Photography and consumer electronics giant Sony has offered to buy Tamron, a company well-known for its lenses and optics. This would be, to put it mildly, a massive shake-up in the photography market, that could end up having profound impacts on the lenses available to photographers using other systems in the coming years.

What’s happening?

According to a statement Tamron made to investors, Sony has made “a non-binding proposal” that would result in Tamron being “a wholly-owned subsidiary of Sony Group Corporation.” Tamron says it’s set up a special committee to review the proposal, but that it currently has nothing else to disclose.

One of the most important things to glean from that statement is that, according to Tamron, it would end up as a subsidiary of Sony. That implies that, at least at the beginning, it would still exist as a separate entity. Keep that in mind, as it’ll be important later on in the discussion.

Why does Sony want to buy Tamron?

Mitchell Clark

There are several potential reasons for Sony to want to acquire Tamron, not all of which have to do with photography. While the majority – 74.2%, in 2023 – of Tamron’s sales come from its “photographic products,” the company’s surveillance, automation, mobility and healthcare divisions also make millions of dollars each year. Sony’s a big player in those spaces, too. While most of us are familiar with Tamron because of its camera lenses, we shouldn’t discount the possibility that those other businesses play a part too.

With that said, Sony told Reuters that its reasoning for the offer is because it thinks the acquisition would be good for Tamron’s shareholders, and that it could help Sony’s imaging business too. That seems to mean that the company’s photography business is one of the main draws for Sony.

Tamron’s place in photography

Tamron, like Sigma and Viltrox, is a third-party lens manufacturer, meaning it produces lenses for a variety of camera systems (unlike, for example, Sony, Nikon and Canon, which make lenses pretty much exclusively for their own cameras). The company is known both for making very good lenses that are much cheaper than the own-brand equivalents, and for making zoom lenses that are a bit out of the ordinary; think the 35-150mm F2-2.8, or the 17-50mm F4. Lenses that some people will find useful, but that might be a bit too niche for other companies to make.

Tamron

It’s worth explicitly saying that every single mirrorless lens Tamron makes is available for Sony’s E-mount; for many, it’s the only mount they’re currently available on. Tamron makes lenses for all the major mounts – Canon, Nikon etc – but, probably as a result of the stricter licensing policies of the other two big brands, it’s only Sony’s E-mount for which is can offer all its lenses. There are also occasionally differences between the Sony versions and the others. The company’s latest release, the 12-20mm F2.8, will be available for both Nikon and Sony, but the E-mount version is coming out first, and for less, with a spokesperson citing volume, manufacturing differences and a different competitive landscape for the price difference.

While Tamron is known for the lenses that bear its name, it’s also a major original equipment manufacturer, or OEM. That work, which includes making lens modules and interchangeable lenses for clients including Nikon, made up 29% of the company’s revenue in 2025, and accounted for 41% of the sales in its photography division in 2023.

So what happens if Sony buys Tamron?

Neither company has commented yet on what will happen if the deal actually goes through, but there are a few possible scenarios that are worth exploring should that happen.

Scenario 1: Tamron continues on with business as usual

Sony could essentially keep Tamron as a relatively separate company under its umbrella in perpituity, leaving it to continue making lenses for other mounts, and doing OEM work for other companies. And in some ways, this seems like the sensible move; why buy a company, and then nix 30% of its revenue?

Sony acting as a steward would potentially benefit it in a few ways. For one, it wouldn’t have to worry about outside forces messing around with a valuable partner; according to PetaPixel Sony was, until recently, the largest individual shareholder in Tamron before an investment firm took that spot, giving it less sway over the company’s decisions. It would also have greater insight into the company’s developments, and could plan its own releases around those, and could apply some of its optics expertise to lenses bound for other company’s cameras, letting it benefit in a way that it wouldn’t have been able to before.

However, there are some potential downsides, too. Sony wouldn’t be capitalizing on the ability to make access to Tamron lenses an exclusive benefit of buying an E-mount camera, and it’s hard to imagine that the company’s relationship with the other camera companies would be completely unchanged if it’s suddenly owned by a competitor. Nikon might think twice about choosing Tamron as an OEM (assuming, of course, that it has other options). Then again, it doesn’t seem in any rush to stop using sensors from Sony’s Semiconductor division, or sourcing its OLED EVF panels.

There isn’t a ton of precedent for this scenario in Sony’s history of acquisitions, though there are parallels. It famously purchased Konica Minolta in 2006, which has completely disappeared into its camera division. The same is true of Toshiba’s image sensor business, which it bought in 2015, though Sony’s sensor group does a lot of business with other camera companies.

