Apple’s iPhone Duo marks a pivotal moment as the company steps into the foldable smartphone market. This first-generation device merges Apple’s signature design principles with innovative features, offering a glimpse into the evolving landscape of mobile technology. However, as with any new product, it comes with compromises that potential users should carefully consider. The video […]
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We don’t need another screen shouting for our attention during devotionals. The most powerful faith tech is the one that stays quiet until your body and soul need a moment of peace. That idea is central to the Elah Ring S1. Designed for Christians, the screen-free smart ring integrates a Cross-Light module and a soft […]
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Looking down at a phone to translate a conversation can interrupt the exchange it’s supposed to help. Reading presentation notes creates a similar problem, pulling attention away from the people in front of you. The INMO GO3 AI Glasses bring those words into view instead, putting translation and presentation tools inside a familiar rectangular frame that doesn’t require a dramatic change in personal style.
That familiar shape is only part of the appeal, though. Adjustable contact points, discreet controls, and, most importantly, a replaceable battery give the GO3 a practical foundation beyond its display. Together, they suggest an approach to smart glasses that puts everyday wear on equal footing with software features. How convincingly the GO3 brings those priorities together comes down to a few details, starting with the frame itself.
Designer: INMO
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The INMO GO3’s rectangular lenses and softened corners give it the outline of conventional eyewear, although the frame has more substance than a pair of reading glasses. That’s a reasonable visual compromise, of course, given what it packs inside. The thicker brow provides room for the display hardware while giving the front a confident shape, rather than leaving its components looking like something awkwardly attached afterward.
The dark matte finish does much of the visual work. It gives the broad surfaces a quieter presence than glossy plastic would, while the small red accents around the hinges add a bit of personality. Thankfully, the color doesn’t spread across the frame. There’s enough contrast to make the details interesting without making the glasses look like equipment borrowed from a gaming setup.
The GO3 utilizes aluminum alloy and polyamide for the construction with a CNC-finished, fingerprint-resistant surface. It’s not an entirely metal object, which makes sense when you consider that the electronics also add their own weight to the equation. The frame and temples share a restrained finish instead of competing for attention through contrasting textures.
The slim temples measure around 8mm, keeping the side profile from becoming an oversized box. The curved ends retain the familiar outline of glasses, even with additional hardware inside. It isn’t dainty eyewear, admittedly, but the shape avoids the visor treatment that would make a business lunch feel like a technology demonstration.
The camera is integrated into the front rather than perched above it, and the controls follow the temples. These details help the INMO GO3 read as a somewhat fashionable object instead of gadgets sharing a frame. A supplied camera cover also provides a way to obscure the lens when recording isn’t appropriate, especially given the current conversations around smart glasses.
At approximately 58 grams, the INMO GO3 has the weight of electronics to accommodate as well as the frame itself. Comfort depends on more than the number on the specification sheet. The relationship between the nose pads, temples, and ears matters as much. There’s a focus on those contact points, rather than relying on a lightweight label to explain away the fitting process.
Air-cushion nose pads support the front, while the temples offer 15 degrees of adaptive movement, at least on paper. That flexibility gives the frame room to accommodate differences in head shape. Naturally, there will be cases when the head shape just won’t fit, but INMO has tried to accommodate as many head sizes as possible.
Given we’re talking about glasses, prescription support is another important piece of that everyday equation. The GO3 uses an insert system, with INMO’s current lenses supporting nearsightedness and astigmatism, though not farsightedness. That won’t cover every prescription, but it gives supported wearers a way to combine vision correction and the display.
Operating the glasses doesn’t have to depend on talking to them. Temple touch controls and physical power and GO buttons provide alternatives, while the companion app handles setup and settings. When you’re around people or somewhere that requires a degree of silence, a discreet gesture is often preferable to a spoken command, and familiar controls help make the wearable format a little less foreign.
Two-Way Dialogue Translation – Read translations directly through the glasses, while the other person sees or hears your translated response on the phone.
