released by Tamron China:

"Recently, our after-sales service department has found that some consumers purchased products with fake packaging (not mainland China), parallel imports disguised as mainland China products, and second-hand refurbished products disguised as mainland China new products in the process of serving consumers."

The statement goes on to say that Tamron is working with relevant authorities to crack down on the counterfeiters in an attempt to reduce the number of counterfeit products in circulation. Tamron recommends customers in mainland China only purchase Tamron products from the authorized resellers listed on the Tamron website, and it has released photos of the fake packaging to educate consumers in how to spot the counterfeits.

In order to expose the fraudsters, Tamron has compiled screenshots showing specific businesses known to be selling misrepresented products. The company has also provided information on how to check that a lens's serial number matches the serial numbers assigned to lenses destined for mainland China. Counterfeit box seals are visually identifiable as fake when compared directly with a real sticker. Counterfeit lenses have also been found shipped with paper warranty cards, where genuine lenses would require the warranty to be registered online via a QR code on the box.

Even details like the type of paper used for the lens and hood bags can give away a counterfeit product. Lastly, where a used/refurbished product is being passed off as new, it'll likely show subtle signs of wear, notably on the mount and electrical contacts.

While the news here may be specific to lenses being sold in China, it'd be foolish to assume similar counterfeit products won't make their way into international markets. So wherever you live, if you're thinking about purchasing a Tamron lens - or indeed any brand of lens - be sure to buy from a well-known, trusted retailer.

Story credit: Photo Rumors

For years Tamron's 90mm macro lenses have received many accolades from DSLR users and film photographers, and at long last this fantastic lens has now come to the world of mirrorless.  

Tamron has announced the new Tamron 90mm f/2.8 Di III VXD Macro designed specifically for Sony E- and Nikon Z-mount mirrorless camera systems. This highly anticipated full-frame lens is said to deliver outstanding performance for portrait and macro photography, offering photographers a versatile tool for capturing everything from lifelike close-ups to beautifully composed portraits. 

Tamron is currently celebrating the 45th anniversary of Tamron’s original 90mm macro lens, originally introduced in 1979, and this latest iteration maintains the legacy of high optical performance with cutting-edge features. 

One of the lens's key features is its 1:1 maximum magnification ratio and a minimum focusing distance of just 9.1 inches, making it ideal for detailed close-up shots.

Sample Images

This lens stands out as the first in Tamron’s lineup to feature a 12-blade circular diaphragm, producing smooth, rounded bokeh and creating impressive starburst effects when stopped down. 

Weighing only 1.4 lbs and measuring 5 inches long, the lens is both compact and lightweight, allowing for comfortable handheld shooting during extended sessions. This compact design ensures portability without sacrificing performance, making it an excellent choice for photographers on the go.

At the heart of this lens is Tamron's VXD (Voice-coil eXtreme-torque Drive) motor, which offers quiet and precise autofocus performance. Ideal for both photography and video work, the VXD system also includes a focus limiter switch, preventing unnecessary focus hunting and allowing for more efficient shooting in challenging conditions. This combination of advanced autofocus features makes the lens well-suited for capturing fast-moving subjects while maintaining exceptional sharpness and detail.

This new 90mm f/2.8 Di III VXD Macro lens also includes a newly designed lens hood with a sliding window, allowing photographers to rotate polarizing filters with ease without needing to remove the hood. Additionally, it is compatible with Tamron’s lens utility software, which allows users to customize lens settings and update firmware for enhanced functionality. This attention to both hardware and software ensures a seamless, user-friendly experience for all photographers.

By filling a focal length gap in their mirrorless lineup, this lens offers photographers the chance to explore new creative possibilities. From portraiture to macro photography, the new Tamron 90mm f/2.8 Di III VXD Macro is set to become a standout option for both professionals and enthusiasts alike.

This new lens is only available in Nikon Z-mount or Sony E-Mount currently and can be pre-ordered from B&H for $699  or at Wex Photo Video for £599.

Tamron has been knocking it out of the park with its recent lens releases, and thanks to a leak, we now have information about a brand-new macro lens.

According to the leaked press release which has appeared on many camera rumor sites (including SonyAlphaRumors), the Tamron 90mm f/2.8 Di III VXD 1:1 Macro lens will be officially launched later this week, with Tamron stating that its 'legendary 90mm macro is reborn for mirrorless'. The lens will be available for full-frame Sony E and Nikon Z mounts and hosts impressive features to rival most macro lenses.