To us, this path feels like the best outcome for photographers, if a buyout has to happen. Non-Sony owners would still get to benefit from Tamron’s lenses, and it could act as a competitive force in the market, driving other lens makers to improve their own offerings.

Scenario 2: Tamron stills exists, but only makes lenses for Sony

Tamron

Of course, Sony could keep Tamron around as a lens brand, but make it so the company only produces E-mount options. It’s hard to argue that Sony would need to do this to bolster its cameras – as stated, all of Tamron’s lenses work with them anyways, as do hundreds of options from Sony and others – but it would be a blow to its competitors. Canon and Nikon’s more restrictive licensing policies already limit the choices for their users: losing the few options Tamron provides would only make that situation worse.

In our view, this wouldn’t be good for the camera industry. We’d like photographers to have more options, not fewer.

However, this path is not unfamiliar to Sony, if you look outside of its imaging division. The company has acquired several studios that make video games exclusively for its PlayStation consoles. And while some of those games eventually make their way to other systems years after their original release, it seems like the company may be in the process of walking even that tepid support back.

Scenario 3: Tamron disappears into the behemoth

Tamron could also wind up broken up into pieces, with its medical and automotive divisions becoming parts of Sony’s corresponding groups, and its lens businesses folding into Sony’s. This would simplify things on Sony’s end, where it gets the benefit of the company’s designs and intellectual property without the headache of having two separate, somewhat competing brands. To us, though, it would seem like an odd decision; it’s not like Sony needs help designing lenses (though perhaps this is a play to increase its production capacity), and it would be forfeiting the cahcet of a brand that dates back to the 1950s.

What does this mean for photographers?

If the deal ends up going through, the impact on photographers will depend heavily on which path Sony chooses to take. But even if it went with the first option and mostly let Tamron be, that path wouldn’t be set in stone. Sony could, at any time, decide to cut of other company’s access to Tamron’s lenses and manufacturing, an outcome that wasn’t previously on the table.

While there are exceptions, consolidation in an industry with an already limited number of players isn’t typically in the best interest of the consumer. While it may be, as others have argued, a great option for Sony, that doesn’t mean it would be good for the camera market overall.

That’s not to say that there aren’t potential upsides. Tamron is a publicly-traded company, subject to the desires of its investors. While its latest fiscal reports don’t paint a picture of a company in dire straits (absolutely not financial advice, to be clear), we’ve all seen companies whose products have taken a turn for the worse because the money people decided that they weren’t happy with the current profits. It feels less likely that Tamron would meet that fate were it owned by a company that’s deeply invested in photography than if it were bought out by a private equity firm.

It’s also possible the company’s products could improve if it had access to Sony’s technology, expertise, manufacturing capacity and vast financial resources (Sony’s imaging division alone brought in $11.2 billion in 2025, compared to Tamron’s $533 million).

For now, though, this is all hypothetical. Tamron could choose to reject Sony’s offer, deciding to continue going it alone. But while neither company has commented on the terms of the deal, Diamond Online, the outlet that originally broke this story, has reported that the offer is somewhere in the neighborhood of $1.2 billion, which is around Tamron’s current market cap (or, at least, what its market cap was before the news of a potential acquisition broke).

Community member Andrew Kornylak loves to cling to sheer rock faces with others and stare down at the world below. See what photos he’s taken from such dramatic heights as he shares his story that includes working for Lowpro and writing for National Geographic.

Our ‘What’s in your bag?’ community spotlight series features readers sharing their favorite gear and photography, including from past DPReview collaborators. See below for what Andrew has to share.

Andrew Kornylak

Meet Andrew Kornylak

Home base: Chapel Hill, NC USA

Andrew’s interest in photography began in high school after his older brother gave him a hand-me-down Minolta camera. The hobby grew through years of rock climbing and travel before he left a career in software development to become a full-time photographer in 2006.

“My older brother gave me his old Minolta camera when I was in high school. Taking pictures quickly became a hobby. I eventually got into rock climbing in the early 90s while in college, which was a great subject for photography and really got me motivated to get more serious. When I graduated, I worked as a software developer, traveled around the US and climbed, taking pictures whenever I could.”

Although he embraced digital photography early, Andrew has continued to work with both film and digital throughout his career. He believes shooting film keeps his technical skills sharp and encourages a more deliberate, thoughtful approach to his work.

“I still shoot a mix of film and digital. Shooting film with a strobe is especially challenging, but worth it. I spent years shooting climbing with off-camera strobes, using medium-format film. Keeping one foot in analog has been good, as it helps keep my skills sharp and challenges me to think more deliberately in my approach to projects.”