The INMO GO3’s binocular green Micro-LED display uses optical waveguides, with a 640×480 resolution and a 30-degree field of view. Adjustable brightness is listed up to 1,500 nits, which is plenty even for the bright outdoors. That said, those specs clearly mark it as something more for text and guidance rather than a miniature cinema. Green lettering has a slightly retro character, but a translation or the next line of a speech doesn’t need a full-color backdrop to be useful.
Translation, of course, is the primary use case for these glasses, and the numbers are admittedly impressive. INMO lists 78 source languages and 98 target languages online, with subtitles appearing in view rather than on a phone held between speakers. Offline support covers nine languages on Android and 13 on iOS, and future updates promise even more. The phone still needs to stay paired to a phone, of course, but a missing internet connection needn’t end every supported conversation.
Built-In Teleprompter – Follow your script directly through the glasses.
For presentations, the teleprompter moves the script from a desk into the speaker’s field of view, allowing for a more natural-looking stage presence. There’s automatic voice-following advancement in 17 languages (including English, Mandarin, Cantonese, Japanese, Korean, German, French, Thai, Russian, Spanish, Portuguese, Polish, Arabic, Indonesian, Vietnamese, Dutch, and Italian), alongside manual scrolling from the temple. Other languages will be displayed, depending on the document uploaded by the user, but the pages for unsupported languages can’t be automatically turned by voice. Very few will be sitting close enough to realize you’re not exactly looking at them, but at least you won’t be spending half of the presentation staring down at your notes.
Photo Translation – Point the camera at written text and read its translation directly through the glasses.
The GO3 also offers features better used in meetings, such as recording, transcription, and AI summaries for later review. Walking and cycling directions, an AI assistant powered by ChatGPT and Gemini, and photo translation extend the same idea beyond work scenarios: put a useful answer nearby without making a phone screen the center of every activity.
Admittedly, many AI smart glasses offer similar features, but the INMO GO3’s killer feature is its interchangeable battery system. One 270mAh battery is installed in the glasses, with one spare included. Continuous use yields around 3 hours on a full charge, which is probably more than enough for most use cases. The 1,300mAh battery charging case offers three to four more charges, so you practically get a full day’s worth in total.
Where it gets interesting is how you can swap out the dead battery on the tip of the GO3 with the spare in the charging case. It’s quick and convenient, but not entirely seamless. The glasses will shut down when you pull out the battery, but plugging a fresh one in boots it up in just a few seconds. It does mean you have to briefly stop what you’re doing or make sure you’re not in the middle of something critical, but it’s better than waiting for minutes for the glasses to charge up.
The replaceable battery has a longer-term benefit beyond getting through a busy afternoon. An aging power cell doesn’t automatically have to take the entire pair of glasses out of service. INMO lists a replacement battery at $49, making that component a separate ownership expense. That’s a useful piece of product design: the part expected to wear with repeated charging doesn’t have to remain permanently sealed inside.
That doesn’t establish a complete sustainability story, and there’s no need to pretend otherwise. The reviewed specifications don’t establish recycled material content, comprehensive component repairability, or an end-of-life program. The more defensible advantage is the ability to keep the same frame in service when its battery needs replacing. Thoughtful care still matters, particularly for the lenses and hinges, but accessible power replacement is a concrete place to start.
At $699, currently discounted to $509, the INMO GO3 asks for a commitment beyond casual curiosity. The standard package includes the glasses, installed battery, single spare, and battery charging case. That’s a coherent starting point, with the power system already accounted for. The value comes from using the display repeatedly, rather than paying for a collection of functions that remain untouched save for a few presentations or travels abroad.
The useful comparison is between priorities, rather than a contest over the longest feature list. Camera-and-audio glasses answer a different need from eyewear that puts text in view, while entertainment-focused displays serve another purpose again. For someone moving between multilingual conversations and presentations, the GO3’s combination is easier to justify. That it can also be your travel companion and AI assistant brings added value to the table, especially when you don’t look like a walking technology advertisement.
