Japanese business magazine Diamond reports that Sony Group has proposed acquiring lens manufacturer Tamron. The potential deal is said to be worth approximately 200 billion yen.
I cannot access the complete Diamond article, so some details and context may be missing. However, if the report is accurate, the timing could be particularly significant for Canon users. Tamron has only recently begun producing autofocus lenses for Canon’s RF mount, starting with APS-C models for EOS R cameras.

Why would Sony want to acquire Tamron?
Sony has maintained a stake of roughly 15% in Tamron for many years. At the same time, activist investment firms—including Effissimo Capital Management—have built substantial positions in the lens manufacturer.
Buying Tamron outright could help Sony limit external influence over an important business partner. It would also give the company greater control over Tamron’s optical expertise, manufacturing resources, and future product strategy.
Tamron is already one of the most important third-party lens manufacturers for Sony E-mount, so the two companies have a well-established relationship.

What could the acquisition mean for Canon RF users?
Until recently, photographers using Canon mirrorless cameras had very limited access to third-party autofocus lenses. The arrival of Tamron’s first APS-C RF-mount lenses therefore represented an important step toward a broader and more competitive lens ecosystem.
For EOS R7, R10, R50, and R100 owners, third-party APS-C lenses can fill obvious gaps in Canon’s RF-S lineup. Tamron is especially well positioned to provide compact zooms with useful focal ranges and competitive prices.
A Sony takeover could now raise questions about how far Tamron’s support for Canon RF will expand.

Possible consequences for the Canon RF system

• RF development could continue normally: Tamron may be allowed to remain operationally independent. If its Canon lenses are commercially successful, there would be a clear financial reason to continue producing them.
• New RF lenses could receive a lower priority: Under Sony ownership, Tamron might devote more development and manufacturing resources to E-mount products.
• Full-frame RF lenses could be delayed: Canon users are still waiting to see whether Tamron’s APS-C support will eventually lead to full-frame RF products. A change in ownership could influence that decision.
• Canon’s licensing strategy could become more complicated: Tamron’s RF products presumably depend on an agreement with Canon. Canon may be less enthusiastic about sharing technical access with a lens company controlled by one of its main camera competitors.
• The RF-S lineup could lose momentum: Tamron had only just begun contributing to Canon’s APS-C mirrorless system. Any slowdown would be disappointing for users hoping to see more affordable alternatives to Canon lenses.

Canon may have more to lose than Sony
Sony already benefits from one of the largest collections of native mirrorless lenses on the market. Canon, by comparison, has only recently started opening the RF mount to selected third-party autofocus products.
That makes Tamron’s entry especially important. The company could help strengthen the RF-S system with lenses that Canon may not prioritize itself. If Sony ownership limits Tamron’s RF ambitions, Canon users could lose a promising source of new lenses just as the lineup was beginning to expand.
There is no reason to assume that Tamron would immediately stop making Canon lenses. Existing agreements could remain in place, and continuing to serve RF users might be commercially attractive. Nevertheless, Sony ownership would introduce a new strategic complication that did not previously exist.
Diamond is considered a credible source of Japanese financial reporting, but it remains unclear whether the proposed acquisition will lead to a completed transaction. From Canon’s perspective, the most important question is whether Tamron’s recent move into APS-C RF lenses will continue—or whether the expansion will end before it really gets started.
Would a Sony-owned Tamron continue developing RF and RF-S lenses, or would Canon users once again be left with fewer third-party choices? What do you think?

Chris tested the four High Res cameras from each company. That’s what he thinks about them:

• At base ISO, this model resolved slightly less detail than the other cameras, though the difference is very minor.
• At higher ISOs (above 5000), it applies aggressive baked-in noise reduction to the RAW files, resulting in cleaner images but a noticeable loss of fine detail.
• It has the slowest readout speed of the group at around 37ms, which can result in more rolling shutter distortion when using the electronic shutter.
• However, its in-camera high-resolution multi-shot mode is a notable feature that works effectively when shooting on a tripod.

