The Cactus Engine addresses the challenges of running AI on resource-limited devices by significantly reducing memory usage and improving efficiency. By introducing a proprietary `.cact` file format and employing zero-copy memory mapping, it allows AI models to operate on devices with as little as 2GB of RAM. Unlike traditional methods that load entire model weights […]
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Samsung has officially rolled out the One UI 9.0 beta, built on Android 17, for its Galaxy S26 series. This update introduces a range of improvements, including smoother animations, enhanced customization options and updates to core apps like Samsung Notes and Samsung DeX. Currently, the beta is available for T-Mobile and unlocked devices, with broader […]
The post Is Your Samsung Eligible for One UI 9? How to Install Android 17 Today appeared first on Geeky Gadgets.
Handheld gaming continues to evolve and Forza Horizon 6 provides a demanding test case for evaluating the latest SteamOS-powered devices. In a detailed breakdown by ETA Prime, three contenders, the Steam Deck OLED, Legion Go S with Ryzen Z2 Go and Legion Go S with Ryzen Z1 Extreme, are put through their paces. Each device […]
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The Samsung Galaxy Z Fold 8 is poised to be a highlight of the Samsung Galaxy Unpacked event in London on July 22, 2026. Alongside this flagship foldable, Samsung will also introduce the Galaxy Flip 8, XR glasses, and Galaxy Watch 9, showcasing its commitment to advancing interconnected technology. While the Fold 8 does not […]
The post Will the Samsung Galaxy Z Fold 8 Finally Get Built-in S-Pen Support? appeared first on Geeky Gadgets.
iOS 26.5 brings a range of updates designed to enhance your device’s performance, security, and usability. While it doesn’t introduce new changes compared to iOS 26.4, this release focuses on refining the user experience and laying the groundwork for the upcoming iOS 27. Below is a detailed look at the most notable features and improvements […]
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Apple is reportedly preparing to unveil its first foldable iPhone, the iPhone Ultra Fold, a device that could redefine how users interact with mobile technology. This innovative product aims to merge the portability of an iPhone with the expansive functionality of an iPad, creating a hybrid device that caters to users seeking versatility and efficiency. […]
The post The Foldable iPhone is Finally Real: 6 Massive Upgrades Revealed appeared first on Geeky Gadgets.
Zoom has won. Of all the specs that used to dominate camera phone conversations, optical reach is the one that stuck because it is the most visible and the most immediately felt. At any major live event, the phones come out and the zoom wars begin. Samsung loyalists will have their periscope lenses trained on the far end of the pitch. iPhone users will be framing tight, stable shots of the stage from the back row. FIFA 2026 is nearly here, and across dozens of stadiums and billions of shared clips, zoom will quietly be the deciding factor in whether those memories look spectacular or just… small.
REEFLEX built the Ultra Telephoto 300-600mm for people who refuse to settle for small. Attaching to the telephoto camera of iPhone 17 Pro, Pro Max, and the Samsung S26 Ultra series, the lens compounds the phone’s native optical strength and extends it into a focal range, up to 600mm and 24x magnification, that genuinely belongs to another category of photography entirely.
Designer: REEFLEX
Click Here to Buy Now: $302 $441 (32% off) Hurry! Only 10 of 180 left. Raised over $640,000
Most clip-on telephoto lenses grow forward in a long tube that looks great in renders but becomes a liability the moment you try to hold your phone steady. The weight pulls forward, the center of gravity shifts away from your grip, and at long focal lengths, that imbalance shows up as jitter in video and smeared detail in stills. REEFLEX went wide instead of long, packing everything into a compact cylinder that keeps the mass directly over your hand. Your wrist stays neutral, your grip stays firm, and the setup feels closer to holding a DSLR than balancing a makeshift telescope. That distinction matters enormously once you’re standing in a stadium trying to track a fast-moving subject.
Machined from aerospace-grade aluminum, the body weighs 308 grams and holds its optical tolerances without adding unnecessary bulk. The glass inside is lanthanum, a material chosen specifically for its high refractive index. In practical terms, that means sharper resolving power, richer contrast, and far less color fringing along edges than standard glass can manage at these focal lengths. The optical formula runs four elements, one doublet and three singlets, tuned to work with the tetraprism telephoto cameras in current flagship phones rather than fighting against their characteristics. The matte black finish, the green accent ring around the barrel, and the large front element all contribute to something that looks and feels like a deliberate optical instrument.