The INMO GO3’s most appealing quality is how its design keeps returning to recognizable habits. Wear glasses, follow a conversation, glance at a script, and change a battery when necessary. The technology adds steps of its own, of course, but the physical form doesn’t ask for an entirely new routine. Its familiar outline and adaptable contact points give the translation and presentation tools a sensible place to live.
Travelers, presenters, and people working across languages have the clearest reasons to appreciate that combination. A paired phone remains part of most workflows, and battery changes belong between tasks, but neither qualification takes away the appeal of information placed closer to the conversation. There’s something refreshingly practical about glasses that leave room for ordinary interactions, even when a little green text is helping them along.
Click Here to Buy Now: $509 $699 ($190 off). Hurry, deal ends in 48-hours!
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A blue king sticks straight out from a checkerboard cylinder, looking remarkably composed for a piece that should be falling onto the table. That sideways stance explains Turner, a rotating magnetic chess concept by Joffey, faster than a technical diagram could. The immediate problem is gravity: a vertical playing surface needs a way to keep its pieces attached. Magnets provide the proposed answer, letting the familiar chessboard curl upright without leaving its army in a heap.
Created for Day 04 of #productober, under the prompt “magnetic,” Turner explores what happens when a board loops back into itself. It’s a concept rather than a finished product, and I like that its ambition is playful rather than pretending chess needs fixing. The appeal is seeing a familiar game become an object you might want to leave out, even between matches.
Designer: Joffey
The supplied images show a blue-and-white grid wrapped around a tall cylinder, capped by dark blue circular ends and supported by a flared pedestal. The base gives it the presence of a small tabletop sculpture. From some angles, it resembles an unusually elaborate trophy. From others, the pieces projecting around its circumference make it look like a tiny planet populated entirely by royalty and horses.
The color does a lot of work here. Deep blue replaces the expected black, giving the set a softer domestic character without sacrificing the contrast with white. I’d happily take that over another aggressively futuristic chess redesign. The pieces retain recognizable silhouettes, so the unfamiliar board has familiar companions. You can still pick out a knight or a king without learning a whole new visual language.
Magnetism also earns its place in the design. Remove it, and the central idea stops working. The pieces are intended to cling to the curved surface while the board rotates, bringing different areas into view. That makes turning the board part of the interaction. Instead of simply surveying a flat field, players would need to reveal portions of the position as they go.
That’s also where my enthusiasm meets a practical reservation. A flat chessboard lets both players inspect the entire position at once. Turner’s cylinder necessarily conceals part of the grid from any single viewpoint. Rotation offers a way to look around it, but remembering what’s on the far side could become another demand on your attention. I can imagine enjoying that extra spatial puzzle. I can also imagine wanting my ordinary board back during a particularly complicated game.
The looping surface raises another question: what happens at the point where opposite edges meet? Joffey’s description suggests a changed way of playing, but the supplied material doesn’t establish a complete rule set. It would be a stretch to assign new movement rules to the pieces. Still, the possibility is intriguing. Joining edges could have consequences beyond appearance if the designer chooses to make that continuity part of play.
I appreciate that Turner doesn’t disguise every familiar feature in pursuit of novelty. The pedestal, restrained palette, and recognizable pieces give your eye enough to understand before the curved grid complicates things. Even the pieces set beside the base in the images help establish scale and context, although no dimensions are provided. You understand that this belongs on a table, within reach, rather than behind glass.
For a developed version, I’d care as much about the feel of removing a pawn as the appearance of the cylinder. Magnetic attachment would need to resist slipping while allowing deliberate moves without an awkward tug. The rotation would need similar care: easy enough to use, controlled enough not to become a distraction. Those are unresolved details, but they’re also where an appealing rendering could become a satisfying physical object.
Turner makes me curious enough to want a game, provided someone explains the rules first. Its appeal lies in having to look around a chessboard that usually gives you everything at once. That could be an entertaining complication, even if it never replaces the flat board in the closet.
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The trees came first at Casa Sima, and Dosorozco let them determine where the house could go. Set on a wooded slope in Mexico’s Sierra de Tapalpa, Jalisco, the 150-square-meter home occupies an existing clearing. The studio’s decision to retain every tree shaped its elongated plan, terraces, and points of contact with the ground, according to creative director Guillermo R. Orozco.