• Thanks to its higher resolution, it offers a noticeable improvement in overall detail, making it highly effective for heavy cropping or large-scale printing.
• It showed strong dynamic range and high-ISO performance, which is attributed to image-stacking technology and the noise advantages of having more pixels at equivalent viewing distances.
• Its readout speed has improved significantly over previous generations to around 19–20ms, though some rolling shutter can still be observed in fast-action scenarios.

• Its overall sharpness and detail are comparable with the Nikon Z8.
• While it uses baked-in noise reduction in its RAW files, this sensor handles it well, preserving detail while keeping images clean at higher ISOs.
• Equipped with a stacked sensor, it boasts a very fast readout speed of around 6 to 6.5ms, making rolling shutter virtually non-existent and making the electronic shutter highly practical for high-speed action.

• Like the Canon, it delivers strong sharpness and detail, but produces slightly cleaner shadow details and smoother blacks when shooting at high ISOs.
• Featuring a fast readout speed of under 4ms, it allows users to shoot fast action and sports using the electronic-only shutter without worrying about rolling shutter distortion.
• The sensor’s balance of speed, dynamic range, and clean image quality remains a solid asset for shooters.

So who wins?

• For Raw Sensor Performance (Detail, Dynamic Range, and ISO): The Sony a7R VI is the clear top performer. It is favored for its high 66-megapixel resolution, which provides unmatched cropping flexibility, and its class-leading dynamic range (greatly aided by its dual-exposure image stacking).
• For Speed, Wildlife, and Action: The Nikon Z8 takes the crown. Its sensor scanning speed of under 4ms is so fast that it completely eliminates the need for a mechanical shutter, allowing you to capture high-speed action with zero rolling shutter issues.
• For the Best All-in-One Hybrid Package: The Canon EOS R5 Mark II is highly praised as the most versatile option. It beautifully splits the difference by combining excellent 45-megapixel detail, strong high-ISO noise control, and a fast 6ms stacked sensor that enables incredibly high burst rates with minimal rolling shutter.

Press text:

DZOFILM has announced the launch of the Octopus II Adapter and Marlin 1.4x Extender, providing with greater flexibility, compatibility, and efficiency across a wide range of filmmaking applications, from short-form bloggers, content creators, livestreamers and YouTubers to independent filmmakers, commercial media and advertising, and professional DOPs.

Octopus II: 2nd Generation Multi-Mount Lens Adapter
The new Octopus II is a highly versatile multi-mount lens adapter that supports E, Z, L, and RF mount lenses, as well as Super35, full-frame, and medium-format sensors. With 7.12% more internal space, it offers improved compatibility with DZOFILM’s Arles, Arcana, Vespid, Catta, Pictor, Gnosis, and other professional cinema lenses.

The second-generation design is up to 49% lighter, weighing as little as 190g (depending on mount). Its strong aluminum body is paired with a stainless-steel mount that is rated for more than 100,000 mounting cycles with 0.01mm precision, ensuring long-term reliability and durability.

The redesigned ergonomic handle features directional guides that make lens changes easier, particularly when working with handheld or fully rigged camera setups. A detachable 1/4″ threaded base allows the center of gravity to be shifted onto the adapter, reducing stress on the camera’s native mount. In addition, the factory pre-set flange focal distance eliminates the need for calibration while ensuring accurate infinity focus.

Marlin 1.4x Extender with Integrated Back-Focus Adjustment
The new Marlin 1.4x Extender increases effective focal length by 1.4x while maintaining light loss below one stop, enabling lenses designed for Super35 to cover full-frame sensors.

The extender incorporates premium high-refractive-index SR optical elements, large-diameter aspherical lenses, and an internally flocked design that effectively minimizes stray light. Chromatic aberration is tightly controlled, helping preserve the original character of the lens. Integrated back-focus adjustment eliminates the need for operators to detach the lens or use shims during setup and fine-tuning.

