As the tech world has standardized on USB-C, charging your devices has become much simpler. But it's still not simple enough. Sure, most things plug into most other things, but now you have to worry about power and data throughput, making sure that e

With every iOS update, Apple quietly adds additional features under its accessibility category. These features are there to give people and customers alternatives to how they interact and use their iPhones. When iOS 17 was announced, they added a new

Posted on : June 3, 2025 By Tech World Times Technology  Rate this post This article walks you through five practical steps to implement network segmentation effectively, backed by real-world use cases that showcase its value in different industries. Networks are constantly expanding across offices, cloud services, remote users, and connected devices. With so many moving parts, security gaps can easily form. Once attackers breach a weak point, they often move freely across the network, targeting critical systems and sensitive data. That’s where network segmentation comes in. It’s a practical approach to divide your network into smaller, manageable zones to control access, limit exposure, and isolate threats before they spread. But simply deploying VLANs or access rules isn’t enough. True segmentation needs planning, alignment with your business, and the right mix of technology. Step 1: Assess and Map Your Current Network Start by figuring out what’s on your network and how it communicates. Inventory Devices and Applications: List all system servers, user machines, IoT devices, cloud assets. Map Data Flows: Understand how applications and services interact. Which systems talk to each other? What ports and protocols are used? Identify Critical Assets: Highlight the systems that handle sensitive data, such as payment processing, health records, or intellectual property. Tip: Network discovery tools or NAC solutions can automate asset inventory and reveal communication paths you might miss. Step 2: Define Segmentation Goals and Policies Once you understand your environment, it’s time to set your objectives. Security Objectives: Do you want to reduce lateral movement, isolate sensitive systems, or meet a compliance mandate? Business Alignment: Segment by business unit, sensitivity of data, or risk profile-whatever makes the most operational sense. Compliance Requirements: PCI DSS, HIPAA, and other standards often require network segmentation. Example: A healthcare provider might create separate zones for patient records, lab equipment, guest Wi-Fi, and billing systems. Step 3: Choose the Right Segmentation Method Segmentation can be done in several ways. The right approach depends on your infrastructure goals and types: a. Physical Segmentation Use separate routers, switches, and cables. This offers strong isolation but can be costly and harder to scale. b. Logical Segmentation (VLANs/Subnets) Group devices into virtual segments based on function or department. It’s efficient and easier to manage in most environments. c. Micro segmentation Control access at the workload or application level using software-defined policies. Ideal for cloud or virtualized environments where you need granular control. d. Cloud Segmentation In the cloud, segmentation happens using security groups, VPCs, and IAM roles to isolate workloads and define access rules. Use a combination- VLANs for broader segmentation and micro segmentation for finer control where it matters. Step 4: Implement Controls and Monitor Traffic Time to put those policies into action. Firewalls and ACLs: Use access controls to manage what can move between zones. Block anything that isn’t explicitly allowed. Zero Trust Principles: Never assume trust between segments. Always validate identity and permissions. Monitoring and Alerts: Use your SIEM, flow monitoring tools, or NDR platform to watch for unusual traffic or policy violations. Common Pitfall: Avoid “allow all” rules between segments, it defeats the purpose. Step 5: Test, Validate, and Fine-Tune Even a well-designed segmentation plan can have gaps. Regular validation helps ensure it works as expected. Penetration Testing: Simulate attacks to check if boundaries hold. Review Policies: Business needs to change your segmentation strategy too. Performance Monitoring: Make sure segmentation doesn’t impact legitimate operations or application performance. Automation tools can help simplify this process and ensure consistency. Real-World Use Cases of Network Segmentation 1. Healthcare – Protecting Patient Data and Devices Hospitals use segmentation to keep medical devices, patient records, and visitor Wi-Fi on separate zones. This prevents an infected guest device from interfering with critical systems. Result: Reduced attack surface and HIPAA compliance. 