That constraint gives the project a convincing starting point. A forest setting can easily become scenery for a building conceived independently of it. Here, the architects describe the positions of individual trees as an organizing framework. The interesting design work lies in accommodating what was already growing, with the building’s geometry responding to the site rather than demanding a cleared patch of its own.
Designer: Dosorozco
A raised, stepped walkway climbs toward the house. At the entrance, a timber wall held within a steel frame creates what Orozco calls an “elevated courtyard.” Open to the forest and suspended above the terrain, this threshold introduces enclosure before visitors reach an interior room. It makes the approach part of the architecture, giving arrival its own space without sealing it off.
The timber receives a local oil-and-heat treatment that produces a rough, blackened surface. Stone and pale plaster complete the material palette. Their appeal here is the range of surfaces they bring to the compact composition: dark wood establishes depth, exposed stone gives the walls a pronounced texture, and plaster provides a quieter counterpoint. The studio intended these finishes to echo the surrounding forest’s tones and textures.
Two intersecting rectilinear volumes organize the house. Downstairs, the living, dining, and kitchen area sits between stone walls beneath dark timber ceilings. Glazing opens toward a ground-level southern terrace and an elevated northern terrace. A study and bathroom share this floor, while two bedrooms upstairs have access to rooftop terraces. The arrangement offers several different relationships with the same sloping landscape.
Orozco described Casa Si. Ma as a home for two people. He also explained the studio’s interest in the progressive revelation of spaces, with light and landscape shaping how a building is encountered. That thinking helps explain why the entrance and terraces deserve as much attention as the enclosed rooms: movement through the house is part of its design.
Casa Sima’s strongest idea is this sequence of changing positions: approaching above the ground, entering through an open threshold, then occupying rooms that connect to terraces at different heights. Read this way, its modest floor area becomes a framework for varied encounters with the site. The forest remains close, but the architecture gives each encounter a distinct setting.
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Apple has a long history of deleting holes. The headphone jack went in 2016, the same year the MacBook Pro traded its HDMI, SD card, and USB-A ports for a row of Thunderbolt 3 ports and a lifetime supply of dongles. US iPhones lost the SIM tray in 2022, and now the speaker grilles on the iPad mini appear to be next on the chopping block. Leaked images in Apple’s own code, spotted by MacRumors, show the iPad mini 8 with a single slim slot at the top of its display glass, much like an iPhone earpiece. That slot lines up with Bloomberg’s Mark Gurman’s reporting on a new vibration-based speaker system, and sealing up the holes buys the mini its first-ever water resistance.
This time, though, removing holes actually gives you something back. Phones have played with the trick before, with Xiaomi’s original Mi MIX using a piezoelectric driver to push sound through its body back in 2016. Apple’s version arrives alongside an A20 Pro chip, a landscape front camera, and a rumored 8.4-inch OLED display. The whole package is expected at Apple’s “Pro and Tell” event in Los Angeles on October 28. Gurman thinks it could cost closer to $799, so let’s see if Apple has the courage to call that a bargain.
The 24-inch iMac packs two pairs of force-cancelling woofers into its 11.5mm body, with each pair moving in opposite directions so their vibrations cancel out before they rattle the chassis. The 16-inch MacBook Pro and Studio Display use the same trick, since Apple spent years treating vibration as a problem to engineer away. The iPad mini 8 reportedly flips that thinking, using vibration as the sound source itself. Apple hasn’t revealed how its system works, so the exact driver and where it lives inside the chassis remain unknown. The leaked images show one slim groove in the glass where the stereo grilles used to be, with the power and volume buttons still on the top edge.
To make the Apple Watch Series 2 swim-proof to 50 meters (164 feet) in 2016, Apple sealed every opening except the speaker, which needs air to make sound. Its fix was to make that speaker vibrate any water back out after a swim, a feature anyone who has heard Water Lock’s little burst of beeps already knows. The iPad mini 8 looks like the next chapter of that story, shrinking the speaker opening to a single slit. Gurman reports water resistance for the first time on an iPad mini, though no IP rating (the standard dust and water score) has leaked yet. Even modest splash protection would cover the kitchen counter, the poolside lounger, and that nightly bath read.
