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DJI RS 5 First Look: The New Sweet‑Spot Gimbal For Solo Creators And Mirrorless Rigs

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DJI’s gimbal lineup has always operated on a clear hierarchy. At the bottom, the Osmo Mobile series keeps smartphone creators happy with pocket-friendly stabilization. At the top, the RS 4 Pro hauls cinema camera rigs with carbon fiber arms and 4.5kg payload capacity. The middle ground, though, has been trickier to nail down. Too light and you’re pushing mirrorless setups to their limits. Too heavy and solo operators end up fatigued halfway through a wedding shoot. The RS 5 arrives as DJI’s latest attempt to find that sweet spot, and judging by the spec sheet, they might have actually figured it out this time.

Weighing 1.46kg with a 3kg payload capacity, the RS 5 matches the physical footprint of the standard RS 4 while claiming a 50% boost in peak motor torque and 14 hours of runtime on the standard battery. More interesting is what DJI has prioritized here: the RS Enhanced Intelligent Tracking Module (borrowed from the RS 4 Mini’s debut), an Electronic Briefcase Handle for high and low angles, and significantly faster charging that gets you back to work in an hour instead of waiting around for half a day. This isn’t about raw specs anymore. It’s about keeping solo commercial videographers moving efficiently through shoots without needing a full crew or endless battery swaps.

Designer: DJI

It’s one thing to hold a 3kg payload steady during a slow pan, but chasing a subject through a crowded event is a different beast entirely. That 50% peak motor torque improvement is where the RS 5 starts to justify its existence, especially when paired with their fifth-generation stabilization algorithm. This is the kind of power that prevents micro-jitters when you’re running or making sudden direction changes. It also means the native vertical switch, which lets you flip to a 9:16 aspect ratio in seconds, doesn’t come with a performance penalty. That’s a huge deal for anyone delivering social content alongside traditional horizontal video, as you’re not compromising stability just to get the shot framed for TikTok.

All that stabilization doesn’t mean much if your subject keeps drifting out of frame while you’re focused on your own footwork. The RS Enhanced Intelligent Tracking Module, pulled from the RS 4 Mini and beefed up, handles the tracking with aplomb. It tracks more than just people; you can lock onto vehicles, pets, or any object you tap on the screen from up to 10 meters away. Even better, it can re-acquire a subject if they’re temporarily obscured, saving you from a ruined take. The fact that it attaches magnetically without needing extra adapters is a smart touch, acknowledging that setup time is a real currency for solo operators. It’s a clever bit of product strategy, bringing a killer entry-level feature up to the commercial tier where it’s arguably needed most.

The dirty secret of every solo videographer’s kit is a bag overflowing with batteries and a constant, low-grade anxiety about runtime. DJI seems to have finally gotten the message. The RS 5 hits a full charge in just one hour with a 65W PD charger, which is a massive quality-of-life improvement. The standard battery gives you 14 hours of juice, but the optional BG70 High-Capacity grip pushes that to a claimed 30 hours. Even if real-world use cuts that down significantly, it’s enough to get you through the longest wedding day without a panic. They’ve also expanded the Bluetooth shutter control to include Panasonic and Fujifilm cameras, a long-overdue nod to the fact that the camera world doesn’t just revolve around Sony, Canon, and Nikon.

You’re probably a good candidate for the RS 5 if you’re shooting paid work with mirrorless cameras and your current gimbal makes you want to throw it into a lake by hour three. Event videographers, wedding shooters, small production houses, anyone who’s working solo but needs results that look like a full crew showed up. If you’re hauling around a RED Komodo or a cinema rig that pushes past 3kg, skip this and go straight to the RS 4 Pro with its 4.5kg capacity and carbon fiber construction. On the flip side, if you’re still shooting with your phone or occasionally pulling out a compact camera for vlogs, the Osmo Mobile or Osmo Pocket lines will serve you better. Those devices are far more portable, cost a fraction of what the RS 5 demands, and honestly, DJI will probably refresh them in the coming months with similar intelligent tracking features trickling down from this generation. But if you’re already committed to proper camera gear and tired of fighting your equipment, this sits right where it needs to.