2. Manufacturing – Isolating Industrial Systems Production environments often have fragile legacy systems. Segmenting OT (Operational Technology) from IT ensures ransomware or malware doesn’t disrupt manufacturing lines. Result: More uptime and fewer operational risks. 3. Finance – Securing Payment Systems Banks and payment providers use segmentation to isolate cardholder data environments (CDE) from the rest of the corporate network. This helps meet PCI DSS and keeps sensitive data protected. Result: Easier audits and stronger data security. 4. Education – Managing High-Volume BYOD Traffic Universities segment student Wi-Fi, research labs, and administrative systems. This keeps a vulnerable student device from spreading malware to faculty or internal systems. Result: Safer environment for open access campuses. 5. Cloud – Segmenting Apps and Microservices In the cloud, developers use security groups, VPCs, and IAM roles to isolate applications and limit who can access what. This reduces risk if one workload is compromised. Result: Controlled access and better cloud hygiene. Common Challenges Legacy Tech: Older devices may not support modern segmentation. Lack of Visibility: Hard to secure what you don’t know exists. Operational Hiccups: Poorly planned segmentation can block business workflows. Policy Complexity: Keeping access rules up to date across dynamic environments takes effort. Best Practices Start with High-Risk Areas: Prioritize zones handling sensitive data or vulnerable systems. Keep Documentation Updated: Maintain clear diagrams and policy records. Align Teams: Get buy-in from IT, security, and business units. Automate Where You Can: Especially for monitoring and policy enforcement. Review Regularly: Networks evolve- so should your segmentation. Final Thoughts Segmentation isn’t about creating walls it’s about building smart pathways. Done right, it helps you take control of your network, reduce risk, and respond faster when something goes wrong. It’s a foundational layer of cybersecurity that pays off in resilience, compliance, and peace of mind. About the Author: Prajwal Gowda is a cybersecurity expert with 10+ years of experience. He has built businesses and was a Business Unit Head for Compliance and Testing services. Currently, he is the Chief Technology Officer at Ampcus Cyber, leading the company’s technology strategy and innovation efforts. He has also been involved in the Payment Card Industry, Software Security Framework, ISO 27001 Controls Gap Analysis, ISMS, Risk Analysis, OCTAVE, ISO 27005, Information Security Audit and Network Security. Prajwal is a Master Trainer who has conducted 100+ cybersecurity training sessions worldwide. Tech World TimesTech World Times (TWT), a global collective focusing on the latest tech news and trends in blockchain, Fintech, Development & Testing, AI and Startups. If you are looking for the guest post then contact at techworldtimes@gmail.com

Interviews Love, Death + Robots – Volume 4: Tim Miller (Creator & Director) & Jennifer Yuh Nelson (Supervising Director) By Vincent Frei - 02/06/2025 Earlier this year, Tim Miller spoke to us about his animated anthology Secret Level. Now, he returns to discuss the latest season of Love, Death + Robots. Jennifer Yuh Nelson talked about season two of Love, Death + Robots in 2021. She later worked on The Sea Beast, before returning once again to the anthology universe. What was your overall vision for the fourth season of Love, Death and Robots and how did it evolve from previous seasons? Tim Miller (TM) // We have the same strategy as every volume – we try to pick the best stories we know of and provide a mix that is hopefully appealing to everyone. There are a lot of variables to consider. Including genre, tone, and style of animation, such as stop motion, CG, and 2D. We try not to have two stories that are too similar. For example, if there’s already a military sci-fi story, we avoid selecting another one. We like to mix humor, horror, sci-fi, fantasy, and anything else that we think might be interesting from either a story or animation perspective. How did you approach the balance between experimenting with new styles and maintaining the signature identity of the show? TM // Honestly, we just try and follow our gut. What we think is interesting as filmmakers, animators, and storytellers will also be interesting to the animation community and fans alike. So, we keep an eye out for new voices, filmmakers, and new ways of doing things to keep things interesting. I’m not sure we have an identity of the show. In fact, I think if we did have an identity, it would be that we don’t have an identity… but we try and do whatever we think is interesting. Jennifer Yuh Nelson (JYN) // The fortunate thing about LDR is that the signature itself is experimenting with new styles. The trick is finding new aggressively experimental styles that still communicate to