Apple’s code also lists the A20 Pro from the iPhone 18 Pro, built on TSMC’s 2nm process. That leapfrogs two generations past today’s A17 Pro, and MacRumors expects RAM to climb from 8GB to 12GB. More memory means bigger on-device AI models and fewer apps reloading as you bounce between notes, a PDF, and Procreate. The front camera moves to the landscape edge, so video calls stop featuring your left ear. A new Smart Folio (model A3632) in Apple’s French product filings packs two-thirds more magnet material than the 6th-gen mini’s folio, a hint the body has changed enough to need its own cover.
An 8.4-inch OLED panel, up from today’s 8.3-inch LCD, would give late-night reading true blacks and far richer contrast. The refresh rate (how often the screen redraws each second) is still a coin toss, with Gurman reporting Apple tested both 60Hz and 120Hz versions. A Korean supply-chain tipster insists the production panels are locked at 60Hz, which would leave this tablet scrolling less smoothly than a base iPhone 17. The current mini already jumped from $499 to $599 in June on rising memory costs, and Gurman’s guess for the new one lands closer to $799. Apple can seal nearly every hole in this tablet, but the one it might leave in your wallet looks wide open.
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Leica and Formula 1 have combined their expertise for a special-edition camera that brings the visual language of motorsports to premium photography. The Leica Q3 43 Formula 1 Edition marks the beginning of a licensing partnership between the two brands, pairing Leica’s established camera technology with materials, textures, and details inspired by the racing cockpit.
Based on the existing Leica Q3 43, the camera focuses on tactile finishes and motorsport-inspired styling. Its black exterior features a non-slip Microvelour covering modeled on the texture of a Formula 1 steering wheel. Genuine carbon fiber appears on the wireless-charging handgrip, rear thumb rest, and soft-release shutter button, introducing a material more commonly associated with high-performance racing cars than Leica cameras.
The carbon fiber components are manufactured and tested exclusively in Germany. Their exposed weave adds texture and visual depth to the predominantly black body, while red accents on the shutter release and a function button reference the color-coded controls found on racing steering wheels. Formula 1 branding appears on the top plate and lens cap, and the package includes a co-branded rope strap and custom packaging with a red inlay.
The included wireless-charging handgrip adds practical functionality to the design. A matching thumb rest and soft-release button complete the coordinated set, giving the camera a more distinctive physical identity without altering its fundamental photographic capabilities.
Underneath the special-edition exterior, the Q3 43 retains its 60-megapixel full-frame BSI CMOS sensor and fixed Leica APO-Summicron 43mm f/2 ASPH. lens. The focal length offers a natural-looking perspective suited to street photography, portraits, travel, and documenting the atmosphere around a race weekend. Leica’s Triple Resolution Technology also allows photographers to capture still images at 60, 36, or 18 megapixels.
A hybrid autofocus system and extensive video capabilities round out the imaging package. The camera is therefore suited to more than motorsport enthusiasts looking to document cars and circuits; its compact, fixed-lens format also appeals to photographers who prefer a dedicated camera for everyday visual storytelling.
The most notable software addition is an exclusive Formula 1 Leica Look, developed specifically for this edition. Accessible through the Leica FOTOS app, the profile produces higher contrast and richer color saturation to reflect the visual character of the racetrack and paddock. Photographers can apply the look while shooting and preview its effect in the viewfinder, rather than relying solely on post-processing. The app also transfers photographs and videos to mobile devices.
The collaboration was unveiled at an event at Leica Store and Leica Gallery Los Angeles, hosted by Formula 1 presenter Ariana Bravo and 2009 Formula 1 World Champion Jenson Button. A display of 26 motorsport photographs by photographer Callo Albanese accompanied the launch. Available from October 21, 2026, through Leica stores, the Leica online store, and specialist retailers, the Q3 43 Formula 1 Edition is priced at $9,950.
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