Tag Archives: cameras

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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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.

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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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When One Camera Just Isn’t Enough: The Moon Walker Multi Cam

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Remember those old flip books where you’d thumb through pages to watch a stick figure run? Or maybe you’ve seen those mesmerizing bullet-time shots from The Matrix where everything freezes except the camera swooping around the action. Now imagine capturing that kind of magic with a wooden camera that looks like it walked straight out of a steampunk fantasy. That’s exactly what Woodlabo has created with the Moon Walker Multi Cam, and it’s got photographers and design nerds equally captivated.

At first glance, the Moon Walker looks like something a Victorian inventor might have dreamed up after a few too many glasses of absinthe. This isn’t your sleek, minimalist smartphone camera or even a traditional DSLR. Instead, it’s a sculptural wooden installation equipped with eleven separate lenses arranged in a curved arc, all working together to capture the same moment from different angles simultaneously.‎‎‎‎‎‎‎‎‎‎‎‎

Designer: Woodlabo

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The genius here lies in what happens after the shutter clicks. Those eleven simultaneous shots can be sequenced together to create animated sequences that show movement through space rather than time. It’s like having eleven photographers standing in different spots all pressing their shutters at the exact same instant. The result is something between a photograph and a short film, a kind of dimensional flip that makes you see familiar subjects in completely new ways.

Woodlabo, the creative force behind this project, clearly has a thing for merging old-world craftsmanship with contemporary photographic concepts. The wood construction isn’t just aesthetic posturing. There’s something deliberately nostalgic about using timber to house cutting-edge multi-perspective photography technology. It creates this fascinating tension between the handmade and the high-tech, the analog and the digital.

What makes the Moon Walker particularly interesting in today’s photography landscape is how it challenges our relationship with image-making. We’re living in an era where everyone has a powerful camera in their pocket, where we can shoot hundreds of photos in seconds, apply AI filters, and share them globally before lunch. Yet here’s a device that’s intentionally cumbersome, deliberately complex, and requires actual physical space and setup. It’s the photographic equivalent of listening to vinyl records in the age of streaming.

The multi-angle approach also taps into something we’ve been obsessed with since Eadweard Muybridge strapped cameras to horses to capture motion in the 1870s. We’ve always been fascinated by seeing things we can’t normally see, by breaking down movement, by viewing the same subject from impossible perspectives. The Moon Walker is essentially a modern riff on that same impulse, updated for an Instagram age that’s hungry for content that looks genuinely different.

For designers and artists, the Moon Walker represents an interesting commentary on how we create images. It’s both camera and sculpture, functional tool and art object. You could mount it on a wall when you’re not using it, and it would hold its own as a piece of design. That dual nature makes it more than just another photographic gadget. It’s a statement about the value of intentional, considered image-making in a world drowning in throwaway snapshots.

The practical applications are pretty wild too. Imagine capturing products for e-commerce from multiple angles in one shot, creating dynamic motion graphics for social media without complex video editing, or developing entirely new forms of visual storytelling that exist somewhere between still photography and animation. For creatives willing to experiment, the Moon Walker opens up possibilities that standard cameras simply can’t achieve.

Will you see Moon Walker Multi Cams at your local camera shop anytime soon? Probably not. This is more art project than consumer product, more proof-of-concept than mass-market solution. But that’s exactly what makes it worth paying attention to. The most interesting developments in design and technology often start as these quirky, impractical experiments that make us rethink what’s possible. Today it’s eleven lenses on a wooden arc. Tomorrow it might be the standard way we capture the world.

The post When One Camera Just Isn’t Enough: The Moon Walker Multi Cam first appeared on Yanko Design.

Insta360 Just Brought Back Polaroid Printing, And It Mounts to Your Action Cam

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Any tech nerd can look at an action camera and know what it’s for. And then look at an instant camera and know that its use case, audience, and environment are completely different. There’s really no need for an action camera while taking group photos in front of the Eiffel Tower, and you never use an instant camera to capture your POV while dirt biking. Insta360 basically decided to change that.

