Camera launches have been plentiful as of late, with Canon, Nikon, Sony and other major brands releasing important new models recently. In 2024, we saw some notable improvements in areas like autofocus and video, along with some new trends in creating interesting looks for videos and photos in-camera.All told, there were over 20 new cameras launched last year which joined the many outstanding models on the market from years prior. The question is, which one is right for the type of videography or photography you do? Whether youre an aspiring action or wildlife photographer, an extreme sports junkie or a content creator, well help you find the perfect camera to match your budget and requirements. What to consider before choosing a camera Though smartphones get better for video and photos every year, full cameras still have an edge in many ways. The larger sensors in mirrorless cameras let more light in, and you have a wide choice of lenses with far superior optics. Dedicated cameras are also faster for shooting things like sports or wildlife, offer superior video for content creators and create more professional results. Sensor size There are a few key things to consider to get the most out of a camera. The first is sensor size: in general, the larger the sensor, the better (and usually more expensive) the camera. Full frame is the largest sensor size for mainstream cameras, and its available on models like the new Panasonic S9, the Nikon Z III and Canon EOS R5 II. At a size equivalent to 35mm film (36 x 24mm), it offers the best performance in terms of image quality, low-light capability and depth of field. But its also very expensive and finicky. While bokeh looks incredible at an aperture of f/1.4, the depth of field is so razor thin that your subject's eyebrow might be in focus but not their eye. This can also make shooting video difficult. The next size category is APS-C (around 23.5 x 15.6mm for most models and 22.2 x 14.8mm for Canon), offered on Fujifilm's X Series lineup, the Canon R10, the Sony ZV-E10 II and the Nikon Z50. It's cheaper than full frame, both for the camera body and lenses, but still brings most of the advantages like decent bokeh, high ISOs for low-light shooting and relatively high resolution. With a sensor size the same as movie cameras, it's ideal for shooting video, and its easier to hold focus than with full-frame cameras. Micro Four Thirds (17.3 x 13mm), a format shared by Panasonic and Olympus, is the next step down in sensor size. It offers less bokeh and light-gathering capability than APS-C and full frame, but allows for smaller and lighter cameras and lenses. For video, you can still get reasonably tight depth of field with good prime lenses, but focus is easier to control. The other common sensor size is Type 1 (1 inch), which is actually smaller than one inch at 12.7 x 9.5mm. That's used mostly by compact models like Sonys ZV-1 vlogging camera. Finally, action cameras like the GoPro Hero 11 and DJIs Osmo 3 have even smaller sensors (1/1.9 and 1/1.7 inches, respectively). Autofocus For photographers, another key factor is autofocus (AF) speed and accuracy. Most modern mirrorless cameras have hybrid phase-detect AF systems that allow for rapid focus and fast burst speeds. The majority also offer AI features like eye-detect AF for people and animals, which locks in on the subjects eyes, face or body to keep them in focus. However, some models are faster and more reactive than others. Displays The electronic viewfinder (EVF) and rear display are also crucial. The best models have the sharpest and brightest EVFs that help you judge a shot before taking it. For things like street photography, its best to have as bright and sharp a rear display as possible, so its easy to see your subject and check focus in all manner of lighting conditions. You may also want a screen that flips out rather than just tilting, too. Lenses DSLRs and mirrorless cameras let you change lenses, but you're stuck with what's built into a compact camera. While that's great for portability, a single lens means you're going to sacrifice something along the way. The Fujifilm X100V, for instance, has a fast but fixed 35mm-equivalent f/2.0 lens and no zoom. The Sony RX100 V has a 24-70mm zoom, but it's slower at the telephoto end (f/2.8) and less sharp than a fixed focal (prime) lens. When choosing a lens for a mirrorless camera, youll need to consider the focal or zoom length, along with the minimum aperture. Smaller numbers like f/1.4 for a prime lens or f/2.8 for a zoom are best, as they let you work in darker environments and maximize background blur to isolate your subject. However, those lenses are more complex and thus more expensive. Video recording When it comes to video, there are other factors to consider. Some cameras combine or skip over pixels (line skipping or pixel binning) for video recording, which is not ideal because it can reduce sharpness. Better cameras tend to read out the entire sensor and then downsample to improve video sharpness (camera manufacturers dont often say if video is pixel