The 90mm f/2.8 will feature Tamron's first 12-blade aperture diaphragm enabling users to capture circular bokeh and minimal vignetting when using the lens for macro. Tamron states that the 12-blade design creates 12 rays for stunning starburst effects when stopped down, making it ideal for dramatic images with point light sources.

The lens has been ergonomically designed to be held in the palm for an extended amount of time, measuring just 126.5mm long and weighing 630g, it is considerably compact for a 90mm f/2.8 macro lens.

Tamron lenses have recently been praised for quick and efficient AF and this lens looks to follow suit with the addition of a focus limiter that can restrict the AF coverage. This may sound counter-intuitive however, when you are focusing on a stable subject with a macro lens, it prevents the AF from hunting the lens range of focus enabling quicker adjustments.

Manual focus is still an option, and a preference for some when shooting macro, and the rotational torque of the focus ring has been calibrated to assist with precise manual adjustments.

Other notable features include a new hood design with a sliding window for filter adjustments, compatibility with Tamron Lens Utility software enabling users to further fine-tune lens settings, and a minimum focusing distance of just 0.23m.

From what we've seen, the Tamron 90mm f/2.8 Di III VXD 1:1 Macro lens will be priced at just $699 / £525 – $400 less than Sony's 90mm macro equivalent.

The original Tamron 90mm macro lens was a fan favorite among users, and this lens has the potential to be the same, especially at such an attractive price!

It is also worth noting, that although the leaked information and images appear to be taken from an official Tamron press release, no official announcement has yet taken place.

You may be interested in our guides to the best Sony lenses, the best Nikon lenses, and the best macro lenses.

Tamron is launching a Nikon Z version of its 50-400mm f/4.5-6.3 Di III VC VXD superzoom. The full-frame mirrorless lens was launched in Sony FE mount in 2022, and this 8x zoom will now become Tamron's fifth lens available in the Nikon Z mount.

The lens is unusual as it dramatically increases the range of the established 100-400mm range twofold - turning a telephoto zoom into an all-in-one superzoom that can be used for a wider range of subjects than just sports and wildlife. 

Furthermore, the lens offers closer focusing than you might expect from a lens of this type - offering a 1:2 magnification at the 50mm end, making it a useful substitute for a true macro lens. The minimum focus setting is just 0.25m (9.8in) at this setting - whilst at 400mm you can focus down to 1.5m (59in), with a 1:4 maximum magnification.

In our Tamron 50-400mm f/4.5-6.3 Di III VC VXD review we noted that "For action, sports and wildlife photography when you need to swap between a standard field of view and serious telephoto reach for different compositions, there’s always the risk of missing a great shot while you’re changing the lens on your camera body. This  solves the problem with its unusual 50-400mm zoom range, giving you both options in one package. It’s quite weighty for standard focal length shooting, at more than a kilogram, but has refined handling, fast autofocus, and effective optical stabilization".

The image-stabilized lens is constructed from 24 elements in 18 groups - including two XLD (eXtra Low Dispersion), three LD (Low Dispersion), one GM (Glass Molded Aspherical), and one Hybrid Aspherical lens elements. The lens weighs 1,180g (41.6oz).

The iris diaphragm uses nine blades, and it has a 67mm front filter ring. There is a connector port for use with Tamron's Lens Utility that allows you to update firmware and to implement a Focus Limiter function.

Existing Nikon Z-mount Tamron lenses include the 28-75mm f/2.8 Di III VXD G2, 70-300mm f/4.5-6.3 Di III RXD, 35-150mm f/2-2.8 Di III VXD, and 150-500mm f/5-6.7 Di III VC VXD.

The Tamron 50-400mm f/4.5-6.3 Di III VC VXD will go on sale from September 19 for $1,299/£1,249, and comes supplied with a flower-shaped lens hood. An Arca-Swiss compatible tripod collar is sold as an optional extra for $129/£109.

Tamron has launched a new, longer superzoom lens for Sony full-frame mirrorless camera users. Tamron 28-300mm f/4-7.1 Di III VC VXD offers greater range than the existing Tamron 28-200mm f2.8-5.6 Di III RXD, but even more impressively now adds built-in image stabilization.