REEFLEX designed this lens specifically for the tetraprism telephoto systems introduced in the iPhone 17 Pro lineup and Samsung’s S26 Ultra series. Those cameras already deliver impressive native zoom performance, and the Ultra Telephoto 300-600mm takes that foundation and multiplies it. On iPhone 17 Pro and Pro Max, you get 24x magnification and a 600mm equivalent focal length. On Samsung S26, S25, and S24 Ultra, magnification reaches 30x with an equivalent focal length stretching to 660mm. For context, that is the kind of reach wildlife photographers use to capture birds without disturbing them, the kind of compression architectural photographers rely on to isolate distant details, and the kind of range that makes concerts and sports events feel immersive rather than distant.
The lens mounts via a standard 17mm threaded connection that attaches to REEFLEX’s dedicated phone cases, which feature an integrated camera bumper designed to align perfectly with your phone’s telephoto lens. The threading ensures a secure, wobble-free connection, and the whole assembly stays compact enough to slip into a jacket pocket or small camera bag. REEFLEX also built in compatibility with their ReeMag magnetic accessory system, so you can stack filters, attach lens caps, and expand your creative toolkit without needing adapters or workarounds.
FIFA 2026 will be the first time many people realize just how limiting their phone’s native zoom really is. Sitting in the stands, even a few rows back from the pitch, most phone cameras will reduce the action to distant, flat shapes. The Ultra Telephoto 300-600mm changes that equation completely. You can isolate a player’s expression during a penalty kick, compress the depth of the field into a cinematic frame, and capture moments with the kind of detail that looks deliberately composed rather than accidentally caught. The same logic applies to concerts, where the stage often sits 50 meters or more from general admission, and wildlife, where getting close means ruining the shot.
The focus range starts at 6.8 meters and extends to infinity, which means you can use this lens for everything from isolating architectural details across a plaza to capturing the moon with surprising clarity. The lanthanum glass keeps distortion minimal and sharpness high even at the edges of the frame, and the compact form factor means you can shoot handheld without needing a tripod or gimbal for stability.
The Standard tier comes with the Ultra Telephoto 300-600mm lens and a phone case for $302, against a retail price of $441. The Ultra Tele + Super Tele Bundle adds the Super Telephoto 240mm and both macro add-ons (200mm and 300mm) alongside a phone case for $568, down from $849. The full Reeflex Ultra Set at $1859 (retail $2883) covers ten lenses spanning fisheye to ultra telephoto, a complete filter collection including fixed NDs from ND8 to ND64, variable NDs, a polarizer, and a black mist filter, plus filter adapters, a waterproof impact-resistant hard case, and a phone case.
Case options vary by device. iPhone 17 Pro and Pro Max users choose between Tech-Woven MagSafe or Leather MagSafe. iPhone 16, 15, and 14 Pro and Pro Max receive the Leather MagSafe version. Samsung S26, S25, S24, and S23 Ultra users get a Carbon case. Shipping begins June 2026, completing by early July.
Click Here to Buy Now: $302 $441 (32% off) Hurry! Only 10 of 180 left. Raised over $640,000
The post 24x Optical Zoom on an iPhone, Balanced Like a DSLR. REEFLEX’s 600mm Lens Is Brilliantly Absurd. first appeared on Yanko Design.
There was a time when the radio on the kitchen shelf meant something. Not just background noise – a presence. Something with weight and warmth, a dial that clicked with intention, a speaker that made the morning feel like it had a score. Then it disappeared. We outsourced listening to our phones, our earbuds, our smart speakers that go silent the moment the Wi-Fi drops or the power cuts. Our devices got smarter, but also more fragile. More connected, but less self-sufficient.
The result is a strange kind of ambient helplessness. Beautiful, optimized, perpetually connected – until nothing works. That’s what makes the RetroWave 7-in-1 Radio so quietly compelling. It doesn’t just revive the visual language of a classic Japanese radio. It restores something modern gadgets gave up without asking: the reassurance of an object that works when conditions aren’t perfect and takes away the decision fatigue of ‘choosing’ every single music you play.
At first, I thought the RetroWave Radio was mostly a design piece. A handsome retro object with a tactile tuning dial and enough character to earn a shelf. But after a few weeks, I realized it had rearranged things I hadn’t expected.
