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5 Retro Film Cameras with Modern Tech Gen Z Can’t Stop Buying

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In a world where digital cameras and smartphones promise instant perfection, the quiet return of analog photography feels almost revolutionary. Film cameras, once considered obsolete, are now being reimagined with modern features that blend nostalgia with innovation. This new generation of hybrid analog devices brings together the charm of vintage engineering and the convenience of contemporary technology, creating a more mindful, tactile, and emotionally rich way to capture images.

As Gen Z and today’s creators rediscover the pleasure of slowing down, film has become more than a medium, as it is a cultural shift toward intention and authenticity. The resurgence of analog cameras shows that the future of photography is not purely digital but a thoughtful fusion of old-world craft and modern possibility.

1. The Analog Revival In A Digital World

In an age dominated by smartphones and instant image processing, the resurgence of analog cameras might seem unexpected, but it’s far from accidental. Today’s creators, especially Gen Z, crave experiences that feel tactile, intentional, and emotionally grounded. Film photography delivers exactly that. What’s even more compelling is how a new wave of hybrid film cameras blends vintage charm with modern technology, transforming what was once a niche hobby into a vibrant contemporary culture.

Film photography is enjoying a strong comeback, but most point-and-shoot options still fall short. Vintage cameras come with unpredictable quirks, while many new models fail to capture the tactile charm that makes analog shooting special. For anyone wanting the warmth of film with modern reliability, the search often feels frustrating.

The Analogue aF-1 finally blends classic design with contemporary tech. Its compact, matte body, splash-resistant build, and sharp 35mm f/2.8 Double Gauss lens offer a familiar analog feel enhanced by dependable performance.

What truly sets the aF-1 apart is its seamless mix of analog character and digital convenience. LiDAR and Time-of-Flight autofocus ensure crisp shots from 0.5 meters to infinity, while automatic film loading and rewind remove guesswork. The GN8 flash recycles in half a second, and ISO support from 25 to 5000 makes it versatile in any light. With reliable mechanics and intuitive controls, the aF-1 brings film photography back to life without the usual hassles.

2. Why Film Feels Fresh Again

Analog cameras used to be defined by their limitations: no instant previews, finite exposures, manual settings, and the slow ritual of development. Now these very qualities are what attract modern users. The mindful pace of film forces you to slow down, observe, and shoot with purpose rather than rely on endless digital corrections. At the same time, new technologies have removed many of the old barriers, making film more accessible, adaptable, and rewarding for a wider creative community.

Modernized film cameras now include features that were unthinkable in traditional analog devices. Built-in light meters, Bluetooth connectivity, app-based controls, and hybrid workflows allow photographers to enjoy the aesthetic of film without sacrificing convenience. This balance of nostalgia and innovation gives today’s users the best of both worlds: the raw, imperfect beauty of analog paired with the efficiency of digital ecosystems.

The limited-edition Gudetama Retrospekt FC-11 35mm Film Camera brings together Retrospekt’s retro craftsmanship and Sanrio’s iconic lazy egg in a playful, collectible design. The camera features a silicone Gudetama lens cap and a faux leather-wrapped body illustrated with multiple Gudetama poses, making it as much a display piece as a functional camera. Lightweight at just 122 grams, it’s easier to carry than most smartphones and immediately stands out with its bright, character-driven aesthetic.

Built as a straightforward point-and-shoot, the FC-11 offers a 1m fixed-focus lens, optional built-in flash, and simple viewfinder framing for effortless shooting. It supports 200–400 ISO film, uses a 31mm f/9 lens, and has a 1/120-second shutter speed, giving users reliable performance in everyday conditions. Once you press the shutter, all that’s left is to develop the 35mm roll at your preferred lab. Cute, compact, and uncomplicated, the Gudetama FC-11 makes analog photography fun and accessible for beginners and collectors alike.

3. The Quest For Authenticity

Another reason for the revival is the cultural shift toward authenticity. In a world oversaturated with perfectly edited digital images, film offers a refreshing sense of realness. For younger audiences raised on high-resolution screens, film feels novel, tactile, and almost rebellious, an antidote to algorithm-driven perfection.

Online platforms have amplified the analog revival, giving emerging photographers a space to share their work, discuss techniques, and explore the emotional depth behind film practice. Even the waiting period between shooting and developing has become a shared ritual and a reminder that creativity doesn’t need to be rushed.

You can now enjoy the charm of analog photography without losing the comfort and speed of your smartphone. As traditional film cameras fade from everyday use, DIGI SWAP offers an elegant solution that brings them back to life. Many people keep old cameras as sentimental keepsakes, reminders of a time when every click of the shutter held suspense. This system lets you relive that experience by combining the tactile pleasure of a film camera with the efficiency of an iPhone.

DIGI SWAP consists of an adapter and a companion app that work together to recreate the film shooting process. The adapter mounts your iPhone to the back of the camera, projecting the lens image directly into the phone’s sensor, while the app automatically captures each shot when you press the physical shutter. With features like a wind-up lever simulation and a “Film Empty” screen after 36 frames, it preserves the nostalgia of analog photography while breathing new life into classic equipment.

4. Analog Meets Sustainable Living

Sustainability also plays a subtle but growing role. Many film enthusiasts appreciate the long lifespan of well-made analog cameras, which can function reliably for decades. Instead of constant digital upgrades, users invest in repairable, enduring equipment, which is a mindset that aligns with today’s conscious consumption patterns. When paired with eco-friendly film labs and responsible developing methods, analog photography supports a slower, more considered creative lifestyle.

The Lomography Lomo MC-A stands apart from the wave of digital cameras dressed in retro styling by being a truly analog 35mm film camera. Built with a robust metal body in silver or black, it features a retractable 32mm f/2.8 multi-coated glass lens that produces sharp, vibrant images with authentic film character. Manual film advance, tactile dials, and classic controls reinforce the experience of shooting real film rather than simulating it. Three modes, like Program Auto, Aperture Priority, and Full Manual, offer flexibility for beginners and advanced users alike, while fast autofocus and zone focusing support everything from everyday snapshots to street photography.

What makes the MC-A especially practical is its integration of USB-C charging, replacing hard-to-find CR2 batteries with a rechargeable system that lasts up to ten rolls per charge and exceeds 1,200 recharge cycles. The camera also includes signature Lomography tools such as a Splitzer, colored gel filters, protective wrap, and leather accessories, creating a complete, ready-to-shoot analog kit for modern film enthusiasts.

5. A Timeless Art Form, Reimagined

Most importantly, the reimagining of analog cameras reflects a universal desire to reconnect with craftsmanship, with memory, and with the art of paying attention. Modern technology doesn’t erase the soul of film; it simply enhances it. By blending retro charm with intelligent innovation, these cameras invite photographers to rediscover the thrill of uncertainty and the beauty of restraint qualities that feel more relevant than ever in a hyper-digital world.

Kodak’s Charmera camera brings a modern twist to the brand’s iconic analog cameras, especially the single-use models from the 1980s and 1990s. Designed as a miniature digital device, it mirrors the size and retro look of the classic Kodak Fling while replacing disposability with convenient recharging. Its blind-box format adds a collectible appeal, offering one of several vintage-inspired designs, including a rare transparent “secret edition.” Compact and lightweight at just 2.2 inches and 30 grams, it doubles as a charm thanks to its keychain loop, blending nostalgia with everyday portability.