With its 10.7x zoom ratio and measuring just 126mm (5in) in length, the 610g  (21.5oz) lens will be an attractive choice for those wanting all all-in-one zoom that can tackle wide-angle and telephoto subjects without needing to change lens - making it a great travel companion.

The lens has a minimum focus distance of 0.19m (7.5in) offering a maximum magnification ratio of 1:2.8 at the wide-angle end; the closest focusing distance is 0.99m (39in) when zoomed out to 300mm.

The lens is built from 20 elements in 13 groups, a nine-blade diaphragm, and has a front-mounted 67mm filter mount. It includes one XLD (eXtra Low Dispersion) lens element and an LD (Low Dispersion) lens element to help control chromatic aberration. We are told that the lens has The lens has a "moisture-resistant construction", and its front element has a protective fluorine coating.

It also features a Focus Set button and has a built-in connection port for the dedicated Tamron Lens Utility software

The Tamron 28-300mm f/4-7.1 Di III VC VXD goes on sale in late August for $899 / £879, and comes supplied with a flower-shaped lens hood.

Let’s face it, many of us digital photographers don’t really like swapping between lenses on our cameras, and I’m one of them. The ever-present risk of dust blowing into the camera and sticking to the image sensor plays on my mind, especially in inclement conditions. If I’m off to shoot landscapes, cityscapes, or architectural interiors, it’s a pain to have to keep switching between wide-angle and standard lenses. 

The Tamron 17-50mm means I don’t have to. Mounted on a full-frame Sony body, it has a range of viewing angles that covers everything from 103.7 to 46.8 degrees. In practical terms, that’s really wide-angle coverage at the short end and an entirely natural perspective at the other. The zoom range also works really well for vlogging, giving the opportunity to set the scene by including the backdrop while presenting to camera, as well as zooming in for a close-up. 

Suffice it to say that this Tamron is a very versatile zoom that aims to be one of the best lenses for Sony cameras and the best E-mount lenses for vlogging.

Tamron 17-50mm F4 Di III VXD: Specifications

Tamron 17-50mm F4 Di III VXD: Price

The Tamron 17-50mm F4 Di III VXD  has a list price of $699 / £719, measures 75x114mm, and weighs 460g. 

It’s not the first wide-to-standard zoom of sorts that I’ve seen from Tamron. There’s also the Tamron 20-40mm F2.8 Di III VXD for Sony cameras which naturally has less outright zoom range but is an f/stop faster and weighs in at an even smaller and lighter 74x87mm and 365g. That one comes with a $699 / £749 price tag. Then there’s the own-brand Sony FE 24-50mm F2.8 G at a pricier $1,098 / £1,149, which has vital statistics of 75x92mm and 440g. The Sony lens doesn’t come anywhere close in wide-angle potential but again has a faster f/2.8 aperture. 

All in all, if you want to maximize your wide-angle to standard zoom range and can settle for a constant f/4 aperture, the Tamron 17-50mm looks good value for money.

Tamron 17-50mm F4 Di III VXD: Design & Handling

The Tamron 17-50mm F4 claims to be a ‘world first’ for Sony E-mount full-frame cameras, covering ultra-wide-angle to standard focal lengths in one convenient lens. Part of that ‘convenience’ as far as I’m concerned is that it’s compact and lightweight, measuring 75x114mm and weighing a mere 460g. 

Another bonus is that the overall physical length remains fixed throughout the zoom range, although there’s an extending inner barrel that nears the front of the outer barrel at short and long zoom settings, being fully retracted at around the 30mm mark. And speaking of marks, the zoom ring has markings for 17mm, 20mm, 24mm, 28mm, 35mm, and 50mm focal lengths. That covers a broad spread but, as usual with lenses for mirrorless cameras, there’s no focus distance scale.

Although the outer physical length remains fixed throughout the zoom range, I can’t say the same for the minimum focus distance. This stretches from 0.19m at the wide-angle end to 0.3m at the longest zoom setting. Even so, those are pretty short distances throughout, giving a maximum reproduction magnification of a generous 0.26x at the long end. 