Manufactured with stainless-steel mounts on both sides, the Marlin 1.4x Extender is engineered for long-term reliability and durability. Precision machining further helps prevent binding during mounting and operation.

The new lens is now on preorder at BHphoto, Amazon, BrightinStar.

In this video, photographer Matt Granger conducts a shootout between five professional 70-200mm f/2.8 lenses from top manufacturers. Tested on their respective high-resolution camera bodies in Hong Kong, the lenses are evaluated on handling, build quality, autofocus performance, image stabilization, and overall image quality.

The Five Contenders

Canon RF 70-200mm f/2.8L IS USM Z (tested on Canon R5 Mark II)
Nikon NIKKOR Z 70-200mm f/2.8 VR S II (tested on Nikon Z8)
Sony FE 70-200mm F2.8 GM OSS II (tested on Sony A7R V)
Sigma 70-200mm f/2.8 DG DN OS Sports (tested on Leica SL3)
Leica Vario-Elmarit-SL 70-200mm f/2.8 ASPH(tested on Leica SL3)

Matt concludes that if you are using a Sony, Nikon, or Canon system, their respective 70-200mm lenses are absolute top-tier choices that will not disappoint. The Sony takes a slight edge for its incredibly lightweight and ergonomic design.
Conversely, the Leica acts more like a luxury item—it looks and feels premium but is too heavy and slow for demanding professional workflows. The Sigma, while optically sound, struggled massively with autofocus tracking, making it hard to recommend in this highly competitive class.

Here are the latest Japanese May sales rankings:

Mapcamera ranking:

• FUJIFILM X100VI
• SONY α7V
• FUJIFILM X-T30 III
• FUJIFILM X-E5
• FUJIFILM X-M5
• Canon PowerShot G7X Mark III
• Panasonic LUMIX TX3
• SONY α7C II
• SONY α6700
• RICOH GR IV

Yodobashi ranking:

• Hasselblad X2D II 100C Body
• Sony α7 V Body
• Fujifilm X-M5 XC15-45mm Lens Kit
• Fujifilm X-T30 III XC13-33mm Lens Kit
• Nikon Z50II Double Zoom Kit
• Canon EOS R50 Double Zoom Kit
• Sony α7C II Zoom Lens Kit
• Sony α7C II Body
• Nikon Z50II 16-50 VR Lens Kit
• Sony VLOGCAM ZV-E10 II Double Zoom Lens Kit

Surprising to see the expensive Hassleblad on top of the Yodobashi ranking!

Gordon concludes that there is no absolute winner; it depends entirely on what you want to shoot:

• Buy the Fujifilm X100VI if: You are a photography purist. It offers the best image quality, best low-light performance, and traditional dial controls, but it is let down by fixed focal length and poor vlogging ergonomics.

• Buy the Panasonic Lumix L10if: You want the best all-around “hybrid” camera for both high-end photos and video, and you don’t mind carrying a slightly larger, non-pocketable camera.

• Buy the Canon PowerShot V1 if: Vlogging and video are your top priorities. The ultra-wide lens and active cooling make it a video powerhouse.

• Buy the Sony RX100 VII if: You want the ultimate pocketable all-rounder. Despite being released in 2019, its combination of tiny size, great zoom (200mm), flip screen, and mic jack remains incredibly hard to beat.

• Buy the Panasonic Lumix TZ300 if: You are a traveler who desperately needs a long zoom (360mm) in a tiny pocketable body, and you are willing to sacrifice low-light performance and vlogging features to get it.

In China this has been reported:

The release of the new AF 85mm f/1.4 full-frame autofocus lens with FR/F mount has been delayed. Originally scheduled for June 9th, it has been postponed to June 11th. The lens utilizes VISTILEN’s self-developed EFR mount autofocus lens solution, which happens to be compatible with the FR/F mount, enabling autofocus.