So this all sounds great, but it always comes down to the hole it leaves in your wallet. The standalone gimbal runs $671 (£485), which plants it firmly in that prosumer middle ground. The real conversation, though, is about the Combo kit at $856 (£619), which adds the tracking module and the electronic briefcase handle. For a working videographer, that’s the package that makes sense. You’re not just buying a stabilizer; you’re buying back time and reducing on-set frustration. It’s a tool built for the specific pressures of the one-person crew, and that focus is what makes it a compelling piece of hardware.

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OBSBOT Tiny 3 4K PTZ Webcam Review: Audio As a First-Class Citizen

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PROS:


  • Triple MEMS mic array with five specialized audio modes

  • Strong imaging quality with 1/1.28-inch 4K Dual All-Pixel PDAF sensor

  • AI Tracking 2.0 with intelligent framing and PTZ control

  • Extreme compactness with flagship-level specs

CONS:


  • Premium pricing

  • Feature depth may overwhelm casual users

  • Non-serviceable, integrated design

RATINGS:

AESTHETICS
ERGONOMICS
PERFORMANCE
SUSTAINABILITY / REPAIRABILITY
VALUE FOR MONEY

EDITOR'S QUOTE:

OBSBOT Tiny 3 treats audio and video as one design problem instead of forcing users to stack separate gear, creating a genuinely tiny studio that replaces an entire desk setup with one very capable box.

Most people who take video calls seriously have ended up stacking gear on their desks. A clip-on webcam, a clamped USB mic, software filters layered on top of each other, and a constant ritual of adjusting angles and leaning into microphones just to sound decent. Laptop webcams were never meant to carry this much weight, but the usual upgrade path still treats audio as something you solve separately, which means juggling two devices and hoping they play nicely together.

OBSBOT Tiny 3 approaches that problem differently. The 4K PTZ webcam wraps a triple MEMS microphone array, a 1/1.28-inch sensor, and a 2-axis gimbal into a compact, lightweight aluminum body. OBSBOT calls it a Tiny Titan, and claims it delivers studio-grade spatial audio, flagship imaging, and AI tracking in one very small package. Whether that actually holds up during everyday streaming, client meetings, and the occasional podcast is the question worth answering.

Designer: OBSBOT

Aesthetics

Walking into a room where the Tiny 3 sits on a desk, it reads less like a webcam and more like a miniature broadcast camera someone scaled down and parked on a tripod. The aircraft-grade aluminum alloy shell gives it an equipment-grade presence without being loud about it, landing somewhere between compact cameras and audio interfaces rather than the glossy plastic most peripherals use these days.

The proportions feel deliberately compact. At 37mm x 37mm x 49mm and 63g, it occupies roughly the same footprint as a large dice, but the dual-axis gimbal makes it clear this is meant to move and track rather than stare at one fixed angle. The satin metallic finish catches light softly without harsh reflections, and the minimal branding keeps it neutral enough to blend into creative or corporate setups without clashing with the rest of the gear.

The included storage case and adjustable mount feel like extensions of the same design language rather than afterthoughts tossed into the box. The case is compact and rigid, protecting the camera in transit without eating up bag space, while the mount uses clean lines and a friction hinge that feels considered. These details matter to people who care about how tools look both during use and while packed away, which describes exactly the kind of person likely to spend more on a webcam in the first place.

Ergonomics

Setup is quick enough that you can join a meeting within minutes of opening the box. Plug the OBSBOT Tiny 3 into a USB-C port, wait a few seconds for automatic driver installation, and the camera appears as a standard UVC device ready for Zoom or Teams. Downloading OBSBOT Center later unlocks deeper controls, but the basics work immediately without forcing you into a setup wizard when you are already five minutes late to a call.

Mounting options give flexibility without requiring proprietary hardware. The adjustable clip grabs laptop lids or monitor bezels securely, while the built-in 1/4-inch thread accepts any standard desk tripod or arm. This means the Tiny 3 can shift from a quick laptop travel setup to a permanent studio fixture without needing different stands, which keeps things simpler when your workspace changes or you move between home and office regularly.

The 2-axis gimbal handles tracking smoothly once it starts moving. Pan range reaches ±130 degrees controllable, tilt goes from 32 degrees up to 60 degrees down, and the gimbal moves at up to 120 degrees per second. In practice, the camera can follow you across a room, reframe when you stand up or sit down, or snap to preset positions without feeling sluggish or overeager, more like a quiet camera operator than a webcam you nudge by hand every few minutes.