binned, but will say if its downsampled). Another important factor is sensor speed, as slower sensors tend to have more rolling shutter that can create a jello effect that skews video. In addition, hows the battery life? How do you like the handling and feel? How long can you shoot before the camera heats up or stops? Does it support 10-bit HDR video? Is there a microphone and/or a headphone jack? (If you record a lot of interviews, it's preferable to have both.) How's the video autofocus? All of these things play a part in your decision. Best cameras Best mirrorless cameras Mirrorless is the largest camera category in terms of models available, so its the best way to go if youre looking for something with the most advanced features. Canon and Nikon recently announced theyre discontinuing development of new DSLRs, simply because most of the advantages of that category are gone, as I detailed in a video. The biggest selling feature of a mirrorless camera is the ability to change lenses depending on the type of shooting you want to do. Best action camera or gimbal camera The most important features to look for in an action cam are image quality, stabilization and battery life. GoPro has easily been beating all rivals recently in all those areas, but DJI has taken a lot of its business with the Osmo Pocket 3 gimbal camera. Best compact camera This category has fewer cameras than it did even a few years ago and many models are older, as manufacturers focus instead on mirrorless models. However, Im still a big believer in compact cameras. Theyre a noticeable step up from smartphones quality-wise, and a lot of people will take a compact traveling or to events when theyd never bother with the hassle of a DSLR or mirrorless camera. Compacts largely have type 1-inch sensors, but a few offer larger options, particularly Fujifilms XF-100V. Another popular model, Sonys XV-1, is primarily aimed at content creators looking to step up. In any case, desirable qualities include image quality, a fast lens, relatively long zoom, flip-out display, good battery life, a high quality EVF, decent video and good pocketability. This article originally appeared on Engadget at https://www.engadget.com/cameras/best-cameras-151524327.html?src=rss

A leaked Pixel 9a render suggests the bezels might be more uniform, and that the selfie camera could be getting an upgrade.

The Samsung Galaxy S25 Edge could be just 5.84mm thick, and loads of its specs have now leaked.

Macron announced the mammoth investment sum ahead of France's AI Action Summit, where world leaders and tech bosses are gathering in Paris this week.

In news outlets, business publications, and scholarly journals, there is a crescendo of commentary about the combined power of human intelligence and artificial intelligence. Without question, that convergence is already yielding exciting discoveries in many fields.Yet a third, equally crucial, kind of intelligence is being left out of the discussion: natures intelligence.The idea that nature itself displays the hallmarks of what we understand as intelligencethe ability to learn, to encode those learnings in new, more effective models, and to continually adaptis not altogether new. Leonardo da Vinci understood this well. Nature was his teacher and his inspiration. Nothing escaped his intensive observation: water, soil, plants, birds.Part of his expansive genius was to perceive the hidden systemsthe invisible forces and lawsthat govern everything from the workings of the human body to the movement of objects through the air. Today, we build on da Vincis wisdom when we analyze the intricate chemical communication of plants, the swarm intelligence of insects, the complex click patterns of whale songs. We are coming to see, with some humility, that nature is far more intelligent than we humans have ever understood.But what seemed to fascinate da Vinci the most was the interconnections among these systems and across disciplines. When he studied the human body, designed machines, or created masterpieces of art, he did so holistically, drawing on his ever-widening range of understanding, and producing work that is greater than the sum of its parts. This approach to innovation has never been more relevant or more possible than it is today. The fusion of natural, human, and machine intelligencea synthesis that I call polyintelligencepromises solutions to some of the worlds most intractable problems.Indeed, this integrated framework is already beginning to revolutionize biotechnology. From drug development to generative synthetic biology, polyintelligence is enabling breakthroughs that no single form of intelligenceor even the convergence of twocould achieve on their own. Take the example of the Human Genome Project, which completed its mapping of the blueprint of human DNA in 2003. More than two decades later, that union of nature, human intelligence, and AI continues to yieldamong other thingsnovel DNA and mRNA sequences that could unlock new breakthrough medicines.Or consider how scientists are using polyintelligence to learn the language