From a creative point of view, I like that the short minimum focus distance at wide-angle focal lengths lets me get in really close to objects and exaggerate the perspective between foreground and background elements within a scene. It also makes the lens particularly useful for vlogging. For shooting video in general, the lens is designed to have minimal focus breathing and the constant f/4 aperture throughout the zoom range is a bonus.

When it comes to glass, the lens has 15 elements arranged in 13 groups and boasts 3 LD (Low Dispersion) elements, a GM (Glass Molded Aspherical) element and 2 hybrid aspherical elements. The mix aims to maximize sharpness and clarity while minimizing color fringing and other aberrations.

Autofocus is courtesy of Tamron’s VXD (Voice-coil eXtreme-torque Drive) linear stepping motor design. Again, this is ideally suited to both stills and video capture, being quick and snappy for stills and enabling smooth and virtually silent autofocus transitions when shooting video. A customizable function button is also featured, defaulting to autofocus-hold.

While the lens is undeniably lightweight (in a good way) it feels solid and well-built. The construction features multiple weather-seals and there’s a fluorine coating on the front element to repel moisture and greasy fingermarks. The lens comes complete with a petal-shaped, bayonet-fit lens hood which, as usual, is reversible for compact stowage. The pinch-clip lens cap is easy to fit and remove even with the hood in its forward-facing orientation.

Tamron 17-50mm F4 Di III VXD: Performance

I found the Tamron 17-50mm really easy to live with. I really enjoyed the way that the zoom range made the lens very adept for anything and everything from landscape and architectural shots to photos requiring a standard field of view. Autofocus is consistently accurate, while sharpness and clarity are very pleasing throughout the zoom range, although sharpness towards the extreme edges and corners of the frame could be a little better.

Naturally, the f/4 aperture rating isn’t exactly ‘fast’ but the 0.3m minimum focus distance at the long end of the zoom range gives plenty of scope for close-ups, with a tight depth of field. Sharpness remains very good in the central region of the frame, even at close shooting distances, a further upside being that bokeh is soft and smooth. That’s something I’ve usually found with Tamron lenses.

Many current and recent lenses designed for mirrorless cameras, especially wide-angle lenses, rely heavily on automatic in-camera correction for distortion. This Tamron is no exception, with extreme barrel distortion at the shortest zoom setting but, with correction applied, distortions throughout the zoom range become pretty much a non-issue.

Tamron 17-50mm F4 Di III VXD: Sample Images

The following gallery of images was taken throughout the zoom range of the lens, mounted on a Sony A7 II body. The location is the Bishop’s Palace & Garden in the Somerset city of Wells in the UK. For lab tests, we used the lens with a Sony A7R III camera body.

Tamron 17-50mm F4 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:

Center-sharpness is impressive throughout the entire zoom range, although it pays to narrow the aperture a bit in the 35-50mm sector. Stopping down a bit also improves edge-sharpness, which comes on strong in the 17-35mm section of the zoom range, but there’s room for improvement at the longest 50mm setting.

Fringing:

Color fringing is very negligible even at the extreme edges and corners of the frame in the 17-35mm sector of the zoom range. It can become slightly noticeable at the long end when using wide apertures but remains well within the remit of automatic in-camera correction.

Distortion:

Barrel distortion is extreme at 17mm and still very noticeable at 24mm. There’s only minor barrel distortion at 35mm and a touch of pincushion at 50mm. Like many recent lenses for mirrorless cameras, the Tamron relies heavily on automatic in-camera correction, which works very well.

Tamron 17-50mm F4 Di III VXD: Verdict

For walkabout shooting, street photography and for landscapes, cityscapes and architecture, I find that I generally don’t need anything longer than a 50mm focal length, but I often want greater wide-angle coverage than a ‘standard’ 24-70mm zoom lens can deliver. The Tamron 17-50mm is a great alternative to standard fare, really stretching the envelope in terms of expansive viewing angles, while still giving me a standard perspective at the long end, as and when I want it. With nice handling and build quality, fast and consistently accurate autofocus, along with impressive image quality, this Tamron lens was an instant hit for me, and it’s very good value at the price.

Alternatives

The most exciting lenses recently have been coming from third-party players, with Sigma and Tamron battling it out in some friendly competition for new and exciting focal length combinations, or wide-aperture zooms like the recently launched Sigma 28-50mm f/1.8.