Despite its playful scale, Charmera delivers a complete digital shooting experience with the familiar imperfections of analog cameras. It uses a 1.6-megapixel CMOS sensor to capture 1440 × 1080 photos and 30 fps video, embracing a grainy, film-like aesthetic. With filters, themed frames, and date stamps, plus microSD support and USB charging, it offers a practical way to create retro-style content inspired by classic analog photography.

Analog photography is making a strong comeback, not by rejecting modern tech but by blending with it. New hybrid and updated film cameras keep the charm of shooting on film while adding features that make them easier to use. This mix of old and new shows that people still value slow, thoughtful image-making. In today’s fast digital world, analog feels fresh again.

The post 5 Retro Film Cameras with Modern Tech Gen Z Can’t Stop Buying first appeared on Yanko Design.

The Flashback ONE35 V2 Turns Limitation Into Its Most Compelling Feature

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Digital photography has spent three decades eliminating friction, yet the Flashback ONE35 V2 deliberately reintroduces it. This compact camera restricts shooters to 27 exposures per roll and can withhold images for 24 hours before revealing them, treating scarcity and anticipation as design features rather than technical shortcomings. The approach feels counterintuitive until you recognize what it actually targets: not the act of taking pictures, but the behavioral patterns that infinite storage and instant preview have normalized.

Flashback, the Australian startup behind the ONE35, positions the device as “film feeling, digital freedom,” a phrase that captures the central tension the product navigates. The camera doesn’t simulate film chemistry or grain patterns. Instead, it borrows the behavioral scaffolding of disposable cameras, the fixed exposure count, the inability to review shots immediately, the delayed gratification of waiting for development, and grafts these constraints onto a reusable digital core. What emerges is less a nostalgic throwback than a deliberate intervention in how we interact with image-making tools.

The design argument here is worth parsing carefully. Constraint, when applied with intention, can redirect attention and reshape behavior in ways that pure capability expansion cannot. The ONE35 V2 doesn’t ask users to appreciate limitation for its own sake. It proposes that limitation might produce something that unlimited access has gradually eroded: the weight of a single frame, the suspense of unseen results, the social ritual of collective reveal.

Form Language and Material Identity

Physically, the ONE35 V2 speaks a dialect of late-1990s consumer electronics, updated with contemporary material sensibilities. The body arrives in eight colorways ranging from high-contrast pairings like Yellow/Black and Red/White to more subdued options like Coffee/Cream. Two variants feature transparent shells that expose internal componentry, a direct nod to the see-through electronics trend that peaked around 1999 with devices like the iMac G3 and translucent Game Boy Color. The proportions feel familiar, chunky without being bulky, designed to disappear into a jacket pocket or small bag.

Color blocking dominates the visual strategy. Each variant commits to two tones maximum, avoiding the gradient meshes and complex surface treatments common in contemporary consumer tech. This restraint serves the object’s conceptual positioning: it looks like something you would find at a beach shop checkout in 2001, yet the material finish and assembly precision read as current. The plastic shells have a matte texture on most models, reducing fingerprint visibility and giving the camera a tactile presence that glossy alternatives would sacrifice.

The transparent variants deserve particular attention. Exposing circuitry and internal structure creates an honesty of construction that opaque housings inherently conceal. You see the battery, the sensor housing, the flash capacitor. This transparency also functions as a trust signal, suggesting the device has nothing to hide about its relatively simple internals. There’s no pretense of computational complexity here, just the essential components required to capture and store 27 images at a time.

Materiality extends to the accessory ecosystem. A vegan leather case at $19 positions the camera as an object worth protecting and displaying, not a disposable item despite its disposable-camera heritage. The existence of branded caps and lanyards suggests Flashback understands the ONE35 as a lifestyle product, something users might want to signal ownership of rather than simply use.

Interaction Architecture: How Constraint Reshapes Behavior

Twenty-seven exposures. That number, pulled directly from the standard frame count of disposable film cameras, functions as the ONE35 V2’s primary behavioral lever. Disposables dominated casual photography from the late 1980s through the early 2000s before smartphones consolidated image capture into always-available, unlimited-capacity devices. By imposing the same ceiling, the ONE35 V2 forces a kind of photographic triage that contemporary shooters rarely practice: you cannot spray-and-pray when each frame represents roughly 3.7% of your available shots.

Scarcity changes the shooting ritual in observable ways. Users report thinking before pressing the shutter, evaluating whether a moment warrants one of their limited frames. The camera transforms from a capture-everything tool into something closer to a curation device, where selection happens at the point of exposure rather than afterward in a bloated camera roll. Each shot carries psychological weight proportional to the constraint.

The 24-hour development delay in Classic Mode introduces a second behavioral intervention. Instead of chimping (the photographer’s habit of immediately reviewing each shot on the camera’s screen), users must wait a full day before seeing results. This delay severs the feedback loop that digital photography introduced, the instant gratification that allows endless re-shooting until the perfect frame emerges. Without that loop, users either accept what they captured or miss the moment entirely.

Flashback’s decision to include Digicam Mode alongside Classic Mode reveals a pragmatic understanding of user psychology. Some shooters want the constraint of limited exposures without the enforced patience of delayed development. Others want the full experience. By making the delay optional, the ONE35 V2 acknowledges that not every context suits maximum friction, a party might call for immediate sharing that a travel diary would not.

The transfer workflow also carries design intention. Photos unload via Lightning or USB-C cable to the Flashback app, which handles what the company frames as “development.” The cable requirement is notable in an era of wireless everything. It creates a deliberate moment of connection, a physical ritual that separates capture time from viewing time. You must decide to plug in, to initiate the transfer, to move from shooter to viewer.

What Constraint Produces

The behavioral implications extend beyond individual users into social dynamics. At parties or group events, the ONE35 becomes a shared object that circulates hand to hand, with each person granted temporary access to a limited pool of exposures. This communal aspect mirrors how disposable cameras functioned at weddings and gatherings in the pre-smartphone era: multiple people contributing to a single roll that no one could immediately review.

The delayed reveal transforms image sharing from instant broadcast into group ritual. When Classic Mode holds photos for 24 hours, the eventual viewing becomes an event rather than a continuous trickle. Group chats waiting for a camera’s worth of party photos to “develop” experience collective anticipation, a social texture that immediate availability cannot replicate. Flashback’s marketing leans into this with phrases like “your friends will be begging you to share.”

There’s also an environmental dimension to consider. Disposable cameras generate physical waste with every roll: plastic housing, battery, packaging, chemical development. The ONE35 V2 retains the behavioral structure while eliminating the material throughput. One device, rechargeable via USB-C, replaces hundreds of single-use cameras over its lifespan. The sustainability argument nests inside the experience design rather than leading it.

Cultural Positioning: Where This Object Lives

The ONE35 V2 enters a market already primed for analog revival and digital skepticism. Film photography has seen sustained growth since the mid-2010s, driven partly by aesthetic preference but also by users seeking relief from the infinite scroll of digital capture. Fujifilm’s disposable cameras routinely sell out. Kodak has reintroduced discontinued film stocks. The secondhand market for film cameras has pushed prices for once-cheap bodies into collector territory.