of proteins, enabling us to craft new proteins that dont exist in nature with specific therapeutic functions. Just as words and grammar define a spoken language, AI analyzes vast amounts of protein data to understand the rules that dictate protein structure and function. This knowledge allows scientists to design novel proteins by writing new sequences within natures linguistic framework, surpassing traditional limitations, and developing innovative treatments for complex diseases.Beyond biomedicine, polyintelligent thinking, polyintelligent systems, and polyintelligent solutions will have wider applicationsand, I believe, unmatched power to mitigate climate change, increase agricultural yields in a sustainable way, and address other complex, global challenges. Again, this is not theoretical. Natures intelligence, supercharged by AI, is being applied to accelerating the evolutionary process of staple crops such as corn, wheat, and soybeans to enable them to grow in a hotter and drier environment.The promise of polyintelligence is clearly even greater than our hopes for AI. It is vitally important, therefore, that we manage this transition effectively and judiciously. The principles we set todayand the decisions we make regarding governance, ethics, and biasfor the use of AI should advance the goal of enabling polyintelligence. To realize its full potential, we must prioritize interdisciplinary collaboration by fostering cross-disciplinary research and integrating diverse expertise across sectors. By uniting policymakers, scientists, industry leaders, and educators, we can harness the collective strengths needed to both understand and address the worlds most pressing challenges. From urban-resilience planning and conservation of biodiversity to optimizing energy production and distribution, polyintelligence can catalyze sustainable solutions with wide-ranging impact.Lastly and perhaps most importantly, polyintelligence will also require a shift in human intelligence. In particular, we must stop seeing ourselves as the ultimate arbiter of what is good, correct, or intelligent. Whether were talking about the bodys complex and shifting methods of disease resistance, or a recent study showing that horses can think strategically and plan their actions, we should have the humilityas da Vinci, a true genius, didto recognize that much of the natural world operates beyond our ability to comprehend it. Our knowledge is and will always be incomplete. But it is expanding significantly, in exciting waysreshaping the very nature of discovery itself.

The cover process at The New Yorker is a beautifully inexact science.Each week, longtime art editor Franoise Mouly presents editor David Remnick a range of optionssome still in sketch formand Remnick chooses the one that feels most apt for the cultural moment. It could be a cover about a breaking news story; it could be a seasonal cover, an evergreen cover (Mouly banks the latter two types throughout the year). But inevitably, somehow, whatever he chooses feels organic to the publication, if not inevitable.What makes The New Yorker unique is that, as a general-interest magazine, our covers arent tied to feature stories but spring from the artists own observations and interests, Mouly detailed in an email exchange as she worked to finish production on the magazines landmark 100th anniversary issue. The New Yorker cover stands as one of the last bastions of wordless storytelling in our culture, a place where an artists singular vision can still speak directly to readers. In an age when were all flooded with a torrent of anonymous, manufactured images, these carefully crafted covers serve as an antidoteeach one signed by an artist, each one attempting to crystallize a moment or catalyze an idea.[Photo: Leila Abazine]Its a visual lineage that will be celebrated in the magazines centennial issue out this weekand in LAlliance New Yorks exhibition Covering The New Yorker, which runs through March 30. Co-curated by Mouly and Abrams Vice President and Publisher Rodolphe Lachat, the show features something readers have not seen before: original cover artwork from such luminaries as Maira Kalman, Barry Blitt, Chris Ware, Art Spiegelman, Roz Chast, Anita Kunz, Saul Steinberg, and many others.Artist & Curators group shot at January 21st opening. Top, from left: Jenny Kroik, Barry Blitt, Richard Siri, Ed Steed, Mark Ulriksen, Art Spiegelman, Kadir Nelson, Ed Sorel, Peter de Sve, Gracie Lynn Haynes, Victoria Tentler-Krylov, John Cuneo, Front: Franoise Mouly, Tatyana Franck, Rodolphe Lachat, Gayle Kabaker. [Photo: Rebecca Greenfield]Speaking of those artists, Mouly considers the greatest accomplishment of her 30-plus year run to be the careful balance she has maintained between established contributors and new creatives who illustrate the covers. Ive never had to sacrifice new voices for old ones, or vice versa, she says. As for the inexact science that underpins the cover process, she adores the job because it lacks formula, and says shes amazed the work remains as challenging as when she first began. The fact that I still cant phone it in after all these years is perhaps the greatest gift of this role.