Voice commands and gesture control keep your hands free when it counts. Saying “Hi Tiny” wakes the camera, and from there you can trigger tracking, zoom in or out, or park the gimbal in preset positions by voice. Gestures work similarly: a raised hand or quick motion toggles tracking or zoom without leaning forward to click software buttons. This feels genuinely practical once you are mid-presentation and do not want to break flow by reaching for a mouse or keyboard.

Performance

At the imaging core sits a 1/1.28-inch CMOS sensor with 50MP effective pixels behind an f/1.8 lens at a 24mm equivalent focal length. That sensor size is closer to what you would find in a decent smartphone camera than in most webcams, which immediately changes expectations for low-light noise, dynamic range, and how camera-like the footage feels compared to typical USB peripherals.

The OBSBOT Tiny 3 outputs 4K at 30 fps for sharp video, or drops to 1080p at up to 120 fps for ultra-smooth motion or slow-motion clips. That 120 fps mode is rare on webcams and genuinely useful for product demos, movement capture, or just making gesture-heavy content feel more cinematic. DCG HDR balances bright windows and dim rooms without the ghosting that makes some HDR modes unusable, which helps when you are stuck with mixed lighting.

Autofocus and exposure behave like a capable point-and-shoot rather than guesswork. Dual All-Pixel PDAF pulls focus quickly, whether you are showing a product, writing on a whiteboard, or pacing during a stream. ISO 100 to 12,800, capped at 6,400 in HDR mode, gives flexibility to stay clean in low light without the image collapsing into noise. Shutter speeds from 1/12,800 to 1/30 second handle fast motion or dim environments without aggressive software smoothing.

Audio is where the Tiny 3 genuinely stands apart from the field. The triple silicon MEMS microphone array includes one omnidirectional and two directional mics, operating at 24-bit sampling with 130dB SPL handling and a 69dB signal-to-noise ratio. In plain terms, the system captures quiet nuance and loud environments without clipping or filling the track with hiss, and noise reduction is strong enough to keep voices clear even in noisy spaces.

Five dedicated audio modes cover different scenarios without needing external hardware. Pure Audio delivers unprocessed stereo for music or ASMR. Spatial Audio enhances stereo separation for vlogs. Smart Omni balances voices and environmental sound for meetings. Directional focuses pickup in front while suppressing surrounding noise, ideal for solo podcasts. Dual-Directional captures front and rear while rejecting sides, built for interviews. Having all five built in lets you tune the mic to your environment instead of buying another device.

AI Tracking 2.0 brings framing intelligence you would usually need a camera operator to achieve. Human tracking offers Single, Group, and Only Me modes, the latter locking onto one person and ignoring distractions. Object tracking lets you box items in software and have the gimbal follow. Zone Tracking sets custom areas where tracking starts or stops. Auto Zoom adjusts framing from close-up to full body, while Face Framing detects which direction you are looking and shifts composition accordingly.

Sustainability

The aircraft-grade aluminum alloy body does more than look polished. Aluminum dissipates heat better than plastic, which keeps the camera cooler during long streams and reduces the risk of thermal issues or early component wear. The material also resists scratches and minor bumps better than glossy finishes, which matters when you are moving the camera between desk, bag, and tripod regularly without babying it.

The OBSBOT Tiny 3 is not user-serviceable in the traditional sense, but that trade-off buys integration and compactness. The non-removable gimbal, sensor, and mic array work as a single tuned system, eliminating external adapters, separate audio devices, and multiple mounting solutions. Over time, that reduces the number of peripherals cluttering your workspace and, eventually, the pile of obsolete gear heading toward e-waste when you simplify or upgrade.

Consolidation itself is a quieter sustainability angle. By combining high-quality video, spatial audio, and intelligent tracking in one device, the Tiny 3 can replace the typical webcam-plus-mic-plus-software stack many creators rely on. Fewer separate products to manufacture, package, ship, and discard adds up over the lifecycle of a setup, even if it is not the kind of sustainability story that comes with certification badges or bold recycled-material claims.

Value

With a $349 full price tag, the OBSBOT Tiny 3 sits in premium webcam territory. This is not an impulse replacement for a blurry laptop camera. It is aimed at people who make a living on video or spend enough time on calls and streams that a camera setup feels like professional infrastructure rather than just another peripheral. The price is higher than most consumer webcams, but it is also attempting significantly more than a fixed lens with a basic mic.