Within this landscape, the ONE35 occupies an interesting niche. It doesn’t require users to learn film handling, find processing labs, or pay per-roll development costs. The app handles what chemistry once did, for free, indefinitely. But it preserves the behavioral constraints that film imposed, the limitations that many film revivalists cite as the actual source of appeal. In this sense, the camera represents a kind of constraint extraction: pulling the valuable behavioral friction out of an analog medium and transplanting it into a digital one.

The “screen detox” movement provides additional context. Products and services promising to reduce smartphone dependency have proliferated over the past five years, from grayscale phone modes to minimalist devices like the Light Phone. The ONE35 V2 aligns with this impulse without requiring users to abandon connectivity entirely. You can still have your smartphone in your pocket. You simply capture certain moments with a different tool, one that encourages presence during the event and patience afterward.

Flashback’s origin story reinforces this positioning. Founders Kelric and Mack reportedly started the project after observing that partygoers spent more time on their phones than engaging with each other. The garage-prototype-to-Kickstarter arc (reaching $80,000 in 13 minutes, $800,000 total) suggests the observation resonated with a substantial audience. The subsequent Good Design Award and Shark Tank appearance mark a trajectory from indie curiosity to legitimate product category.

What the ONE35 V2 Signals

The camera’s success, 50,000 units across 68 countries, 10 million captured images, suggests that designed constraint has commercial viability beyond niche appeal. Users are paying $119 for a device that does less than their phones, specifically because it does less. This inverts the typical value proposition of consumer electronics, where more features justify higher prices.

What Flashback demonstrates is that subtraction can constitute a design feature when the thing being subtracted has become a source of friction itself. Unlimited storage, instant preview, always-on connectivity: these capabilities solved problems when they emerged, but they’ve also generated new ones. The ONE35 V2 proposes that rolling back certain capabilities, with intention and care, might address the second-order problems the first capabilities created. Pick up the camera. Feel its compact, slightly chunky form. Press the shutter knowing you have 26 frames left. That deliberate friction is the product.

The post The Flashback ONE35 V2 Turns Limitation Into Its Most Compelling Feature first appeared on Yanko Design.

Antigravity A1 Review: Reimagining What a Drone Feels Like to Fly

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PROS:


  • Unique immersive experience with vision goggles

  • 8K 360 capture with post-flight reframing

  • Intuitive one-hand grip controller and automated modes lower the skill barrier

CONS:


  • Several pieces to carry and manage: drone, goggles, and controller

  • First-time setup and learning curve can feel overwhelming

  • Visual observer requirements in places like the U.S. limit solo flying

RATINGS:

AESTHETICS
ERGONOMICS
PERFORMANCE
SUSTAINABILITY / REPAIRABILITY
VALUE FOR MONEY

EDITOR'S QUOTE:

Antigravity A1 turns flying a drone into a new point of view, and once you are inside it, the experience feels hard to put a price on.

Antigravity is Insta360’s bold experiment in what happens when a 360‑camera company stops thinking only about the camera and starts redesigning the entire act of flying. It is an independent drone brand, incubated by Insta360, built on the same obsession with immersive imaging and playful storytelling, but free to rethink the aircraft, the controls, and the viewing experience as one coherent object. Instead of asking how to strap a 360 camera onto a drone, Antigravity asks how to make the whole system feel like a natural extension of your point of view.

Antigravity A1 is the first expression of that idea. It is a compact 8K 360 drone that arrives as a complete kit, with Vision goggles and a single‑hand Grip controller that you steer with subtle tilts and gestures. You do not fly it by staring at a phone and juggling twin sticks. You put on the goggles, step into a 360‑degree bubble of imagery, and guide the drone by moving your hand in the direction you want to travel. What was the experience with Antigravity A1 like? We tested it to bring you that answer.

Designer: Antigravity

Aesthetics

Antigravity A1 presents itself more as a system than a single object. There is the compact drone with its dual cameras, the Vision goggles, and the one‑hand Grip controller. Visually, the aircraft itself is quite understated. Aside from the two opposing lenses and the leg that shields the lower camera on the ground, it looks like a neat, functional quadcopter. The drama is reserved for what the system does, not how the airframe shouts for attention.

The Vision goggles lean into an almost character-like, even bug-like look, especially when you fold up the black antennas on each side that resemble insect feelers. The front shell is white with two large, dark circular eyes, giving the whole front a slightly cartoonish face. In between and just above those eyes sits an inverted triangle-shaped grille with a subtle Antigravity logo, adding a small technical accent without breaking the simplicity.  The fabric strap and thick face padding sit behind this front mask. Wearing the goggles does look strange at first, but in a strangely cool way.


 
The Grip motion controller has a white plastic shell with buttons and a dial that uses color and icon cues to hint at their functions. On the back, a black trigger-style pull bar sits where your index finger naturally rests. There are additional buttons on each side. The mix of white body, black accents, and clearly marked controls makes the Grip look approachable rather than intimidating, which suits a controller that is meant to translate simple hand movements into flight.

Overall, the drone, goggles, and controller share a cohesive design language. They all use the same soft white shell, black accents, and gently rounded forms. The whole kit feels like a single, intentional system rather than three unrelated gadgets.

Ergonomics

The Vision goggles are where comfort really matters, and Antigravity has clearly spent time on fit. The goggles weigh 340 grams, yet the padding and strap geometry distribute that weight in a way that avoids obvious pressure points, even during longer sessions. The side that meets your face feels soft and accommodating, so the hardware never feels harsh. Once the 360-degree image appears, the headset fades faster than you might expect, which is exactly what you want from an immersive device. Optional corrective inserts mean many glasses wearers can enjoy a sharp view without wrestling frames under the band, which makes the experience more inclusive and less fussy.

Power for the goggles lives in a separate battery pack that you can wear on a lanyard around your neck. At 175 grams, it is not heavy, but over time, it can feel slightly cumbersome to have it hanging there, especially when you are moving around. Antigravity sells a 1.2 metre (3.9 foot) USB-C to DC power cable that lets you route the battery to a trouser pocket or bag instead, which makes the whole setup feel less dangly and more integrated.

You adjust the head strap with velcro, which works, but it is not perfect. A small buckle or hinge mechanism would make it much easier to put the goggles on or take them off while wearing a hat, without having to readjust the strap length every time. It is a minor detail, yet it shows how close the design already is. You start wishing for refinements, not fixes.

The Grip controller is where Antigravity’s ergonomic thinking really shows. It rests comfortably in one hand, with a form that supports a natural, slightly relaxed grip rather than a tense, clawed hold. For my hand, it is just a tiny bit on the large side, enough to notice but not enough to break the experience. This is very much nitpicking, and it actually underlines how well resolved the controller already is. When you are down to debating a few millimetres of girth, it means the fundamentals of comfort and control are in a very good place.

Performance

My experience with Antigravity A1 actually started at IFA in Berlin in early September. Outside the exhibition halls, I slipped on the Vision goggles while an Antigravity staff member flew the drone. As the A1 lifted and the IFA venue unfolded beneath me in every direction, my legs actually shivered a little, even though I like heights. Being wrapped in a live 360-degree view felt less like watching a screen and more like I was flying. That first taste was magical, which made me both excited and nervous to test the A1 myself later. I had almost crashed a friend’s drone years ago and had not flown since, so my piloting skills were close to none.