[Photo: Leila Abazine]With the magazine turning 100 this week, we asked Mouly to select the top five New Yorker covers from her tenure. She admits that her selections would likely change on any given daybut either way, today these covers still land with the same power as they did when they first met the cultural moment in our mailbox. Or didnt, regrettably, in the case of the last one Missed Connection by Adrian Tomine, November 8, 2004. [Image: Adrian Tomine and The New Yorker. Used by permission. All rights reserved.]Adrian Tomines Missed Connection (Nov. 8, 2004)Adrian Tomine is a perfect example of the kind of artist I love working withhes a marvelous short story teller. Cartoonists are intellectual athletes in that way: They have a lifetime habit of compressing complex ideas into a few pen marks. When Tomine first approached The New Yorker as a young, relatively unknown cartoonist, he already had a stylistically sharp ligne claire style. Unlike other artists whom I would take to our library to study covers from the 1930s and 40s, Tomine just needed the right story to tell.Having just arrived in New York, he noticed things that natives often forget, like how subway cars running on parallel tracks offer glimpses into other lives. When I asked him to consider ideas for our fiction issue, he began sketching this subway encounter. I suggested having the two characters read the same book. Tomines masterful composition makes this image perfect: We see only these two faces, and follow their gazes to each other. The use of color draws our eyes to the lightly sketched book. We know the trains will move in different directions and these strangers will lose each other. This is what I lovea picture that tells a complete story.The Man in the Mirror by Saul Steinberg, January 12, 1998. [Image: Saul Steinberg and The New Yorker. Used by permission. All rights reserved.]Saul Steinbergs The Man in the Mirror (Jan. 12, 1998)One of my greatest privileges when I started in 1993 was to be Saul Steinbergs editor. I would go visit him regularly in his home, and spend wonderful hours in conversation (he talked, I listened). He told me about baseball, architecture, the O.J. Simpson story, Las Vegasthere was so much he loved about America. Then wed look through his flat files, fishing for ideas. He was in his eighties then, and he would search through his thousands of sketches and doodles for ideas he hadnt yet transformed into New Yorker covers. He was always careful not to repeat himself.When I discovered this particular drawing, it resonated deeply with meit captured what artist Maira Kalman would later call The Optimism of Breakfast. It brought back memories of my own father singing in the bathroom while shaving. Though Steinberg was dubious about whether the image was substantial enough for a cover, I encouraged him to develop it. Later, he gave me the original drawingthis one is yours, he saidwhich is why the original is included in this exhibition.I learned so much from Steinberg: less is more, use color only when necessary, let ideas shine through simplicity. As Steinberg said of his work, Once youve seen it, you cant remember not having seen it. A good image can become a building block of thought, like implanting a new word into the language. Thats an awesome power for artists to have.9/11/2001, by Art Spiegelman & Franoise Mouly, September 24, 2001. [Image: Art Spiegelman, Franoise Mouly, and The New Yorker. Used by permission. All rights reserved.]Art Spiegelman and Moulys Black on Black (Sept. 24, 2001)On Sept. 11, 2001, my husband, Art Spiegelman, our daughter, and I stood four blocks away from the second tower as we watched it collapse in excruciatingly slow motion. Later, back in my office, I felt that the only appropriate solution would be to publish no cover image at allan all-black cover. Then Art suggested adding the outlines of the two towers, black on black, which I drew. It conveyed something about the sudden absence in our skyline, the abrupt tear in the fabric of reality. From no image came the perfect image.Iya Ni Wura (Mother Is Gold) by Diana Ejaita, May 13, 2019. [Image: Diana Ejaita and The New Yorker. Used by permission. All rights reserved.]Diana Ejaitas Iya Ni Wura (Mother Is Gold) (May 13, 2019)Diana Ejaita, who divides her time between Lagos and Berlin, created this Mothers Day cover as her first of many contributions to the magazine. I love that the image evokes patterns and colors that are common in Nigeria, and was delighted to see she included the keke in the background. It gives you a sense of place, yet its also universal, capturing an emotion every parent knows.The composition tells the story perfectly: A mother kneels to meet her child at eye level, making herself fully present. The childs posture, the way she holds herself, suggests that shes asserting her independence. Its a tender portrait of maternal love preparing to let go.Venus on the Beach by Roz Chast, August 4, 