a mass audience. The stories are key to that. If the story is engaging, even to an audience that doesn’t usually gravitate to animation, then you can make it looks as weird as you want. What are some of the key challenges you faced while overseeing this season and how do you tackle them? TM // This season, there was a lot going on in the animation community that created some challenges with getting work done, whether studios were too full or ceased to exist entirely. Everyone struggled with budgets. But I didn’t feel like it was a problem with our show but rather a problem with the entire industry. People were struggling. And then it’s just always difficult when your ambition is high, your budgets are reasonable but still challenging, and you have to wrangle hundreds of people to get on board with your vision. (JYN) // These shows take a long time to make. R&D for a look that doesn’t exist can take a lot of trial and error. For example, Emily Dean, who directed Very Pulse of the Machine last season, did For He Can Creep this season. She had a cool angle of making her episode look like lithography. That was very very hard, but somehow Polygon, the studio that made both shorts, came through with it. And I think it turned out very well. Can you talk about how you selected the different animation studios for this season? What made you decide to work with the studios involved? (JYN) // We’ve been very fortunate to have worked with amazing people and studios these last few seasons, so it made sense to float some stories by them again. But it really comes down to the stories, and how each leans towards a certain technique. For example, How Zeke Found Religion was holding a slot where we wanted something 2D. We went to Titmouse because they were great with pushing the boundaries of 2D animation, and they suggested Diego Porral as a director who could bring a modern edge. How do you ensure each studio’s unique visual style complements the story and tone of each episode? TM // I know this sounds a little mystical and I don’t mean it to be, but I think the story speaks to you about style. Some things just feels right, and you have an innate concept of what would be the best version of the story, whether it’s stop motion, CG, 2D animation, or even live action. When you start thinking about the story in a creative way, a style becomes apparent. Which is not to say there aren’t many ways to do things and tell stories, but we feel a best version becomes clear. (JYN) // We do a lot of research, not just into what the studios have done before, but also into what they wish to do but haven’t had the chance to do. Often it’s just a matter of getting to know them and seeing if they have a philosophy of pushing for experimentation and risk. Then we try to support them as much as possible in their creative R&D. You both directed episodes for this season, what was that experience like? How did it differ from your work as overseeing directors? TM // For me, it’s really just trying to create the best story and I love working with the artists and trying to be open to what everybody brings to the table because everybody wants to do the best possible episode they can. I try and be open to letting people help carry that load. The best thing about being a director is that you get to pick and choose between all the great ideas that everybody has and shape the narrative by getting the benefit of everyone’s expertise and talent. (JYN) // It’s a different mindset. As a Supervising Director, I help. As a Director, I do. On episodes I’m not directing, I am deciphering that director’s ambition and pushing for whatever is required to make that absolutely great. On an episode I’m directing, every choice and image has to go through my brain so it’s more a reflection of my personal taste. Plus I tend to storyboard a lot more on my own episodes since it’s a way for me to communicate to the crew. I storyboard a lot on other episodes, but mainly to help figure out problems here and there. It also doesn’t come out of those director’s budgets so the free storyboarding is often welcomed. How did you choose the episode you worked on yourself and what aspects of it made it resonate with you both? TM // In my case with “The Screaming of the Tyrannosaur,” it was really by default. I had written the episode for Zack Snyder but Zack was too busy, and by that time I’d already fallen in love with the story, so I figured, why not just do it myself? As for “Golgotha,” I always loved the story. It was very efficient and short, which is hard to find in a story – it felt like a full meal. It has a beginning, middle, and end and it resolves in a satisfying way. “Golgotha” had all of that, plus it was funny. (JYN) // Spider Rose was on the story wall since the beginning. It was one of the “special” ones- very hard, ambitious, uncomfortable. Over the