That magic comes with a setup phase that feels more like preparing a small system than turning on a single gadget. The first time you connect the drone, pair the Vision goggles, update firmware, and learn the grip controls, it can feel overwhelming. There are menus on the drone, options in the goggles, and status lights to decode, and they all compete for your attention at once. After a few sessions, it settles into a rhythm, but that initial ramp is something you feel before you ever lift off on your own.

Mobile app – Tutorial

Packing the Antigravity A1 means finding room for the drone, the goggles and their separate battery, and the grip controller, often in a dedicated case or carefully arranged backpack. This nudges the whole experience away from “throw it in your bag just in case” and toward “plan a proper flying session.” The result is that the A1 feels more like a deliberate outing than a casual accessory.

On paper, the A1 looks quite sensible. With the standard battery, it weighs 249 g, staying just under the 250 g threshold that works nicely with regulations in many places, and it offers up to about 24 minutes of flight time in ideal conditions. Pop in the high-capacity battery, and the weight goes over 250 g, but Antigravity quotes up to around 39 minutes in the air. In reality, you get a solid single session per pack and will want spares if you plan to film seriously.

Flight behaviour is also adjustable. There are three flight modes, Cinematic, Normal, and Sport, so you can match how the drone responds to the scene you are flying in. Together with Free Motion and FPV, that gives the A1 enough range to feel relaxed and floaty when you want it, or more direct and energetic when the shot calls for it.

Vision goggles menu

On top of those basics, Antigravity adds automated tools like Sky Genie, Deep Track, and Sky Path. Sky Genie runs preprogrammed patterns that give you smooth, cinematic moves with minimal effort. Deep Track follows a chosen subject automatically, so you can focus more on timing than stick precision. Sky Path lets you record waypoints and have the A1 repeat the route on its own, which is handy for repeated takes or for nervous pilots.

Safety and workflow sit quietly in the background, which is exactly where they should be. Obstacle sensors on the top and bottom help protect the drone when you are close to structures or changes in elevation, and one click Return to Home acts as a psychological parachute. Knowing you can call the drone back with a single command does a lot to calm the nerves, especially if your last memory of drones involves a near crash.

In the United States, FAA rules treat goggle-only flying as beyond visual line of sight, so you are meant to have a visual observer watching the drone while you are wearing the headset. That nudges the A1 away from solo, spur-of-the-moment flights and toward planned sessions with someone beside you acting as spotter.

On the imaging side, the A1 records up to 8K 360-degree video, with lower resolutions unlocking higher frame rates when you want smoother motion. Footage can be stored on internal memory or a microSD card, and you can offload it either by removing the card or plugging in via USB-C, so it slips neatly into most existing editing habits.

Vision goggle screen recording

The real leap, though, comes from the goggles. They are the thing that truly sets A1 apart from almost every other consumer drone. Instead of glancing down at a phone, you step into an immersive 360-degree view that tracks your head and surrounds your vision. The drone feels less like a gadget in the sky and more like the spot your eyes and body are occupying. A double-tap on the side button flips you into passthrough view, so you can check your surroundings without pulling the headset off, and a tiny outer display mirrors a miniature version of the live feed for people nearby.

That small detail turned out to be important in Bali, where a group of local kids noticed the goggles and the moving image, wandered over, and suddenly found themselves taking turns “flying” above their own neighbourhood. Their gasps, laughter, and stunned silence were as memorable as the footage itself.

Mobile app

The magic continues even after you land. Because the A1 captures everything in 360 degrees, you can decide on your framing after the flight, which feels a bit like getting a second chance at every shot. Antigravity provides both mobile and desktop apps for this, so you can scrub through the sphere, mark angles, and carve out regular flat videos without having to nail every move in real time.

Desktop app

If you have used the Insta360 app, the Antigravity app will feel instantly familiar, with similar timelines, keyframes, and swipe-to-pan gestures. Even if you have not, it is straightforward to learn, helped by clear icons and responsive previews. There is also an AI auto-edit mode that can assemble quick cuts for you, which is handy when you just want something shareable without sinking an evening into manual reframing.

In the end, A1’s performance is not just about how long it stays in the air or how many modes it offers. Those pieces matter, and they are solid, but what you remember is the feeling of lifting off inside the goggles and the ease with which you can hand that experience to someone else. It still behaves like a well-mannered compact drone on the spec sheet, yet in use it edges closer to a shared flying machine, one that turns a patch of ground into a small, temporary viewing platform in the sky.

Sustainability

Antigravity does not make any big sustainability claims with the A1. There is no mention of recycled materials or lower-impact manufacturing, and the packaging and hardware feel very much in line with a typical consumer drone. This is not a product that sells itself on being green, and the company does not pretend otherwise. 

What you do get is some support for repairing rather than replacing. The A1 ships with spare propellers in the box, which encourages you to swap out damaged blades instead of treating minor knocks as the end of the drone. Antigravity also sells replacement lenses, so a scratched front element does not automatically become a total write-off. It is a small step, but it nudges the A1 slightly toward a longer, more fixable life rather than a purely disposable gadget.

Value

The standard Antigravity A1 bundle starts at 1599 USD, with Explorer and Infinity bundles stepping up battery count and accessories for longer, more serious flying. It is undeniably an expensive system, especially compared to regular camera drones that only give you a phone view.

At the same time, what you are really paying for is the experience of being inside the flight and reframing your shots after the fact. That sense of presence and flexibility is hard to put a number on, and for me, it nudges the A1 from “costly gadget” toward something closer to a priceless experience machine, if you know you will actually use it.

Verdict

Antigravity A1 is not the simplest drone in terms of equipment. You are managing goggles, a grip controller, multiple batteries, and in some places, you also need a visual observer if regulations require it. On top of that, the price sits firmly in premium territory. In return, you get a very different kind of flying. At first, setup and piloting can feel overwhelming, but it becomes natural surprisingly quickly, and there are plenty of automated features to help you keep the drone under control and capture cool shots. Combined with 360-degree capture and post-flight reframing in the Antigravity app, it feels less like operating hardware and more like stepping into a movable viewpoint.

If you just want straightforward aerial clips, the A1 is probably more than you need. If you care about immersive perspective and shared experiences, the mix of kit, software, and feeling it delivers starts to justify the cost. It is fussy, ambitious, and occasionally awkward, yet when you are inside that live 360-degree view, it really does reimagine what a drone can feel like to fly.

The post Antigravity A1 Review: Reimagining What a Drone Feels Like to Fly first appeared on Yanko Design.

TWS Earbuds With Built-In Cameras Puts ChatGPT’s AI Capabilities In Your Ears

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Everyone is racing to build the next great AI gadget. Some companies are betting on smartglasses, others on pins and pocket companions. All of them promise an assistant that can see, hear, and understand the world around you. Very few ask a simpler question. What if the smartest AI hardware is just a better pair of earbuds?

This concept imagines TWS earbuds with a twist. Each bud carries an extra stem with a built in camera, positioned close to your natural line of sight. Paired with ChatGPT, those lenses become a constant visual feed for an assistant that lives in your ears. It can read menus, interpret signs, describe scenes, and guide you through a city without a screen. The form factor stays familiar, the capabilities feel new. If OpenAI wants a hardware foothold, this is the kind of product that could make AI feel less like a demo and more like a daily habit. Here’s why a camera in your ear might beat a camera on your face.