Value shows up through consolidation. At that price point, you get a 4K PTZ camera, triple-mic spatial audio system, and deep AI tracking in one device. Building something similar from separate pieces, a good standalone webcam, a quality USB microphone, plus software for tracking, can match or exceed that total when you add it up. The bigger benefit is simplicity: one cable instead of three, one piece of software, and one object on the desk instead of gear fighting for USB ports.

Comparing what $349 typically gets you elsewhere helps frame where Tiny 3 sits. At similar prices, you might find webcams with strong video but mediocre mics that still need separate audio solutions, or you might approach entry-level camera kits that require capture cards and external mics. Tiny 3’s combination of audio-first design, motorized PTZ tracking, and real-time AI framing is rare enough in this bracket that direct comparisons feel unfair in either direction.

The broader OBSBOT ecosystem adds value for people who grow into complex setups. Pairing the Tiny 3 with OBSBOT’s own Vox SE wireless mics, a physical OBSBOT Tiny Smart Remote 2, or adapters for HDMI and NDI output means the camera scales from simple desk calls to multi-camera streams without needing replacement. That spreads the initial investment over more scenarios and extends useful life, which looks more reasonable when you consider many people outgrow basic webcams within a year anyway.

Verdict

The OBSBOT Tiny 3 feels like a carefully engineered answer to the messy reality of modern video communication, where clear sound, smart framing, and reliable focus matter as much as raw resolution. The combination of a 1/1.28-inch 4K sensor, triple MEMS spatial audio, and a nimble PTZ gimbal packed into a, pardon the pun, tiny aluminum body makes it feel less like a webcam upgrade and more like a miniaturized studio camera that works over USB-C.

It is hardly the cheapest way to appear on screen, but it is one of the few that treats audio, video, and intelligence as a single design problem. For creators, educators, podcasters, and remote workers tired of juggling separate cameras and mics just to sound and look decent, the OBSBOT Tiny 3 makes a strong case for consolidating that setup into one very small, very capable box that disappears into the background while you get on with the work.

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instax mini Evo Cinema Hides 15-Second Clips Inside QR Code on Prints

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Instant cameras and short-form video have been running on parallel tracks, one about physical keepsakes you can hold, the other about clips that vanish into feeds. Instax has always been about handing someone a moment they can stick on a wall, while most video lives on screens. The question of what it would look like if those two ideas finally met in a single handheld object has been hovering for a while.

Instax mini Evo Cinema is Fujifilm’s attempt to do exactly that. It is a hybrid instant camera that shoots both stills and 15-second video clips, then turns those clips into instax mini prints with QR codes. You pick a frame, print it, and the tiny card becomes both a photograph and a doorway back to the moving memory when someone scans it, blurring the line between souvenir and portal.

Designer: Fujifilm

The Eras Dial is a new control that dresses your footage in looks inspired by different decades. There are ten effects, from 1960’s 8mm film to 1970’s color CRT, 1980’s 35 mm negatives, and a 2010 mode that feels like early smartphone filters, each with ten intensity levels. Visual textures, noise, tape flutter, and sound all get processed, so shooting can feel like stepping into another era with dial clicks marking each shift.

The vertical grip borrows from Fujifilm’s FUJICA Single-8 8mm camera, making it feel more like a tiny movie camera than a flat point-and-shoot. The tactile Eras Dial and Print Lever that mimics winding film turn printing into a small ritual. You can frame shots on the rear LCD or snap on the included viewfinder for a more immersive experience that feels surprisingly satisfying when you are used to phone cameras.

Picture filming a friend’s toast or a quick city walk, holding the shutter to record and releasing to pause between cuts. Later, you scroll through clips on the screen, pick a favorite frame, and pull the lever to spit out an instax mini with a QR code. Handing that card over feels different from sending a link, it is a tiny artifact that still carries the motion with it.

The dedicated app lets you combine clips into 30-second mini films with cinematic intros and outros, design poster-style prints with titles, and use Direct Print to turn phone photos into instax minis. Bluetooth and Wi-Fi make transfers faster, but the camera still stands on its own when you leave your phone in your bag and just want to shoot and hand someone a print.