Previously, VISTILEN had already released three large-aperture EFR mount lenses, including the AF 85mm f/1.8 full-frame lens, the AF 55mm f/1.8 full-frame lens, and the AF 56mm f/1.7…

Get Sharper, Cleaner Results with Aiarty: New VILTROX 90mm F2.2 EVO Review Workflow

Professional DP and videographer Mauro has shared an review of the new VILTROX 90mm F2.2 EVO, a compact APS-C telephoto lens with a classic 135mm-equivalent portrait perspective, testing it across outdoor portraits, autofocus tracking, low-light samples, and handheld video.

But the review is not only about lens performance. It also shows a practical finishing workflow for the kind of files many photographers and video creators know well: strong captures that still need a little cleanup before publishing.

Even with good optics and careful shooting, some photos and clips may still show minor softness, low-light noise, or details that need extra polish.

How Aiarty Fits into the Review Workflow

For these almost-there files, Mauro integrates Aiarty into his post-production workflow to reduce softness, improve clarity, recover detail, and prepare files for publishing.

The fit makes sense: much like VILTROX, Aiarty offers strong performance at an accessible price, runs locally without cloud uploads, and offers a Lifetime License with free future updates and no recurring subscription.

Fine-Tuning Stills: Polishing “Almost Perfect” Captures

For still images, Aiarty Image Enhancer helps clean up strong captures that need a little extra clarity, detail recovery, or noise reduction before publishing. It is especially useful for portraits, low-light shots, cropped frames, and images that are already good but need a cleaner final polish.

More-Detail GAN v3: Mauro uses Aiarty Image Enhancer‘s More-Detail GAN v3 to recover cleaner edges and usable detail from a slightly soft frame. It is best suited for fixing minor softness, restoring fine textures, reducing noise, and upscaling images while keeping skin, hair, fabric, fur, and other natural details believable.

Aiarty Image Enhancer’s More-Detail GAN v3 helps recover cleaner edges and usable detail from a slightly soft frame.

Real Photo Model: Aiarty Image Enhancer’s Real Photo model is better suited when the goal is a realistic, less processed look. It helps enhance high-resolution photos with improved clarity and fidelity, making it useful for portraits, product shots, family photos, landscapes, and other images where authenticity matters.

Aiarty Image Enhancer can improve real-world photos with cleaner detail, better clarity, and a more usable output size.

Cleanup for Video Content

For video, Aiarty Video Enhancer works as a final cleanup step for handheld, low-light, or compressed clips. It can help with denoising, detail recovery, upscaling to Full HD or 4K, frame interpolation, HDR enhancement, and audio denoise, keeping useful footage cleaner and easier to edit.

Aiarty Video Enhancer helps clean up low-light footage with denoising, detail recovery, upscaling, and adjustable enhancement strength before export.

Add Aiarty to Your Toolkit (Now with Big Savings)

Aiarty has extended its Anniversary promotion until June 12, 2026. Current offers include:

• 49% off Aiarty Image Enhancer
• 36% off Aiarty Video Enhancer
• Use coupon code ANNIVERSARY for an extra $5 off, or $10 off with a bundle.
• 1-Year and Lifetime licenses available
• 30-day money-back guarantee

For creators who want a reliable offline tool in their editing setup, the Lifetime License keeps Aiarty available long term with free future updates and no recurring subscription.

VISTILEN new Canon mount AF 85mm f/1.4 full-frame autofocus lens is coming on June 9. Ut features a self-developed EFR mount autofocus lens solution that conveniently matches the F-mount of Canon cameras, allowing for autofocus.

Previously, VISTILEN had already released three large-aperture EFR mount lenses: the AF 85mm f/1.8 full-frame lens, the AF 55mm f/1.8 full-frame lens, and the AF 56mm f/1.7 APS-C autofocus lens.