What’s in Andrew’s bag

Andrew Kornylak

Favorite camera: Canon EOS R5 Mark II

The Canon EOS R5 Mark II sure is a popular camera, as last week’s spotlight also stated it was their favorite. Here’s what Andrew thinks about its 45MP stacked sensor compared to his Nikon gear.

“I’ve shot with and owned almost every major camera system, but I have been primarily a Nikon shooter for my bread and butter. Just this year, I switched to Canon, mainly because all my cinema video cameras are Canon, so I wanted to consolidate lenses. I am currently shooting with the Canon R5 Mark II and about a half dozen lenses.”

Support gear

Andrew Kornylak

Any experienced photographer is going to have a set of gear that works well together and is ready to go at a moment’s notice. Apart from the cameras and lenses above, here’s Andrew’s other interesting gear he takes with him on trips into the mountains.

“I shoot a lot with lighting, both in the studio and on location. For photography, this was mostly Profoto and Broncolor strobes. I’ve been transitioning more to continuous lighting. LED technology has really come a long way, with significant advantages over other lighting options, especially since I also shoot video.”

“Aperture is my go-to brand here. I am FAA drone certified, so there’s that. Though I have a mini warehouse full of grips and accessories, I try to keep things as simple as possible. My Really Right Stuff Apex TVC-34L carbon tripod (which allows me to quickly change out photo and video heads) and RRS BH-55 ball head go with me 90% of the time.”

Favorite bag: “Definitely the Pelican 1510 with Trekpak Dividers and 1519 Photographers Lid Organizer. Hands down, my most useful camera case.”

“For years, I was an ambassador and design consultant with Lowepro, so I’ve been loyal to that brand. The bag I use the most is the Lowepro Whistler BP 450 AW. These days, I mix and match. I have to think about video gear as well. Mountainsmith (for a time), Think Tank and Peak Design all make great bags.”

What’s it like ‘hanging out’?

Andrew Kornylak

Whether suspended hundreds of feet above the ground or in a quiet neighborhood park, Andrew is drawn to photographs that reveal something extraordinary. He believes the most compelling stories are often found in everyday places, where ordinary moments can become unexpectedly transcendent.

“Hanging from a rope hundreds of feet above the ground is a pretty unique perspective. I love shooting in all conditions, high up, underwater, in the rain, and so on. It can sometimes be risky or dangerous. I do enjoy the adversity, but it’s not where you find people most of the time. People occupy mundane spaces – cities, back yards, parks and their automobiles. It’s even more exciting to find something sublime or transcendent in an everyday environment.”

One place that continues to inspire him is the Mississippi River Delta. First photographing the region for National Geographic Adventure in 2007, he has returned several times, captivated by its quiet beauty.

“One memorable place I’ve been to close to home is the Mississippi river. Specifically, in the Delta region. I shot a story on the river for National Geographic Adventure Magazine in 2007 and have gone back several times since. It’s an unheralded landscape, right in the middle of the country. A seemingly mundane place even, but unexpectedly wild, full of mystery and power.”

How do you keep fear at bay?

Andrew Kornylak

“Willpower. For a typical magazine story, I used to just overshoot to make sure I covered all the bases. That is a reasonable approach, and in the moment, you might pick up a few bangers. In reality, that approach is based on fear. You might have some ideas or intentions, but you quickly realize they don’t go as planned, so you embrace serendipity.”

“I do love that about photography, but I think as you gain more experience, you can become bolder with your intentions, really make them come to life instead of assuming they won’t. That’s where the perfect shot happens, not by chance but by intentional visualization and a strong will.”

“What’s the perfect shot, though? I sometimes don’t even realize it until years later.”

Turning photography into published books

Andrew Kornylak

“This year, I am busy working on a couple of multi-year documentary films. I am really used to the constant hustle. That changed during the pandemic, when I was forced to sit still for a while and meditate on what I really wanted from my work. I scanned all my old film (about 30,000 images) and began thinking bigger. I began writing.”

“As a direct result of that, I published my first book last year about climbing in the South – Spare These Stones (Mountaineers Books). Such a small thing, a book, but it feels like the culmination of decades of work. It really has propelled me into the next stage of my career, I think. I have also started teaching. This fall, I will teach two classes at the UNC Chapel Hill Hussman School of Journalism.”

A piece of advice from a rock climber

“My advice is to work hard, but don’t be afraid to take a break and survey where you are headed. Your approach and strategy will change dramatically over time. Embrace every stage of it, and have fun!”