seasons we offered it to different directors and they veered away from it for one reason or another. But it glowed with a complexity that’s rare in a short story. I think that’s because it was written as an exploration for a far larger world that Bruce Sterling was developing. For me, it was the raw emotionality that drew me in. It’s how I understand how to communicate any story. And I love the way Spider Rose draws you in with emotion then shivs you with it. Were there any episodes in this season that particularly pushed the boundaries of what you had done before? How did that push happen? TM // I think “How Zeke got Religion” pushed the boundaries of 2D animation. The amount of detail and action that the guys at Titmouse were able to pull off was truly astonishing. Once again, Robert Valley outdid himself with 400 boys. The action scene at the end was one of my favorite pieces of animation in all of Love, Death, and Robots. (JYN) // Golgotha, Tim’s episode is live action, which is a rarity for the show. There was one live action episode in season 1, but none since. It is primarily an animation series, but nowadays, the line is so fuzzy that it seemed to make sense. How do you balance creative freedom with the thematic unity required for a show like Love, Death, and Robots? TM // There isn’t really a thematic unity. We’re just trying to create the best version of each of the episodes. They don’t tie into each other, they don’t relate to each other, they aren’t supposed to be about either Love, Death or Robots – the title is a meant to be a “catchall” that could hold ANY story or visual art we thought might be cool. Hopefully, the overall assemblage feels like a balanced meal with a little bit of something for everybody. But thematically speaking, again, I think our theme is that there is no theme. (JYN) // We try to set the foundation with a good story, based off the many short stories Tim has read over the years. Then the HOW of what that story becomes is the wooly Wild West. The directors and studios are fully encouraged to push all the boundaries of how to make these as innovative, impractical, and beautiful as they want. And, since each short is under 15 minutes, the studios we choose can be as experimental and scrappy as each story demands. Looking at the overall direction of the season, was there any unexpected moments or surprises that stood out to you during production? TM // Yeah, I think the color palette for “Zeke” was a shock to me in a wonderful way because it was completely unexpected and nothing I would ever do as a director but boy did I love it. And I think that “Can’t Stop” was an interesting addition. We wanted to do a music video from volume 1 onward, and this was the moment that we took to do it. I think it’s the greatest concert video ever made. (JYN) // Why do we have so many cats and babies? I’ve no idea. But when we saw the first giant baby shots in 400 Boys, it was a rare joy. They walk like babies, real babies. And somehow that was both accurate and terrifying. Looking forward, where do you see the show heading in future seasons, are there any new themes or concepts you’d love to explore? TM // So many directors in the industry have asked if they could play in our sandbox, and I would like to expand our reach to get some established names. Not that we don’t want new talent – we will always want that – but it would be great to have some really fantastic directors who have accomplished big movies come and play with our stories. I also think there’s a version where we bring in some content that may have existed in other mediums like comic books and perhaps tell some larger stories that take more than one episode to tell. Truthfully, I’ve already got a some really interesting stories picked out for the next few seasons, — of course those will change as the show evolves, but they’re fascinating stories that explore the whole arc of history… past, present, and future and some of the big challenges that humanity is facing today. I’d be lying if I didn’t mention that many of them explore the future of what mankind will become with the advent of AI and how artificial intelligence and humanity’s future intersect. (JYN) // Often themes only show up afterwards. There is a bit of a “herding cats” energy to the show that promises surprises in the production process. But the point of a show like this is that it is surprising. It has its own energy, and sometimes we just have to listen to it rather than dictate. If you had the opportunity to create any kind of story for Love, Death, and Robots, what would your dream narrative and what type of animation style would you envision for it? TM // Well, I have to say that I love high-end 3D animation, and that’s what Blur does for a reason. And secondly, I’d like to do a kind of story that could be live action and has some vast scope to it, but we choose to do it in animation because we get more value from using the techniques that animation brings. We can tell a bigger story, with more scope, and more action than we would using any other methodology…. and it competes favorably with live action in terms of the kind of audience that comes to watch it. Not just fans of animation, but fans of good cinema. (JYN) // I’d love to see an anime episode, like a Tsutomu Nihei fight scene, or something by Katsuhiro Otomo. A big thanks for your time. WANT TO KNOW MORE?Blur Studio: Dedicated page about Love, Death + Robots: Volume 4 on Blur Studio website. © Vincent Frei – The Art of VFX – 2025