This time it is Tamron’s turn to grab the spotlight with the announcement of its new 50-300mm f/4.5-6.3 Di III VC VXD lens, designed for Sony E-mount full-frame mirrorless cameras.

The new lens addresses user feedback about the limitations of the 70-300mm zoom range by offering a starting focal length of 50mm. Yet despite its telephoto capabilities extending even further, now covering a full 250mm, the 50-300mm f/4.5-6.3 VC maintains a compact design, measuring 150mm (5.9in) in length and weighing 665g (23.5oz). When used on an APS-C camera, the focal length becomes a mighty 75-450mm.

The lens features a complex arrangement of 19 elements in 14 groups, with special elements including 2 XLD (eXtra Low Dispersion) and 2 LD (Low Dispersion) lens elements to control chromatic and other aberrations. Tamron has also used its BBAR-G2 (Broad-Band Anti-Reflection Generation 2) coating to suppress ghosting and flare.

It is also equipped with the VXD (Voice-coil eXtreme-torque Drive) linear motor focus mechanism, which according to Tamron should provide quiet and responsive autofocus performance – and offers compatibility with camera functions such as Fast Hybrid AF and Eye AF. 

Additionally, the VC (Vibration Compensation) system enhances stability when moving and panning, making it easier to capture clear images in various shooting conditions. Tamron claims that at focal lengths under 100mm, the lens can also employ some sort of AI to enhance stabilization.

At the 50mm end, the lens achieves a minimum object distance (MOD) of 0.22m (8.7in), allowing for close-range shooting with a magnification ratio of 1:2, which qualifies the lens as a half-macro. At 300mm, the lens has a MOD of 0.9 m / 35.4 in, and a maximum magnification ratio of 1:3.1.

The new 50-300mm f/4.5-6.3 Di III VC VXD lens has a 67mm filter size, moisture-resistant construction, and a fluorine coating to repel grime. The lens barrel also features a focus set button and a zoom lock mechanism. 

In addition, it supports the recently updated Tamron Lens Utility software – which enables some customization of lens functions and the ability to update firmware. It is designed to offer high convenience and operability with features like a focus set button, a zoom lock mechanism, 

The Tamron 50-300mm f/4.5-6.3 Di III VC VXD lens will be available starting June 27, with a retail price of $799 / £819 / AU$1,699 and is available to preorder now.

You might be interested in the best telephoto lenses and the best Sony telephoto lenses – as well as the best Sony lenses across all focal lengths. 

It looks like a new superzoom lens is on the way from Tamron this week. According to a leaked press release, it will be a $799 full-frame lens for Sony E mount.

The lens in question is the Tamron 50-300mm f/4.5-6.3 Di III VC VXD telephoto lens. Speculation as to whether it is an update to the 50-400mm f/4.5-6.5 or just an alternative option has begun. The specifications seem to indicate both, with the leaked info (shared by Sony Alpha Rumors) suggesting it is an "extremely compact" upgrade. 

Despite having a large focal range, from 50mm on the widest end to 300mm on the narrowest, and a more than competent variable aperture range of f/4.5-6.3, the lens measures just 150mm with a light weight of 665g. Compared to the Tamron 50-400mm, which weighs 1,115g, the new upgrade will certainly be a more appealing option for landscape photographers as any weight saved on hikes is valued. 

Much like all of Tamron's recent releases, the lens arrangement promises to effectively control aberrations and produce high image quality throughout the entire zoom range. This was certainly the case when testing the Tamron 70-180mm f/2.8 Di III VC VXD G2 and now must be considered the norm with new Tamron lenses. 

The lens also incorporates a VXD linear motor focus mechanism for quiet, fast, and efficient AF and tracking – which, coupled with the image stabilization, should make for a great shooting experience, be it slow-paced landscapes or speedy wildlife. 

Other notable features include a moisture-resistant construction, fluorine coating, a 67mm filter thread and compatibility with Tamron's Lens Utility software – which has just undergone a significant update that enables greater control and customization for Tamron users. 

The lens will offer a lightweight alternative choice to the existing 50-400mm. Although it is shorter on the long end, the reduced size and weight will be an appealing option for most shooters, improving on its already versatile offerings. 

At present the Tamron 50-300mm F/4.5-6.3 Di III VC VXD isn't official, but it is strongly believed that we will receive an announcement this week. I look forward to seeing the market's reaction to this lens, as Tamron could well have another award winner on its hands. 