Designer: Emil Lukas

The industrial design has a sort of sci fi inhaler vibe that I weirdly like. The lens sits at the end of the stem like a tiny action cam, surrounded by a ring that doubles as a visual accent. It looks deliberate rather than tacked on, which matters when you are literally hanging optics off your head. The colored shells and translucent tips keep it playful enough that it still reads as audio gear first, camera second.

The cutaway render looks genuinely fascinating. You can see a proper lens stack, a sensor, and a compact board that would likely host an ISP and Bluetooth SoC. That is a lot of silicon inside something that still has to fit a driver, battery, microphones, and antennas. Realistically, any heavy lifting for vision and language goes straight to the phone and then to the cloud. On device compute at that scale would murder both battery and comfort.

All that visual data has to be processed somewhere, and it is not happening inside the earbud. On-device processing for GPT-4 level vision would turn your ear canal into a hotplate. This means the buds are basically streaming video to your phone for the heavy lifting. That introduces latency. A 200 millisecond delay is one thing; a two second lag is another. People tolerate waiting for a chatbot response at their desk. They will absolutely not tolerate that delay when they ask their “AI eyes” a simple question like “which gate am I at?”

Then there is the battery life, which is the elephant in the room. Standard TWS buds manage around five to seven hours of audio playback. Adding a camera, an image signal processor, and a constant radio transmission for video will absolutely demolish that runtime. Camera-equipped wearables like the Ray-Ban Meta glasses get about four hours of mixed use, and those have significantly more volume to pack in batteries. These concept buds look bulky, but they are still tiny compared to a pair of frames.

The practical result is that these would not be all-day companions in their current form. You are likely looking at two or three hours of real-world use before they are completely dead, and that is being generous. This works for specific, short-term tasks, like navigating a museum or getting through an airport. It completely breaks the established user behavior of having earbuds that last through a full workday of calls and music. The utility would have to be incredibly high to justify that kind of battery trade-off.

From a social perspective, the design is surprisingly clever. Smartglasses failed partly because the forward-facing camera made everyone around you feel like they were being recorded. An earbud camera might just sneak under the radar. People are already accustomed to stems sticking out of ears, so this form factor could easily be mistaken for a quirky design choice rather than a surveillance device. It is less overtly aggressive than a lens pointed from the bridge of your nose, which could lower social friction considerably.

The cynical part of me wonders about the field of view. Ear level is better than chest level, but your ears do not track your gaze. If you are looking down at your phone while walking, those cameras are still pointed forward at the horizon. You would need either a very wide angle lens, which introduces distortion and eats processing power for correction, or you would need to train yourself to move your whole head like you are wearing a VR headset. Neither is ideal, but both are solvable with enough iteration. What you get in return is an AI that can actually participate in your environment instead of waiting for you to pull out your phone and aim it at something. That shift from reactive to ambient is the entire value proposition, and it only works if the cameras are always positioned and always ready.

The post TWS Earbuds With Built-In Cameras Puts ChatGPT’s AI Capabilities In Your Ears first appeared on Yanko Design.

Sandmarc Lens Gives iPhone 17 Pro 16x Optical Zoom, No Digital Tricks

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iPhone zoom has improved, especially with the 17 Pro’s tetraprism, but anything past 5x still leans heavily on digital tricks. Distant concert shots look like watercolor paintings, city skyline details collapse into mush when you pinch to zoom. If you actually care about long lenses, you usually end up carrying a separate camera and a chunky telephoto, which defeats the point of traveling light in the first place.

Sandmarc’s Telephoto Tetraprism Lens offers a different approach. It is a 48mm 2x optical telephoto that mounts directly over the 17 Pro’s 5x tetraprism camera, giving you up to 16x reach, roughly a 384mm equivalent. Real glass does the work instead of software interpolation. It is built specifically for Apple’s tetraprism module, not a generic clip on trying to cover all three lenses poorly.

Designer: Sandmarc

The lens is a multi element, multi coated cylinder weighing about 250 grams, closer to a compact mirrorless lens than a toy. The field of view narrows to 16.7 degrees, which gives you tight framing and real telephoto compression, the kind that pulls distant mountains closer or stacks city buildings into dense layers. The front element sits deep inside a metal barrel with blue anti reflection coating, machined rather than molded.

Where it shines is shooting where you physically cannot move closer. Standing on a ridge pulling in a faraway peak, shooting street portraits from across the road, grabbing architectural details from stadium seats without leaning on digital zoom that turns textures into paste. The lens only works with the 5x module, so you need a pro camera app to force the phone onto that sensor, but once dialed in, results look more like a small camera than a phone.

The front of the lens is threaded for Sandmarc’s own filters, so you can snap on an ND, polarizer, or diffusion filter just like you would on a regular camera. That opens up long exposures, glare control, and more cinematic looks. The included Ultra Slim case handles alignment and mounting without fiddling with clips, though it does mean swapping out whatever case you normally use when you want the lens attached.

The trade offs are real. The lens adds bulk and weight, only works with the 17 Pro and Pro Max tetraprism camera, needs Sandmarc’s case, and really wants a third party camera app. It is not something you leave on all day. It is the piece of kit you pack when you will be chasing distant subjects and want something better than cropped pixels, accepting your phone will feel like a small camera for a few hours.

Accessories like this make the iPhone feel less like a sealed black box and more like a modular camera system. For people who already think in focal lengths and filters, the Sandmarc Telephoto Tetraprism Lens turns the 17 Pro into a capable long lens rig, without asking you to give up having your main camera still live in your pocket when you are done shooting and need to check email or navigate to the next location.

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Starbucks China Is Selling a $28 Camera With Dual Sensors and Y2K Filters

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Starbucks wants you to photograph your coffee so badly that they’ve started selling you the camera to do it with. The Seattle coffee chain has ventured into digital imaging with a retro-styled camera that’s generating buzz for being surprisingly functional rather than just another piece of logo-plastered merchandise.

Released in China for the 2025 holiday season, the Starbucks Retro Digital Camera comes with dual sensors, vintage filters, and a design aesthetic borrowed from classic rangefinder cameras. At 198 yuan (roughly $28), it undercuts almost every digital camera on the market while offering features like proper selfie framing through its rear sensor and Y2K photo overlays. The metal-and-leather construction in burgundy-gold or green-silver colorways suggests Starbucks contracted with an established camera manufacturer rather than creating novelty electronics from scratch.

Designer: Starbucks

Look, Starbucks absolutely did not design this camera from the ground up. That $28 price point screams white-label collaboration with one of China’s numerous budget camera OEMs, and honestly, why wouldn’t they? The country has an entire ecosystem of manufacturers churning out retro-inspired digital cameras for the nostalgia market. You’d be an idiot to build camera R&D infrastructure when you’re a coffee company. Slap your logo on proven hardware, customize the leather colors, engrave “EVERY MOMENT MATTERS” around the lens ring, and call it a day. Starbucks already did this dance with LOMO on an instant camera in 2024, so they know the playbook. Partner with people who actually understand imaging sensors and leave the coffee roasting to yourself.

