Tamron confirmed today that it has received a non-binding proposal from Sony to become a wholly owned subsidiary of the Sony Group. The company has set up a special committee to look at the offer alongside other options. Sony confirmed the approach and declined to put a number on it. Japanese outlet Diamond reported the figure first, at roughly 200 billion yen, about 1.2 to 1.3 billion dollars. Tamron’s market cap sat at 1.

I bought into Canon on purpose. Not once — twice. The R8 for full frame, the R100 for the days I want something I won’t cry about dropping. I like Canon’s color science, I like where Canon puts its buttons, and I have defended the RF system in conversations where defending it made me look like a hostage. Nobody tricked me into this mount. I walked in. So understand that what follows isn’t brand tribalism.

Tamron has announced the 12-20mm F2.8 (Model A084), a fast ultra-wide zoom for Sony E-mount and Nikon Z full-frame mirrorless. The number that matters is the wide end: 12mm on a full-frame sensor is a 122-degree diagonal field of view, and holding F2.8 across the whole range puts this lens directly at astrophotography and cramped-interior work. What makes the announcement worth a second look is the packaging. At 119.3mm long and 570g on the Sony mount, this is not the usual full-frame ultra-wide brick.

A man in a red shirt throws both hands toward the lens, mouth open mid-sentence, eyes locked on the camera. Behind him a Breton flag snaps against a hot blue sky and a crowd thins out across a stone square. Nothing in the frame is arranged. The photographer was close enough to touch him, wide enough to keep the flag and the architecture in the story, and present at the half-second before the gesture collapsed.

A pretty straightforward gear question turned into something more layered than expected. The setup was already solid: a Canon EF 85mm f/1.8 USM paired with both the Canon EOS R100 and the Canon EOS R8. The idea was to push subject separation further—get that stronger background blur, that cleaner isolation—by adding a 7Artisans 75mm f/1.4 Lens (Canon RF). On paper, it made sense. Faster aperture, slightly different focal length, native RF mount.

Honestly, the case for buying it is weak — here’s the breakdown. Where the 7Artisans Has an Edge The lens does bring some genuine advantages. It’s a native RF mount, which means no adapter and a cleaner setup on any RF body. At f/1.4 versus f/1.8, you’re picking up about ⅔ of a stop — which does matter for low-light work and adds a marginally different character to the bokeh. And the price is a fraction of Canon’s own glass.