Tamron appears to be on an upward trajectory developing some fantastic affordable lens options that do not compromise on performance. Recent releases saw two excellent award-winning zoom lenses, the Tamron 70-180mm f/2.8 Di III VC VXD G2 and the Tamron 28-75mm f/2.8 Di III VXD G2, continuing to show why third-party lens manufacturers are outselling native lenses. 

You may also be interested in our guides to the best lenses for landscapes, the best lenses for bird photography, and the best cheap lenses. 

Tamron has released a new update to its Lens Utility software, and revised the mobile version for Android devices.

Tamron Lens Utility was originally introduced in October 2021 and allows owners of compatible Tamron lenses to customize various functions to suit their shooting style and preferences. A year later Tamron expanded the software to be compatible with Android devices, so lens parameters could be adjusted on the go. The system works via a built-in USB port on the barrel of compatible Tamron lenses, allowing the lens to be connected directly to a computer or Android device.

Version 3.0 of Tamron Lens Utility introduces several new and improved features:

Delay Time Start is a feature that delays activation of a focus shift after the Focus Set Button has been pressed. The purpose of this is to prevent camera shake or button noises being recorded when the Focus Set Button is pressed.

Version 3.0 contains a new Focus Stopper feature. This fixes the focus range when manual focus is operated during video shooting, thereby preventing you from overshooting your focal point.

Tamron has also added a new astrophotography feature to the Lens Utility software. Astro Focus Lock (Astro FC-L) enables focus to be shifted to infinity, in order to fix focus on stars, after which the focus ring is locked to prevent accidental focus adjustment.

Lastly is a new feature exclusive to Tamron Lens Utility Mobile: Digital Follow Focus (DFF). This allows you to fix a focus range between two points and perform focus operations from your phone screen, such as follow focussing.

Tamron Lens Utility version 3.0 is available to download now.

UPDATE: Lumix Japan has issued a public apology, after the discovery that it had been using photographs taken with a Nikon camera on its website spread like wildfire across the internet. 

As the story spread, more online sleuths began digging, revealing that the company had also been using images taken using Canon and Tamron equipment. (There's a good roundup of the instances at Photo Rumors.) 

Panasonic has removed the original offending image (see below) from the Lumix S9 product page. However, the image remains on the Lumix GH5S product page – so it remains to be seen how many other images shot on rival equipment are still on the website. 

The statement (machine translated from the original Japanese) is as follows:

"We have received many inquiries regarding the images on the product website of the new full-frame mirrorless single-lens camera Lumix S9. 

"The images used on the product website to introduce functions and scenes were partially licensed images from a stock photo service.

"In addition to insufficient consideration of whether the images were appropriate for the product pages of a camera that generates creativity, the annotations on the website were in a location and with content that was difficult for customers to understand, as they were not taken with the new product.

"We take your comments seriously and have reconsidered. We will make the content easier to understand and communicate with users in a user-friendly manner. As a camera manufacturer, we will strive to meet your expectations. We will discuss a review of the content of the Lumix website so that we can meet your expectations as a camera manufacturer.

"We would like to take this opportunity to express our sincere condolences to our loyal customers and to all Lumix fans and camera enthusiasts. We are very sorry for the anxiety and concern this situation has caused. All of us involved have renewed our commitment to face everyone more sincerely and make changes."

ORIGINAL STORY (May 28 2024): In a major black eye for the manufacturer, Panasonic has been caught red-handed using an image taken on a Nikon camera on the product page for its latest release, the Panasonic Lumix S9.

It gets worse. Not only was the image taken on a Nikon camera, it was taken by a former Nikon ambassador.

It gets worse. Not only does Panasonic use the image to represent the capabilities of the Lumix S9, it has used the same image in the same way for at least one other camera: the Lumix GH5S. What the heck is going on?

If you go to the Japanese product page for the S9, specifically the Animal Recognition section, you will see a beautiful image of two European bee eater birds (next to an image of a beagle, which I'll come back to). "'Animal Recognition' supports birds, canines (including wolves, etc.), and felines (including lions, etc.)" reads the Japanese text. 

If you're anything like me, you would assume that this photograph – specifically used to demonstrate the capabilities of the camera's autofocus system – was taken using the camera in question. Or, at least, using the autofocus system in question. 