The Bluetooth stream replaced my phone speaker and sounded better. The FM dial came back into rotation, and tuning a signal by hand felt more deliberate than tapping a playlist. Then the power went out during a weekend storm. The radio kept going. The hand crank charged my phone enough to send a message. The LED flashlight handled the kitchen. The SOS alarm stayed ready in the background, doing nothing, which was exactly what I needed it to do.
It hadn’t added a function to my shelf. It had closed a gap I didn’t know I was living with.
This isn’t multi-functionality for the sake of a spec sheet. Each function earns its place.
We tend to assume the future belongs to smarter devices. But smart has started to feel fragile. Speakers that go silent without internet. Phones that drain at the worst moment. Tools that work beautifully right up until they’re actually needed.
The RetroWave Radio offers a different kind of progress. Not rooted in constant connectivity, but in self-sufficiency. It gives you music when you want ambiance, information when you need updates, and power when everything else starts running low. The best emergency tool is the one that’s already out – living on your shelf, earning its place every day, so it’s there without thinking when things get difficult.
This isn’t a radio that begs for attention. The retro Japanese-inspired silhouette is balanced and resolved – compact without feeling cheap, characterful without demanding notice. The tuning dial has genuine tactile feedback, the kind touchscreens never replicate. The proportions feel considered. The soft glow of the interface gives it a quiet presence that works as naturally on a nightstand as it does in an emergency kit. It looks dependable before you even turn it on.
A functional object with enough character to live proudly on display.
A practical companion for blackouts, storms, travel, and emergency kits.
Seven useful functions in one compact device that actually earns the space it takes up.
You don’t realize how many modern tools depend on ideal conditions until the power cuts, the signal drops, or you simply want something that works without asking much in return. That’s what the RetroWave 7-in-1 Radio gets so right. It doesn’t just entertain. It reassures.
And maybe that’s why it feels so current. Not because it looks back, but because it solves for the kind of uncertainty modern gadgets tend to ignore. In a world full of devices that stop being useful the moment things go wrong, this one keeps earning its place. The RetroWave 7-in-1 Radio is available now for $89.
The post This $89 Retro Radio Made My Smart Speaker Feel Weirdly Useless first appeared on Yanko Design.
Yanko Design’s Design Mindset podcast continues to carve out a thoughtful space for conversations around creativity, innovation, and the ideas shaping the future of design. Now at Episode 22, the weekly podcast is steadily building a strong voice of its own by focusing not just on finished products, but on the processes, philosophies, and experiments behind them. Powered by Zawa, this latest episode turns its attention to a fascinating tension in contemporary design: as AI becomes more embedded in creative workflows, where does human originality begin, and what happens when the most forward-looking idea starts with something as ancient as clay?
That question drives host Radhika Seth’s conversation with Ben Weiss, CEO of Syntilay, a company already known for pushing footwear into unfamiliar territory through AI, 3D printing, and custom-fit production. In this episode, Weiss unpacks the making of the Skin shoe, a project that began with artist Sebastian ErraZuriz sculpting directly around his foot before the form was scanned, translated, and turned into wearable footwear. The result is not just a new shoe, but a new argument for how design can begin, who gets to author it, and why technology may be most powerful when it supports human expression rather than replacing it.
The most striking part of the Skin shoe story is that it did not begin with a digital tool, a design brief, or a manufacturing constraint. It began with clay in the hands of an artist, and for Ben Weiss, that starting point changed everything about the outcome. As he explains, “People kept asking us, why start with clay? Why not just open a design software and begin, you know, kind of like the typical path for making shoes. And the answer is because a computer has an idea and some predetermined steps. But when you start with an art form, it’s entirely original.” That distinction becomes the foundation of the entire episode.
Weiss makes it clear that the goal was not simply to make a shoe in an unusual way. It was to let an artist enter footwear authentically, using his own medium and instincts instead of adapting to the usual industrial process. Sebastian ErraZuriz sculpted around his own foot in a w†ay that was, as Weiss describes it, “very free flowing,” with no predetermined expectations about what a shoe should look like. That is also why the final product feels less like a sneaker and more like something anatomical, intimate, and expressive, a piece of wearable sculpture rather than a conventional consumer product.
Once the clay sculpture was complete, Syntilay had to solve the difficult problem of turning a tactile, hand-made object into something that could actually be worn. Weiss acknowledges that some detail is always at risk in the translation from physical object to digital file, but preserving the original character of the sculpture was a key priority throughout. “Cause you lose some detailing, but you know you try to capture it as best as you can,” he says, before noting that the final printed shoe still retains much of the fine surface texture and hand-made quality of the original piece.