2014. [Image: Roz Chast and The New Yorker. Used by permission. All rights reserved.]Roz Chasts Venus on The Beach (Aug. 4, 2014)Though cell phones have dominated our reality for decades, The New Yorker rarely features them on its covers. If the magazine published every phone-related submission, thered be room for nothing else. This exception to the rule, by Roz Chast, is particularly successful, however. Usually images of people on their phone focus on the screen. Here the phones all function as arrows, pointing us toward the alive and surprising. And this twist on Botticellis The Birth of Venus is a clever way for the cartoonist to use one old clich to shed light on another.Kamala by Kadir Nelson. [Image: Kadir Nelson and The New Yorker. Used by permission. All rights reserved.]Coda: Kamala by Kadir Nelson (Nov. 18, 2024)On Nov. 5, 2024, I was preparing a cover that would celebrate the first woman presidentjust as I had done for Hillary Clinton in 2016. Kadir Nelson had created this painting as a celebration of the first woman, first Black and first Indian-American president. Despite editor David Remnicks repeated requests for a Plan B, I had no other approved sketch in the works. Around 9:30 p.m. on election night, it became clear that the Harris cover would never be published. I turned to a rough sketch that Barry Blitt had sent in. I called him and asked for a finish. When do you need it? he asked. Now, I told him. I asked him to draw it very small, very quickly; to keep it gestural, to just spew it out. The resulting image was published in the morning.Powerful covers often emerge not from advance planning but from living through and feeling the moment. This is as true for me as the art editor as it is for the artists. And in the show, I just love the juxtaposition of these two images: the huge, masterful oil painting of Harris, which took weeks to complete and carried so much hope, and the tiny, dark ink stain next to it. It speaks volumes.

London studio Satish Jassal Architects has completed Rowan Court, a cluster of brick-clad social housing blocks in Seven Sisters that "repairs the frayed edges" of an existing 1970s estate.Commissioned by Haringey Council, the development provides 46 apartments on a left-over strip of land between an existing housing estate and a railway line in north London.Satish Jassal Architects has completed Rowan Court in north LondonIntended to diversify the available housing types at the estate with a focus on larger families, Rowan Court includes four wheelchair-accessible apartments and four multi-generational maisonettes.Satish Jassal Architects' design mirrors the zigzagging plan of the existing housing blocks and is organised around an L-shaped apartment block, flanked on either side by a series of lower terrace blocks. This creates a new courtyard and mews-style street.The development includes 46 apartment social homes"The core concept revolves around repairing the frayed edges of the urban fabric," founder Satish Jassal told Dezeen."This involves enhancing the public space and developing sustainable and inclusive housing for the community," he continued."The most significant gesture is the creation of a new public square and mews street, which transforms a neglected, unsafe area into a gentle, secure, and community-oriented space for all residents, both new and existing," he added.Read: David Chipperfield adds social housing and offices to Lyon riverside developmentThe central block of Rowan Court is six storeys in height and contains 31 apartments. Each one has access to an external terrace cut out of the brick facade that overlooks communal outdoor areas.To the east, two blocks of maisonettes and townhouses create the mews-style street, while to the west a single block of townhouses completes the partial enclosure of a small green square by the existing estate.All of the blocks have been finished in hand-laid red brick, contrasted with semi-glazed white bricks used to highlight pillars framing the windows and create narrow horizontal bands that bring scale to the facades.Its L-shaped layout frames a courtyardThese bricks cloak the concrete structure of the main block and steel framework used for the smaller buildings."The primary material, brick, was selected for its local resonance, durability, and design flexibility," explained Jassal. "Semi-glazed bricks introduce rhythm and depth, reflecting architectural facade patterns in the area while maintaining budget constraints."A mix of red and white bricks clad the buildingsIn line with the council's sustainability goals, the homes are predominantly car-free and have access to 96 cycle spaces. There are also onsite solar panels and air-source heat pumps.Jassal founded his eponymous London-based studio in 2014. Its previous projects include a skylit bungalow that was squeezed into a small site in Haringey and the addition of an oak-framed conservatory to a Victorian townhouse.The photography is by Richard Chivers.The post Satish Jassal Architects adds red-brick social housing blocks to London estate appeared first on Dezeen.