We would be wrong. 

This photograph was actually taken in 2016. Not on a Panasonic camera but on a Nikon, by a former Nikon ambassador – Romanian photographer, Mircea Bezergheanu. You can see as much if you search for the image using Google, as I did below:

If you look at the image above, you'll see that the top link is to a Romanian Nikon website, and a piece by Bezergheanu on how he photographed the bee eaters (with a lot more beautiful imagery). The same article seems to appear here, on another Romanian site. 

I asked Bezergheanu which camera he actually used to take the photo, and it was the Nikon D810 – not the Lumix S9. Nor the Lumix GH5S, whose Japanese product page also uses the image (as seen in the second link in the above Google search). 

Japanese retailer System 5 also used the image on its listing for a third camera, the Lumix S5II. While this obviously isn't Panasonic directly, it certainly looks like it's from a bundle of publicity material supplied by the brand. 

So what does all this mean? Well, unless Panasonic has a very good explanation (and I have reached out for comment, but received no reply as of writing), this is a huge breach of trust for the brand. 

In the interest of fairness, the product page does contain the text "Images and illustrations are for illustrative purposes only." However, also in the interest of fairness, you would expect that an illustrative image could be pulled from the vast library that surely must have been taken with the camera or technology in question.

Had this at least been taken with another Lumix, using the same AF tech, then that would be acceptable to me. But when you are presenting a photograph as if it has been taken on your equipment, but it has so obviously been taken on a rival camera using completely different technology… how can this possibly be an accurate representation of your product? 

And if you're being misleading with the images, pretending that they show me what your camera can do, how can I trust anything else you tell me? Are the videos shot on a Canon? Do the RAW files come from a Fujifilm? 

I don't even think that's being facetious – I genuinely don't know. Because remember that cute picture of the beagle, next to the birds? That's a widely available stock photo, as revealed by Photo Rumors. So how many images on this product listing for the S9 were actually taken with an S9? Or the GH5S, for that matter? 

It reminds me of the time (one of four, in fact) that Huawei was caught pretending that photos taken on a phone were actually shot on a camera (ironically another Nikon DSLR, the Nikon D850). Whether you think it's disingenuous or outright dishonest, it's a bad look for the company. 

For his part, Bezergheanu is taking it in his stride that Panasonic is using his photo to promote the capabilities of the S9. "I'm a subject in the international press," he wrote on Facebook. "I really want to test that device too, so I invite them to La Colibe, Corbu – archaic Romanian hamlet".

Panasonic needs to make a public response, and pronto. And it should probably take Mircea's photo off its website, too. 

Take a look at the best Panasonic cameras (whose AF really doesn't need misrepresenting, these days) along with the best L Mount lenses for S bodies and the best Micro Four Thirds lenses for G cameras. 

There was much rejoicing last week when both Sigma and Tamron announced their first ever Canon RF lenses, following an unspoken five-year embargo on third parties launching autofocus lenses for Canon's mirrorless camera system.

However, last week's lenses from Sigma and wide-angle Tamron lens were strictly APS-C (and non-stabilized) – and Canon says that it "can't answer" whether or not third parties are allowed to release full frame lenses for the RF mount. 

Japanese outlet MyNavi contacted Canon Japan directly to find out more. It asked whether the company had licensed Sigma and Tamron to produce any kind of RF lens – such as full frame optics – or whether their agreements limited them specifically to APS-C lenses. 

"Regarding this point, I asked, 'Are there any restrictions in this contract, such as only APS-C compatible lenses that are not equipped with an image stabilization mechanism are allowed?'" wrote the site. "I can't answer," came the reply.

"Finally, I asked damemoto [a Japanese expression essentially meaning 'nothing to lose'] if there is a possibility that a full-frame compatible lens will be released from a third party, but unfortunately there was no comment."

So, reading between the lines, right now Canon RF users won't be getting full frame autofocus lenses from the likes of Sigma and Tamron. 

This is what I suspected, when I wrote my reaction to last week's announcements – though admittedly, I was completely focused on the APS-C aspect and I hadn't even noticed that the lenses didn't feature stabilization. Still, I think it's the lack of full frame lens democratization that's the big story here. 