Their latest Videography Bundle for the Ace Pro 2 features a variety of accessories, one of them being a snap-on printer that turns the action cam into a wide-angle Polaroid of sorts. Take a photo, select it, and print it out. Insta360 believes a camera is a camera is a camera, you don’t need three devices to do the same job. The Videography Bundle proves that. Heck, what’s next, a webcam attachment for the Ace Pro 2?

Designer: Insta360

The Pocket Printer is the accessory getting most of the attention, and for good reason. It’s a compact wireless module that connects to the Ace Pro 2 via Bluetooth and physically mounts to the camera using the new Xplorer Grip Pro. The quick-release system on the grip’s base lets you snap the printer on and off, so you’re not permanently committed to carrying extra bulk when you just want a lightweight action cam. When attached, the whole setup looks like someone strapped a chunky instant camera to a grip handle, which is essentially what it is, except this instant camera can also shoot 8K video and survive conditions that would destroy a vintage Polaroid.

The printer uses Zink technology, the same zero-ink printing process found in portable printers from Canon and Fujifilm. Prints come out at roughly 2×3 inches, dry to the touch, smudge-resistant, and durable enough to toss in a bag without worrying about them getting ruined. The paper itself contains dye crystals that activate when heat is applied, so there’s no ink cartridge to replace or messy film packs to load in the dark. You just buy Zink paper refills when you run out, pop them in, and keep printing. It’s a recurring cost similar to Instax film, but the prints themselves are more practical for everyday handling.

What makes this more interesting than just “action cam plus printer” is that Insta360 clearly designed the experience around actual photographic flexibility. The Ace Pro 2 captures 48MP stills and 8K video using a Leica co-engineered sensor, so the image quality you’re working with is leagues beyond what a traditional instant camera can produce. You can shoot a whole sequence, review the images on the camera’s flip screen, edit or crop if needed, and then choose which ones deserve to become physical prints. That selective printing capability is the key difference between this and a true Polaroid experience, where every shutter press costs you a piece of film whether the shot worked or not.

The $600 Videography Bundle includes more than just the printer. You get the Ace Pro 2 body, the Xplorer Grip Pro, the Pocket Printer, a flip screen hood for outdoor visibility, and a leather case that gives the whole setup a vintage aesthetic. Insta360 also launched the bundle alongside three new Leica co-engineered lenses and various ND filters, expanding the camera’s capabilities for serious videography work. The bundle is clearly trying to position the Ace Pro 2 as more than just an action cam, it’s a hybrid content creation tool that can handle extreme sports footage, casual street photography, and instant social prints from the same device.

Practicality questions remain. The Ace Pro 2 is waterproof and built for harsh conditions, but the printer module is likely only splash-resistant at best. That means you probably shouldn’t take it on a whitewater rafting trip while attached, though the camera itself would handle it fine. Battery life is another consideration, the printer has its own power supply and charges via USB-C, but adding another device to your charging routine might be annoying for people who value simplicity. The grip and printer combo also adds noticeable weight and bulk, transforming a pocketable action cam into something closer to a small handheld camcorder.

But maybe that’s the point. Insta360 isn’t trying to make the perfect streamlined action camera, they’re trying to make one camera that can adapt to wildly different shooting scenarios without requiring you to own separate devices. The cynic might say this is just accessory upselling, and sure, that’s part of it. But there’s something genuinely novel about a camera ecosystem that can switch from recording mountain bike footage to printing birthday party snapshots without even changing the core device. Whether people actually want that level of versatility in a single piece of hardware is a different question, but Insta360 is betting that at least some users would rather carry one adaptable camera than juggle multiple specialized ones. The Videography Bundle suggests they’re willing to push that concept pretty far, and the printer attachment is just the beginning of what could become a much weirder, more interesting product category.