What actually matters here is that dual-sensor setup, because it solves a problem that every budget camera has ignored for decades. Taking selfies with a traditional camera means holding it at arm’s length, pressing the shutter, and praying you’re somewhere in the frame. Maybe your face is cut off. Maybe you captured mostly ceiling. Who knows? Starbucks stuck a second sensor where the viewfinder would normally sit, turning decorative nonsense into a functional front-facing camera. You frame yourself on the rear LCD exactly like using a smartphone, which means the target audience (people who want filtered photos for Instagram) can actually use this thing without wanting to throw it against a wall. Those nine Y2K photo frame overlays and retro filters are pure nostalgia bait, but we’re drowning in millennium aesthetics right now anyway. Fashion’s doing it, UI design’s doing it, why shouldn’t cameras?

Resale prices jumped to $72 almost immediately, which tells you everything about actual demand. Triple the original price means people want these as functional devices, not just collectors hoarding Starbucks merch. The lychee leather texture and metal construction feel surprisingly premium when you hold one. Those decorative dials on top are completely useless, sure, but they nail the vintage rangefinder look well enough that you’d need to inspect closely to realize this costs less than a week of lattes. At some point, perceived quality matters as much as actual specs, especially when you’re targeting casual photographers who care more about vibes than aperture settings.

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Sony Alpha 7 V Integrates AI Processing Into Its Imaging Engine, Rewrites Full-Frame Expectations

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Sony’s Alpha 7 line has defined full-frame mirrorless photography for over a decade. The fifth generation arrives with a fundamental change: the AI processing unit now lives inside the BIONZ XR2 imaging engine rather than running on a separate chip. Every imaging function shares the same processing backbone, and the performance gains cascade through autofocus, subject recognition, color science, continuous shooting, and video.

Designer: Sony

The Alpha 7 V (ILCE-7M5) pairs that integrated processing architecture with a new partially stacked Exmor RS CMOS sensor. At approximately 33 megapixels, it strikes a balance between resolution and file manageability, but the real story is readout speed: 4.5 times faster than the Alpha 7 IV. Faster readout means reduced rolling shutter distortion during fast panning. It means blackout-free continuous shooting up to 30 fps with full AF/AE tracking. It means 14-bit RAW capture at that same 30 fps speed without compromising autofocus performance. Sony also announced the FE 28-70mm f/3.5-5.6 OSS II (SEL28702), a compact standard zoom designed to match these capabilities.

The Pre-Capture function deserves its own attention. It records up to one second before you press the shutter, storing frames in a rolling buffer until you commit to the shot. For unpredictable subjects (pets, children, sports action), this changes the timing equation entirely. Still image performance reaches 16 stops of dynamic range in mechanical shutter mode, ensuring tonal detail across highlights and shadows even in scenes with extreme contrast.

The Real-time Recognition AF system now identifies humans, animals, birds, insects, cars, trains, and airplanes. Sony claims a 30% improvement in eye recognition performance compared to the Alpha 7 IV, measured through internal testing. The 759 phase-detection points cover 94% of the frame, and low-light autofocus extends down to EV -4.0. AF/AE calculations run 60 times per second, continuously adjusting both parameters during high-speed shooting.

Color science gets its own AI treatment. A newly introduced AI-driven Auto White Balance leverages deep learning technology for light source estimation, automatically identifying the shooting environment’s light source and adjusting color tones for natural, stable color reproduction. This should reduce post-production workload for photographers who shoot across varied lighting conditions.

Video capabilities expand significantly for hybrid creators. The Alpha 7 V introduces 7K oversampled 4K 60p recording in full-frame mode and 4K 120p recording in APS-C/Super 35mm mode. Full pixel readout without pixel binning enables highly detailed footage. Dynamic Active Mode provides smooth stabilization for handheld shooting. An Auto Framing function automatically maintains optimal subject composition during recording. New in-camera noise reduction and improved internal microphone functionality address the audio side.

The operability improvements read like a professional wish list: Wi-Fi 6E GHz compatibility, dual USB Type-C ports, vertical format support, adjustable electronic shutter sound, a 4-axis multi-angle monitor combining tilt and vari-angle design, and an improved grip. Battery life reaches approximately 630 shots using the viewfinder (CIPA standards), with a Monitor Low Bright mode extending that further. Thermal management supports extended 4K recording at approximately 90 minutes at 25°C and 60 minutes at 40°C.

The Companion Lens and What It Costs

The FE 28-70mm f/3.5-5.6 OSS II earns attention beyond its kit lens positioning. When paired with compatible cameras, it offers up to 120 fps AF/AE tracking, continuous shooting up to 30 fps, seamless body-lens coordinated image stabilization, AF available during zooming, and built-in breathing compensation support. This addresses the original 28-70mm kit lens’s sharpness and autofocus speed criticisms while maintaining the lightweight profile that full-frame mirrorless shooters expect.

Sony aligned this release with its Road to Zero environmental initiative. Manufacturing facilities for imaging products operate at 100% renewable energy. The packaging uses Sony’s Original Blended Material (bamboo, sugarcane fibers, post-consumer recycled paper) instead of plastic.

The Alpha 7 V body arrives by the end of December 2025 for approximately $2,899 USD ($3,699 CAD). The kit with the SEL28702 lens follows in February 2026 for approximately $3,099 USD ($3,899 CAD). The lens alone: $449 USD ($599 CAD), also February 2026. All products will be sold through Sony and authorized dealers throughout North America.

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Realme GT8 Pro Review: A Flagship You Choose With Your Heart

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PROS:


  • Ricoh GR partnership on the main camera

  • Distinctive design with modular camera island

  • Outstanding battery life and charging speed

CONS:


  • Ricoh GR mode is limited to the main camera

  • Ultra-wide and front cameras lack autofocus

  • Software support is good, but not class-leading for the price range




RATINGS:

AESTHETICS
ERGONOMICS
PERFORMANCE
SUSTAINABILITY / REPAIRABILITY
VALUE FOR MONEY

EDITOR'S QUOTE:

This is a phone you pick with your heart as much as your head, because you really have to want that design story and the GR experience.

The announcement of Realme’s partnership with Ricoh was a surprise, and now the highly anticipated Realme GT8 Pro is here with another twist in the form of an interchangeable camera plate on its back. This is not a subtle move, and it signals that Realme GT8 Pro is not trying to be just another sensible flagship. Instead, it arrives as a phone that wants to make a statement the moment you turn it over in your hand.

At the same time, this is still a serious piece of hardware built around the Snapdragon 8 Elite Gen 5, a huge 7000 mAh battery, and a vibrant 6.79-inch display. Realme is clearly aiming to step out of its value-focused comfort zone and into the premium flagship ring, where expectations are much higher, and mistakes are more visible. The real question is whether this bold, personality-heavy approach makes the GT8 Pro a genuinely great all-around phone, or a beautiful experiment that only a certain kind of user will truly appreciate.

Aesthetics

Pick up the realme GT8 Pro, and the first thing your eyes lock onto is the camera island. Realme has turned the rear camera housing into a modular design object that you can swap and restyle. Different camera decoration plates change the shape and graphic language of that camera bump, which means the back of the phone becomes a kind of customizable badge. It feels more like a piece of streetwear design than a typical rectangular slab, and it sends a clear signal that this phone sees photography and personality as central to its identity.