Danish studioBIG has designed a curving folded roof informed by traditional Kosovan skirts for the Opera and Ballet Theatre of Kosovo in Pristina.Created in collaboration with local architecture studio ALB-Architect, the performance venue will be home to the Kosovo Philharmonic, Ballet and Opera and contain a 1,200-capacity concert hall, a 1,000-capacity theatre hall, 300-seat recital hall and an education and conference centre.BIG has designed an undulating roof for the Opera and Ballet Theatre of KosovoA sculptural roof informed by the shape of the Xhubleta, a traditional bell-shaped folk skirt, will top the venue and peel away from the ground to reveal glazed facades.The roof will be clad in photovoltaic tiles and a stone-paved public square will surround the building.A public square will surround the theatre"Our design for the Opera and Ballet Theatre of Kosovo is designed like an efficient factory for the fabrication of artistic performances," said BIG founder Bjarke Ingels."The rational nucleus is wrapped in a continuous canopy, creating an engaging public space open in all directions," he continued."The undulating roof creates a flowing and inviting gesture evocative of the Xhubleta, the traditional national dress of Kosovo."Read: BIG set to top Museum for Paper Art with "a single sheet of paper"Wide outdoor staircases will flank the theatre, which is located next to the Palace of Youth and Sports, Fadil Vokrri Stadium and Public Services Ministry, to give pedestrian access through the site.BIG designed the building to reflect Kosovo's cultural heritage while also being a contemporary venue that celebrates the country's performing arts.BIG drew from the shape of the Kosovan Xhubleta when designing the curving roof"The design for the Opera and Ballet Theatre of Kosovo allows for the flexibility to accommodate the precise needs of the organisations who will occupy the spaces within, while providing a modern facility that can elicit joy and delight for future generations of visitors and performers alike," said BIG London partner Andy Young."The theatre's design symbolises a new era of the arts and culture of Kosovo, with the potential to touch the heart of everyone who experiences it."Theatre halls at the Opera and Ballet Theatre of Kosovo will be lined with timber. Image by Bucharest StudioA lobby connected to the four performance halls will be illuminated by a skylight.The halls will have curved timber interiors with velvet upholstery and acoustic curtains designed to have a sculptural and inviting appearance.Other projects recently unveiled by BIG include luxury apartments for Saadiyat Island in Abu Dhabi and housing for the first phase of Toyota Woven City in Japan.The images are by Bloomimages unless otherwise stated.The post BIG to wrap Kosovo opera and ballet theatre in sculptural photovoltaic roof appeared first on Dezeen.

There are still some rumors and concerns about the future of Apples spatial computing platform, but as things stand, the Vision Pro is still its one and only device. Its also one of the companys more expensive products, which is why any lucky owner will do their utmost best to keep the device protected as much as possible. Thats fine when the headset is just sitting still somewhere and its official protective cover is attached. But what if you need to actually use the headset and move around?Thats the problem that this odd-looking cover for the Vision Pro tries to solve. Calling it odd-looking might be an understatement for a certain group of people that can be triggered by its peculiar aesthetic, but it isnt without purpose. The Aperture doesnt just protect the front of the Vision Pro from accidental bumps but also makes sure you can actually use the headset completely by making sure all its sensors arent blocked from the outside world.Designers: dbrand, Kyle GoodrichAlthough the Vision Pro covers a large portion of your face, its outward-facing sensors take the place of your eyes. Thats why they need to have full access to the world in front of them, which makes any sort of protective cover pointless and ineffective. Apples own official cover does this, which makes it only useful when the headset is at rest, leaving the bare Vision Pro unprotected the moment you put it on.Thats what Apertures somewhat freaky holes are for. Rather than just having holes in specific places where the sensors actually are, the design gets a bit more artistic and scatters holes of different sizes across the surface of the faceplate. It makes no apologies that its a trypophobic nightmare, so those affected by the condition should look the other way. Others, however, might appreciate how the design adds some character to Apples usual minimalist flair.Of course, the accessory is primarily designed to protect, and it gets the job done with a single-inject unibody design made from high-durometer polyurethane. To match the set, dbrand also offers a holster for the Vision Pro battery with the same triggering hole-y design and a belt clip for good measure. Available in Orange and a less conspicuous Black, this limited edition run offers some peace of mind for a fraction of the cost of the Vision Pro.In addition to the Crocs-like design, Aperture has one other quirk Vision Pro owners should be aware of. It doesnt block sensors from seeing outside, but it does block people from seeing inside. That is, the EyeSight feature that projects a semblance of your eyes through the glass cover wont be as effective, as they will either be looking through holes or will be too distracted by those holes anyway.The post dbrand Apple Vision Pro Aperture cover is useful but a bit unsettling first appeared on Yanko Design.

All the files, resources and videos to accompany issue 250 of ImagineFX magazine.