It's extremely exciting that APS-C EOS R shooters will have the option for third party autofocus lenses – and it expands the range of smaller RF-S glass available for cameras like the Canon EOS R50 and EOS R100 – but keeping full frame lenses locked down is such a curious strategy. 

For a company that just experienced its first Q1 profit drop in four years, I would think that giving customers more reasons to buy into the EOS R system – not less – would be the wisest move to make…

Take a look at the best Canon telephoto lenses, the best Canon portrait lenses, and the best Canon superzoom lenses.

It's about bloody time. 

As an RF user since the original Canon EOS R launched, back in 2018, this is the day I've been waiting for: Canon has taken the shackles off third-party manufacturers producing autofocus RF lenses. And, in doing so, it has taken the shackles off the RF mount as a whole.

In case you missed it, the two biggest third-party brands have just announced their first RF optics: a wide-angle lens from Tamron and no fewer than six lenses from Sigma – all autofocus, all officially sanctioned by Canon. 

Some big questions still remain, but before I get to those – why is this such a big deal, and why has Canon hamstrung third-party glass makers until now? 

Canon VS third-party brands

To be clear, these are not the first third-party lenses for the RF mount – and nor are they the first autofocus lenses for it, either. They are, however, the first autofocus RF lenses that Canon has allowed to remain on the market.

Companies producing manual focus RF lenses has never been an issue. Indeed, some of the best Canon RF lenses are from the likes of Laowa, Lensbaby, Voigtländer and Zhongyi. 

The problems started when third parties started bringing out lenses with autofocus. I first noticed this in June 2021, when Samyang pulled its RF lenses from sale, followed in August 2022 by Viltrox saying, "we have been told by Canon to stop selling all RF mount products". 

The reasoning was never made clear, as nobody ever commented on the record. My assumption is that the legal reason Canon stopped them is because they were reverse-engineering the RF mount's electronics to produce their AF systems, which is a violation of Canon's technology patents. 

As for the actual reason Canon didn't want third parties making AF RF lenses? It's possible that it wanted the entire market of new EOS R investors to itself, or at least wanted to make money from licensing the RF mount to third parties. 

Personally, I suspect it was as much about protecting the integrity of the fledgling EOS R system. Canon's entire future was resting on the performance of its expensive new cameras, particularly when Dual Pixel AF II was introduced. If the performance was compromised by reverse-engineered lenses not using the proper focusing protocols, that would tarnish the reputation of EOS R bodies.

What changed? 

Whatever the reason, Canon threw down the ban hammer and no third parties were allowed to make RF lenses with autofocus. Even the big boys like Sigma and Tamron, when asked as recently as CP+ this year, had no answers for us. 

However, Tsuyoshi Tokura, head honcho of Canon's imaging unit, told Japan's MyNavi that "Canon is communicating with third-party manufacturers regarding RF mount lenses," noting that "There are no restrictions." 

Which brings us to today, where Tamron and Sigma have both announced their first RF lenses complete with autofocus – and complete with the very clear asterisk, "This product is developed, manufactured, and sold under a license agreement with Canon Inc."

So all is good, now, right? 

Well, maybe. Probably. But there is still something very conspicuous about Tamron and Sigma's announcements: they only pertain to RF-S lenses, designed for Canon's APS-C cameras.

For clarity, these RF-S lenses will work on full-frame RF cameras (such as the Canon EOS R5 and R6 Mark II) but since they don't cover the entire sensor they can only be used in crop mode. 

So, is this just a coincidence? Is Tamron simply transplanting its Tamron 11-20mm f/2.8 Di III-A RXD because it's a proven and popular APS-C lens? Is Sigma bringing out six existing APS-C lenses because it's the easiest way to get in on the act? Or is it possible that Canon is only licensing RF-S lenses, and keeping the full-frame RF lens market to itself?

Because if I'm Sigma, and I've just released a 5-star 50mm f/1.2 lens, I probably want my award-winning new lens available for the RF mount. Except that Canon already makes its own, much more expensive 50mm f/1.2 lens – and it probably doesn't want any competition for it.

Time will tell. Maybe I'm making mountains out of molehills. Either way, I'm just happy that we're finally getting RF glass from Tamron and Sigma – and the RF mount just took a major step toward usurping Sony's E mount dominance. 

Take a look at the best Canon cameras, which includes some of the best DSLRs along with the best mirrorless cameras on the market.