The Mini Evo Cinema treats the instax print as more than a frozen frame. With the QR code and Eras Dial, each card becomes a little time capsule, a still that points back to a moving, era-tinted moment. A camera that lets you hand someone a clip disguised as a photograph feels like a surprisingly natural evolution, especially when you love both the physicality of instant film and the playfulness of short video that disappears into feeds.

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Tired of AI filters and endless selfies? Retro‑styled Await Camera makes you wait 24 hours to see your photos

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Your smartphone camera lets you take 47 photos of the same sunset, delete 46 of them, and still feel like something’s missing. Rolling Square’s new Await Camera takes the opposite approach. You get 24 shots across three rolls, no preview screen, and a full day before you can even see what you captured. The Swiss company unveiled this retro digital camera at CES 2026, pricing it between $70 and $100 as part of a subscription service that prints and ships your chosen photos.

Waiting feels revolutionary in 2026. Await forces you to consider each shot before pressing the shutter, then sit with your choices for 24 hours while the photos sync to the cloud and “develop.” Only after that delay can you review what you captured, select the keepers, and wait again for physical prints to arrive at your door. This deliberate friction contradicts every principle of modern digital photography, yet that’s precisely the point. Patience, not megapixels or computational processing, separates memorable photos from forgettable ones.

Designer: Rolling Square

The design language screams disposable camera aesthetics but with actual build quality behind it. Rolling Square went with a translucent lower body that shows off the internals, which feels very Y2K revival but somehow works here. The top fascia snaps off and comes in colors that would make a highlighter jealous: yellow, lime green, turquoise, cobalt blue. At 98 x 67.5 x 15.5mm and just 95 grams, this thing disappears in your pocket. The front keeps it minimal with a viewfinder, xenon flash (yes, actual xenon, not LED), the lens, and a tiny speaker grille. Flip it over and you get a small OLED display showing your remaining shot count, another viewfinder window, and an orange shutter button. That’s the entire interface. No menus, no settings, no mode selection hell.

Rolling Square stripped out everything people actually hate about photography in 2026. There’s no “share to Instagram” button begging you to post immediately. No WhatsApp integration pushing you to dump photos into group chats. No sticker library, no caption prompts, no AI restyling that makes everything look like it passed through the same algorithmic blender. Await functions as a camera, period. You point, you shoot, you move on with your life. The three-roll system divides your 24 photos into eight-shot chunks, creating natural break points that encourage thinking in sequences rather than spray-and-pray shooting. The OLED counts down your remaining exposures, which creates this low-key anxiety that actually improves your photography because suddenly you care about composition again.

Here’s where it gets interesting. After you burn through your shots, you connect Await to your phone and the photos upload to the cloud. But you can’t view them for 24 hours. Rolling Square artificially enforces this development window, and honestly, it’s the smartest friction they could have added. That delay prevents you from judging your work in the moment, which means you approach editing with fresh eyes instead of deleting anything that doesn’t match your initial expectation. Film photographers lived with this for decades and somehow produced the most iconic images in history. Maybe instant feedback actually makes us worse at evaluating our own work.

Once the 24 hours pass, you open the app and see your roll. Now you pick which shots deserve to become physical prints through the subscription service (monthly or annual plans, though Rolling Square hasn’t dropped exact pricing yet). Selected photos get printed and shipped to your address, which adds another waiting period between shooting and holding the final product. The whole process can span a week or more, turning photography back into something that produces tangible objects rather than files that die in your camera roll. Physical prints demand different engagement. You can stick them on a fridge, write on the back, hand them to someone, lose them in a drawer and rediscover them years later. They exist independent of devices, batteries, or cloud services, which gives them staying power that Instagram stories will never match.

Rolling Square hasn’t announced a firm release window, although the crowdfunding campaign should launch any time around end of January or the first half of February. Pricing allegedly will land between $70 and $100 for the hardware, plus subscription costs for the print service. The target audience seems to be people exhausted by infinite scroll and computational perfection, which describes roughly everyone under 30 and most people over it. Await won’t replace your smartphone or convince serious photographers to ditch proper gear, but for specific moments when you want to shoot more thoughtfully than another burst of instantly-forgotten phone snaps, this approach makes sense. Patience rarely feels like a feature until you realize how completely you’ve lost it.

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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.

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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.

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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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