The plate is held in place with two tiny screws. The design that comes with the Diary White colorway we received is a round silver colored plate, and Realme also sent a separate rectangular silver colored plate. Realme has even released the 3D design file to invite people to create their own camera plate designs for the GT8 Pro. It is purely non-functional, and you could easily call it a gimmick, but it is a playful gimmick that fits the character of this phone and gives designers and tinkerers something fun to explore.

Realme keeps the core lineup tight with two main colorways. Diary White pairs the aluminum frame with a glossy glass back panel that catches reflections like a piece of polished ceramic. Urban Blue switches to a vegan leather back panel that brings a more tactile, fashion-focused vibe and feels closer to a premium accessory than a slab of tech. Both finishes are tuned to catch light and attention rather than fade into the background, which reinforces the GT8 Pro’s role as a visual statement.

On top of these two color variants, Realme offers the Dream Edition as part of its three-year partnership with the Aston Martin Formula 1 team. This special version comes dressed in Aston Martin Green with yellow accents and an aerodynamic-inspired design. The phone arrives with a round camera decoration plate featuring a carbon fiber finish, which adds a motorsport texture that feels premium.

Inside the special box, you also get the square deco plate, a SIM ejector tool shaped like a racing car, a Torx screwdriver for swapping plates, two phone cases, and a charger. The phone itself comes preloaded with custom Aston Martin Formula 1 team wallpapers and icons, so the collaboration extends into the software experience as well.

Ergonomics

This is a large phone with a 6.79-inch display and a 7000 mAh battery, so it has real presence in the hand. Both colorways share the same footprint at 161.80 x 76.87 mm, which means you are firmly in big phone territory. You feel that size immediately, yet the curved edges and carefully rounded corners do a lot of work to soften the bulk and make it feel less intimidating.

The differences appear when you look at thickness and weight. Diary White comes in at 8.20 mm thick and weighs 218 g, while Urban Blue is slightly thicker at 8.30 mm but actually lighter at 214 g. In practice, these numbers are close enough that you will not notice a dramatic contrast in day-to-day use. Diary White, with its glossy glass back, feels sleek and cool, sliding more easily against your skin and into pockets. Urban Blue with its vegan leather has a paper-like feel with tactile 3D characters, according to Realme, which gives it a more textured, design-forward personality in the hand.

The power and volume keys sit within easy reach on the right side of the frame. Their placement makes it simple to adjust volume or lock the screen without shifting your grip too much, even on this tall device. The fingerprint scanner is located at roughly one-third of the height from the bottom of the display, which makes it easy to unlock the phone and continue straight into navigation with the same thumb movement.

Performance

Inside, the GT8 Pro is powered by the latest Snapdragon flagship chipset, the Snapdragon 8 Elite Gen 5, and that choice sets the tone for the entire performance story. This chip is designed for demanding multitasking, heavy gaming, and advanced AI features, and the phone leans into that with confidence. Realme pairs the main chipset with either 12 GB or 16 GB of RAM, along with 256 GB or 512 GB of fast UFS 4.1 storage, depending on the configuration. On the software side, Android 16 with realme UI 7 sits on top, bringing a colorful, feature-rich interface that still keeps most interactions intuitive and approachable.

On the front, the GT8 Pro boasts a 6.79-inch LTPO AMOLED panel with a 1440 x 3136 px resolution and a maximum refresh rate of 144 Hz. It supports Dolby Vision, HDR10, and HDR10+, which gives you rich contrast and vivid highlights when watching compatible content. Realme claims a peak brightness of up to 7000 nits and 2000 nits in High Brightness Mode. These numbers are usually achievable only in very specific lab conditions, but in real life, the GT8 Pro display is genuinely very bright and easy to see under strong sunlight. The stereo speakers are loud and clear as well.

On the back, the Realme GT8 Pro boasts a triple camera system. The main camera is a 50 MP unit with a 1/1.56-inch Sony IMX906 sensor, an F/1.8 aperture, optical image stabilization, and electronic stabilization. The telephoto camera uses a 200 MP 1/1.56-inch Samsung HP5 sensor with an F/2.6 aperture, again with both optical and electronic stabilization. The ultra-wide camera is a 50 MP unit with a 1/2.88-inch sensor and an F/2 aperture.

The camera system is where the GT8 Pro tries to carve out a unique identity. Realme has partnered with Ricoh and borrowed the GR branding, a name that carries a lot of weight in the world of street photography. Realme says this partnership has been four years in the making, and that it goes deeper than simply slapping a GR logo on the phone. The goal is to weave Ricoh GR DNA into the GT8 Pro and bring the spirit of GR-style photography into a smartphone.

Ricoh GR mode is limited to the main camera and offers fixed focal length presets at 28 mm, 35 mm, 40 mm, and 50 mm equivalents. As someone who enjoys a good telephoto camera, I was initially disappointed that Ricoh GR mode does not extend to the GT8 Pro telephoto lens. However, the more time I spent with the phone, the more this decision started to make sense. As mentioned earlier, Realme and Ricoh are trying to bring the soul of GR photography into the GT8 Pro, and the GR series is best known as an iconic tool for documentary-style, walk-around shooting.

Ricoh GR, Standard

Within GR mode, you get a set of film-inspired looks called Standard, Positive Film, Negative Film, BW, and Hi BW. Each of these can be treated as a starting point rather than a fixed recipe. You can dive in and adjust parameters such as saturation, contrast, sharpness, and grain for each look, then save your tweaks as custom presets, up to six presets in total. It feels very much like building your own GR profiles, which is a big part of the appeal for people who love tuning their cameras and crafting a personal visual style.

Ricoh GR, Positive Film

Ricoh GR, Negative Film

Do I still wish for a Ricoh GR mode on the telephoto camera? Absolutely. At the same time, I am quite happy with the Ricoh GR mode on the main camera. The Ricoh GR mode produces photos with a less processed, more natural look, and the ability to fine-tune and save your own presets makes it feel personal rather than generic. There is also a full Pro mode on Ricoh GR mode available if you want manual control, which rounds out the experience and lets you treat the GT8 Pro more like a serious camera than a simple point-and-shoot.

Ricoh GR, B&W

Ricoh GR, High-contrast B&W

Of course, if you just want a quick snap that is ready for social media, the regular photo mode delivers sharp, vibrant images (that could be a bit too much)  with excellent dynamic range. The 200 MP 3X telephoto is excellent too, capturing plenty of detail and holding up well even when you crop in or zoom further digitally. Both the ultra-wide camera and the 32 MP front camera lack autofocus, which is a limitation, but they still produce clean, punchy images.

Video recording is equally ambitious. The main camera and the telephoto camera can both shoot 4K video at up to 120 FPS and 8K video at 30 FPS. The ultra-wide and front cameras can record up to 4K at 60 FPS. The footage looks very good, with solid dynamic range and vibrant color that holds up across different lighting conditions. You can even record Log at 4K 120 FPS, which gives you more flexibility for grading.