Andrew really enjoyed participating in this spotlight article and would love to hear what you think of his photography and to answer any of your questions in the comments below.

You can check out Andrew’s other work at andrewkornylak.com.

Editor’s note: This article continues a series, ‘What’s in your bag?’, highlighting DPReview community members, their photography and the gear they depend on. Would you like your photography to be featured in a future installment? Tell us a bit about yourself by filling out this form.

Want to stay up to date on the latest product news and releases? Add DPReview as a preferred source to ensure our independent journalism makes it to the top of your Google search results.

After what has felt like an odyssey of a product rollout, DJI’s latest vlogging camera, the Osmo Pocket 4P, is finally here. It’s launching in Europe, the UK, Canada and Australia, after its initial rollout in China a month ago.

Our coverage of that launch has the complete specs, but here are the most important parts, in case you missed them or have since forgotten them. The 4P is an upgraded version of the company’s Osmo Pocket 4 vlogging camera with an integrated three-axis gimbal. Like the standard model, it has around 100GB of built-in storage, and a Type 1 (116mm²) sensor with a 20mm equiv. lens, capable of shooting at 4K/240p in landscape. It can also take 33MP 16:9 stills or 37.7MP 1:1 stills, and a ~3K (1728×3072) vertical crop from the middle of the sensor for portrait-orientation video at up to 60p.

While those specs are similar to the original Osmo Pocket 4, the 4P uses a new sensor that utilizes a LOFIC (lateral overflow integrating capacitance) design to retain more information in the highlights, and a new version of the company’s Log curve, D-Log2, to capture the extra dynamic range. D-Log2’s base ISO is two stops lower than the original’s, meaning it can tolerate up to 2EV additional light.

It’s also not the only camera. The 4P adds a Type 1/1.28 (75mm²) sensor with a 60mm equiv. lens for extra reach, though that one doesn’t have the same dynamic range capabilities – it uses the original D-Log – and caps out at 4K/200p.

Taking a break from specs: what’s the camera like to use? DJI brought our social director Mykim Dang to Toronto for two days to test it, and you can see her impressions, along with sample footage from the 4P, below.

The power of the Osmo Pocket series has always been in its ability to be an all-in-one solution. The cameras provide image quality that’s more than good enough for social media or YouTube, work natively with DJI’s popular wireless lavaliere microphones and produce steadier footage than you can get from a phone alone

As a bit of inside baseball, we recently went through the process of putting together a standard kit for shooting social video here at DPReview and our sister company, Gear Patrol. It includes an iPhone, several accessories like a cage and ND filters, a microphone, tripod, etc. When we were discussing the Osmo Pocket 4P, Mykim said she wished it had existed when she was putting the kit together, because she would’ve just gone with it.

What really sold her was the accessory remote, which provides a wireless live preview, the ability to start and stop recording, and a joystick to control where the camera is pointed at. It doesn’t come with the camera, but is available as part of the Vlog Combo, which also includes a fill light, Mic Mini 2 transmitter and receiver, a mini tripod and more, as well as a pouch to put it all in.

DJI

This does, however, bring us to one of the elephants in the room: Insta360’s Luna Ultra, which is about as similar a competitor as you could ask for. It also puts a Type 1 sensor with 20mm equiv. lens and a Type 1/1.3 sensor for its 60mm equiv. lens on an integrated gimbal, works with the company’s wireless microphones and includes some (but not as much) internal storage. However, it shoots 8K (as well as 4K), and its remote is built-in; you can detach the front with the controls and rotating screen, and use it to remotely operate the camera.

The Luna Ultra launched just as DJI had gathered everyone for its Osmo Pocket 4P event, and apparently struck a nerve at the company. DJI sued Insta360 in US court, accusing it of patent infringement, and Insta360 is countersuing. The second elephant is that, despite DJI’s choice of jurisdiction, the US isn’t among the list of places the Osmo Pocket 4P is launching today. The company tells us “the application for authorization is still pending.”

That’s no surprise given the country’s government’s ongoing actions against the company, and the fact that none of its recent products have been available there (at least, not bearing DJI’s name). Insta360’s offering, however, is, despite the fact that it’s also based in China and sells drones. For those in the regions that the camera is launching in, though, that may all be unnecessary drama, or at most food for thought when it comes to picking between the Osmo Pocket 4P and a competitor.

The black version of the Osmo Pocket 4P is launching today for £529 in the UK and around €599 in Europe, though the exact pricing for the latter will depend on which country you’re in. The Vlog Combo kit is available for around £/€80 more, which feels like quite an aggressive price given everything it includes.

* The two cameras’ vlogging combos are similar, though not exactly the same