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When Slower Actually Means Better: The RAW Camera Concept

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We take thousands of photos on our phones without thinking twice. Snap, scroll, forget, repeat. But here’s a wild thought: what if a camera literally forced you to slow down? That’s exactly what designer Seulgi Kim is exploring with RAW, a pinhole camera concept that’s part time machine, part meditation device, and entirely about reclaiming something we’ve lost in the digital age.

The name RAW works on two levels. First, it means “unrefined,” which perfectly captures the camera’s back-to-basics philosophy. Second, it references RAW image files in photography, those unprocessed originals that contain all the data before any digital manipulation happens. It’s a clever double meaning that sets up everything this concept is about: stripping away the excess to get back to what photography actually is.

Designer: Seulgi Kim

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Normally we can shoot a hundred photos in seconds with our phones but RAW does something almost rebellious. It uses a pinhole aperture instead of a lens, which means each exposure takes several seconds or even minutes to complete. You can’t rapid-fire shots. You can’t casually capture every moment. Instead, you have to stand there with your subject, waiting, observing, really seeing what’s in front of you. It’s the photographic equivalent of choosing to walk instead of drive, not because you have to, but because you want to notice things along the way.

What makes RAW fascinating beyond its function is how Kim translated traditional Korean architecture into its design language. This isn’t just aesthetic borrowing; it’s a thoughtful connection between two forms of slowness and intentionality. Traditional Korean architecture embodies what Kim calls “the aesthetics of slowness,” where every element reflects careful consideration of space, time, and human presence. Those principles shaped buildings that have stood for centuries, and now they’re informing how we might think about capturing a single photograph.

Look at the curved panel on the camera’s side. It’s directly inspired by the gentle curves of traditional Korean roof tiles, which were designed to protect houses from rain and wind. But here, that curve serves a completely modern purpose: it prevents slipping and creates a comfortable, stable grip. It’s functional heritage design at its best, where historical wisdom solves contemporary problems.

Then there’s the twelve-sided dial on top of the camera, which controls exposure time. In traditional Korean architecture, polygonal structures weren’t decorative flourishes; they provided stability and balance. Kim applies that same geometric logic to the timer dial, creating something that ranges from B (Bulb mode) through various seconds up to 30 minutes. That dodecagonal shape makes it intuitive to read and adjust your exposure settings at a glance. The design literally transforms time into something you can touch and see.

At the camera’s front, an octagonal hood acts as the window for incoming light. It’s not just there to look cool (though it does). The hood directs light rays evenly into the body and minimizes glare, ensuring balanced exposures. Every geometric choice serves both form and function, creating what Kim describes as “harmonious balance” between mechanical precision and traditional aesthetics.

The whole package comes in matte black with subtle mint-green accents on the shutter button and side controls. There’s a minimalist viewfinder on top and a woven camera strap that adds tactile warmth to the technical precision. When you see the camera disassembled in one of the concept photos, all those gears and components laid out like an exploded diagram, it drives home just how much mechanical thought went into something designed to be analog in a digital world.

What’s really striking about RAW is how it challenges our relationship with image-making in 2025. We’ve reached a point where our phones can computationally enhance photos before we even press the shutter. AI can generate entire images from text prompts. Photography has become almost too easy, too fast, too disposable. Kim isn’t saying technology is bad; she’s asking what we lose when everything becomes instant.

The pinhole camera format forces a different kind of presence. When you need minutes to capture a single frame, you can’t be casual about it. You have to choose your subject carefully, consider the light, commit to the moment. That extended exposure time becomes a form of meditation, a way of connecting with what you’re photographing that simply isn’t possible when you’re machine-gunning through dozens of shots. RAW proves that sometimes the most innovative design move is stepping backward. By reaching into centuries-old architectural wisdom and combining it with one of photography’s oldest techniques, Kim has created something that feels genuinely fresh. It’s a camera that doesn’t just take pictures. It changes how you see.

The post When Slower Actually Means Better: The RAW Camera Concept first appeared on Yanko Design.