What makes the process especially interesting is that the artistic form is largely preserved on the outside, while most of the personalization happens on the inside. Using more than 5,000 data points captured from a phone scan or in-person fitting, Syntilay adjusts the internal geometry of the shoe to fit each customer’s foot without distorting the sculpture itself. Weiss explains, “The key is is not changing the outside structure that much so it distorts what the shoe looks like. In this case, what this piece of art looks like on your feet, um, and while also providing a good fit experience. So most of the changes are happening on the inside.” That balance between fidelity and function is what allows the shoe to remain art-led while still being wearable.
Although the episode title sets up a contrast between clay and AI, Weiss is not arguing against technology. His view is more layered, and more useful, because he sees AI as a tool that can support creativity without becoming the sole source of it. “AI is going to be a great augmenter, um, maybe that’s not the best word, but a great kind of helper for humans,” he says. He goes on to describe a future in which designers sometimes use tools, sometimes choose not to, and build workflows based on what makes the most sense for the idea rather than on ideology alone.
That mindset also shapes how Syntilay positions itself as a brand. Weiss points out that the company has already explored highly automated footwear, but the Skin shoe takes the opposite route by placing the human hand at the very beginning of the process. For him, the bigger point is experimentation. Footwear, he argues, has become too comfortable with minor updates, surface-level collaborations, and familiar formulas. His response is blunt and memorable: “A lot of collaborations today are new embroidery on the shoe, different colors. It’s nice, But like when you can take an actual clay sculpture that somebody made around their foot and make it something you can wear. I mean that’s next level.” Innovation, in this framing, is not about choosing between AI and craft, but about creating conditions for truly new ideas to emerge.
One of the strongest ideas in the conversation is that the Skin shoe is not just a design object, but a story that could only exist because of its human origin. Weiss sees that as increasingly important in a design landscape crowded with AI-generated outputs and endless visual sameness. “The story of the skin shoe is is a great story,” he says, pointing to the way Syntilay documents the journey from clay sculpture to 3D file to finished shoe. For him, storytelling is not decoration added after the fact, but a core part of how a product communicates meaning and builds resonance with people.
That same human-first logic also shapes how Weiss thinks about authorship. When asked who designed the shoe, he resists reducing it to one name, instead crediting both Sebastian, who created the sculpture, and Pablo, who translated the scan into a printable product. “So I would say it’s designed by two people,” he says, acknowledging that the future of artist-led footwear may depend on this kind of collaboration between conceptual creator and technical designer. He also notes that stories like these matter because they cannot simply be fabricated by a machine, adding that “storytelling is is a really significant moat because there are some stories that AI can just doesn’t have.” In other words, the human element is not just visible in the object, but embedded in the narrative around it.
Another compelling layer in the episode is Weiss’s reflection on working with Joe Foster, Reebok’s cofounder, whose decades of experience have shaped the way Syntilay thinks about product. Weiss describes Foster as someone who still approaches design with energy, curiosity, and a strong belief that the work should remain enjoyable. But the deeper lesson comes from Foster’s idea of “vis tech,” or visible technology, the principle that innovation should not be hidden beneath the surface. Customers should be able to look at a product and immediately understand that it is doing something different. That philosophy clearly runs through Syntilay’s work, from the pod-based structure of other models to the unmistakably sculptural silhouette of Skin.
Weiss also shares a broader set of lessons that go beyond this one project. He admits that early on, he had not fully figured out how to optimize footwear for printing cost while balancing comfort, and that learning came through iteration rather than certainty. He is equally clear about what AI companies often get wrong when entering established creative fields, saying the most common mistake is “losing the authenticity and respecting the people that come before you.” Still, his most revealing line comes near the end of the episode, when he is asked to define the future of design. His answer is simple and sharp: “It’s about giving people more opportunities to design.” That may be the clearest summary of both the Skin shoe and Syntilay’s larger ambition, opening the category to artists, creators, and new forms of authorship that conventional design systems have historically left out.
Design Mindset drops every week on Yanko Design. Catch Episode 22 in full wherever you listen to podcasts.
The post This Futuristic 3D-Printed Shoe Started as a Clay Sculpture first appeared on Yanko Design.