Battery life and charging are among the most dramatic strengths of this phone. The GT8 Pro carries a 7000 mAh battery, which translates into serious endurance in real-world use. The 120-watt wired charging, using the proprietary SuperVOOC charger that is included in the box, can refill that huge battery from empty to full in around 45 minutes, which feels almost absurd for this capacity. For the first time on a Realme global phone, you also get wireless charging at up to 50 watts. This combination of a massive battery and very fast wired and wireless charging means battery anxiety becomes a rare feeling rather than a daily concern.

Sustainability

The GT8 Pro quietly builds a solid sustainability story around its bold design. The front is protected by Corning Gorilla Glass 7i, and the body carries IP68 and IP69 ratings, which together help the phone survive drops, scratches, dust, immersion, and even high-pressure water jets. A device that can handle more abuse is a device you are less likely to replace early, which is an underrated part of sustainability.

Realme also pays attention to materials. The Urban Blue variant uses a vegan leather style back crafted from a recycled material and natural dye, which gives it both a softer environmental footprint and a more crafted feel in the hand. On the software side, Realme promises four years of Android OS updates and five years of security updates. I do wish Realme offered even longer support at this price range, especially as some rivals are pushing update timelines further. Still, it gives you a reasonable sense of confidence that the GT8 Pro will stay usable and secure for several years.

Value

Realme GT8 Pro is positioned as a proper flagship, and the pricing reflects that ambition. In China, the 12 GB and 256 GB configuration costs 3999 Chinese Yuan, which is roughly $550. In India, the same configuration is priced at 79,999 Indian Rupees, which comes much closer to around $960 at current conversion rates.

That Indian price pushes the GT8 Pro straight into ultra-premium territory. At that level, you are cross-shopping it against flagships from Apple, Google, Samsung, and established Chinese rivals. The hardware feels special, especially with the Ricoh partnership and the modular design, and it ticks most of the boxes for a modern premium flagship. Whether it feels like good value, though, depends a lot on your market and on how much you personally care about the GR experience and the design story.

Verdict

Realme GT8 Pro feels like a flagship that actually wants to be noticed, with its modular camera island and even an Aston Martin Formula 1 edition, yet it backs that flair up with serious hardware. Between the Snapdragon 8 Elite Gen 5, the 2K 144 Hz LTPO display, the Ricoh GR-tuned main camera, and that massive 7000 mAh battery, this is not a phone that cuts corners quietly. It is a device that tries to turn every surface and every spec into a talking point.

That ambition does come with trade-offs. The size and weight will not suit everyone; the GR experience is focused on the main camera rather than the full system, and the pricing in some markets pushes it into direct competition with very established premium players. Still, it feels like a very compelling, characterful choice. In the end, this is a phone you pick with your heart as much as your head, because you really have to want that design story and the GR experience.

The post Realme GT8 Pro Review: A Flagship You Choose With Your Heart first appeared on Yanko Design.

iPhone ‘Lock Screen Mirror’ feature lets you quickly check your hair/teeth without opening the camera

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Never have I seen something so audaciously brilliant I actually summon a CEO to help make it a reality but Tim Cook… if you’re reading this, this lock-screen mirror definitely needs to ship on the next iOS build. Put together by Jakub Zegzulka, an ex-Apple, Meta, and OpenAI fellow, this tiny little feature is perhaps more important than FaceID itself!

How many times have you stepped out for a meeting with friends or for an interview, having no idea what you look like… or whether you’ve got food stuck in your teeth? You unlock your phone, open the camera app, and flip to the front-facing camera to do a quick vibe-check. It’s a 3-step process that absolutely doesn’t need to be a 3-step process. Instead, Zegzulka’s solution involves just long-pressing on the camera icon on the bottom right of your lock screen. That brings up a tiny window emerging off the dynamic island, giving you a quick preview of yourself. You can check your hair, fix your make-up, adjust your specs, run your tongue across your teeth, or just quickly check out that annoying zit that appeared at the wrong place and wrong time.

Designer: Jakub Zegzulka

Zegzulka didn’t outline much, except a quick video demo of this feature on Threads. Although that was enough to gather nearly 2K likes in just over a day. The Lock Screen Mirror isn’t an app. It’s just a quick interaction that lets you open the camera’s viewfinder right on your lock screen for checking your appearance. The tiny circular window is almost exactly the size of a make-up mirror, and the feature is legitimately handy, even for me as a guy who has fairly curly hair that needs to just be ruffled before I step out.

Heck, imagine going an entire hour on a date with spinach stuck in your teeth and them being polite enough to not point out. Instead, you just do a quick check, get that pesky piece of green stuck on your pearly whites, and you’re good to go. It’s such a tiny-yet-life-enhancing feature that Apple could totally ship with their next build. You’re NOT opening your camera app with this lock screen mirror function, just a preview. You could drag your finger up and have the app open like it traditionally does, but a feature like this would probably eliminate the need to, if all you need to do is see if you look good right before you meet your friends, your future boss, or the potential love of your life.

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This 15g Digital Camera Looks Like a Tiny Polaroid, Hangs on Keychains

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Instant cameras had their moment, then faded away, then came roaring back as nostalgia items for people who missed the tactile joy of physical photos. The problem is that film for these cameras costs a fortune, and the quality is wildly inconsistent depending on lighting and luck. Digital cameras solve those issues, but they’ve also gotten so advanced that taking a quick snapshot requires navigating menus and settings. Sometimes you just want to point, click, and move on without worrying about resolution.

Studio Seven’s Retro Digital Toy Camera brings back the playful simplicity of instant cameras without the expensive film or fussy controls. Released as part of the brand’s anniversary collection, this palm-sized gadget mimics the chunky, geometric shape of classic Polaroid cameras but swaps the film cartridge for a microSD card. The result is a tiny camera that captures lo-fi digital images and videos with the charm of retro photography, all in a package you can hang from your bag.

Designer: Studio Seven

The camera itself is impossible to miss. A bold orange-and-white design dominates the look, with Studio Seven branding across the front and a red shutter button perched on top. The front features a large faux lens, a small viewfinder window, and two black buttons that handle power and capture functions. The whole thing weighs just 15 grams and fits easily in your palm or pocket.

Of course, the specs aren’t going to compete with your smartphone. The camera shoots stills at 1280×960 pixels and video at 640×480, both deliberately low-res to recreate that grainy, film-camera aesthetic. The images look like they were taken in the early 2000s, which is exactly the point. You’re not getting crisp photos here, but you are getting something that feels fun and spontaneous rather than overly polished.

What makes the camera genuinely practical is how easy it is to carry. The included keychain lets you attach it to a bag, belt loop, or backpack, so it’s always within reach when you want to snap a quick photo. There’s also a strap for wearing it around your neck, turning it into a wearable accessory that doubles as a conversation starter.

The camera saves files to a microSD card, which you’ll need to buy separately since it doesn’t come with one. Cards up to 64GB are supported, which should be plenty for thousands of low-res images. The lack of waterproofing means you’ll want to keep it away from rain or spills, but for casual everyday use, it holds up fine.

The Studio Seven Retro Digital Toy Camera captures instant photography’s appeal without the usual headaches. You get the playful experience of a chunky retro camera with the convenience of digital files you can share however you want. For anyone who misses the spontaneity of disposable cameras but doesn’t want to deal with film costs, this offers a fun alternative that’s light enough to carry everywhere.

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