It’s time to share your vision with the world: Applications are now open to get your work featured in Architizer’s new print publication, How to Visualize Architecture! This stunning new book will highlight how architects, designers and creative thinkers shape culture, influence clients and envision what architecture can be through powerful concepts, ideas and imagery. The only way to apply for your work to be showcased in this landmark publication is to enter your work in the 2025 Vision Awards before the Main Entry Deadline on June 6th, 2025. Apply for Publication Every Vision Awards Winner will have their work published in this instructional guide, which will lift the curtain on creative processes in architecture, from early sketches and conceptual drawings, to renderings and physical models, to powerful photographs of finished projects. Don’t miss your chance to secure a spot in How to Visualize Architecture and a host of other prizes for your work! Let Your Work Lead the Conversation How to Visualize Architecture will serve as a global reference for clients, collaborators and the next generation of architects. Thematic chapters will explore key concepts that are critical to communication of architectural ideas, including: Narrative: How to craft compelling visual stories that communicate architectural vision, from concept to construction. Environment: How to root projects within their landscape, city or climate, building a powerful sense of place. Atmosphere: How to evoke emotion and spark intrigue in architecture through a variety of creative techniques. Identity: How to imbue architecture with the cultural and social meaning within a distinct, localized context. Tectonics: How to celebrate structure, materiality and craft, translating abstract ideas into physical manifestations. With so much design content living online, being published in a high-quality print anthology gives your work a lasting, tangible presence. This publication will be distributed to a global network of design professionals, making it a timeless showcase of the visionaries defining architecture today. Start My Entry Create a Lasting Legacy for Your Vision Your work is already inspiring. Winning a Vision Award and getting published in How to Visualize Architecture promises to transform it into an educational precedent for decades to come. For every emerging architect, client, student and creative professional that picks up a copy, your work will be presented as an exemplar for architectural ideation and representation — today and tomorrow. To get yourself in the running for inclusion, start your entry for this year’s Vision Awards today, and make 2025 the year your work is celebrated — both online and in print. Apply for Publication To find out more about the Vision Awards, check out our handy About pages, including FAQs, fees and deadlines, and eligibility and guidelines. If you have any questions about the program, please don’t hesitate to reach out to us at visionawards@architizer.com. The post Apply for Publication in Architizer’s New Book “How to Visualize Architecture”! appeared first on Journal.

People Can Fly, the developer of Outriders and Gears of War: Judgement, announced Monday that its ending development on two of its upcoming games due to issues with its publisher and an inability to secure funding to continue development. As part of this decision, People Can Fly will be forced "significantly regroup" and "scale down [its] teams," the studio's CEO Sebastian Wojciechowksi shared in a statement on LinkedIn. The statement doesn't elaborate on how many staff will be impacted by the cuts, but does call out Project Gemini and Project Bifrost as the two games being cancelled. People Can Fly made the decision to shut down Gemini because the game's publisher failed to provide a publishing agreement and didn't communicate "its willingness to continue or terminate the Gemini project." Without that publishing deal or the funds to continue working on Bifrost — a self-published VR game — the studio was forced to cancel it, too. This isn't the first time People Can Fly has shut down a project or made cuts to its teams. In December 2024, the studio announced that it was ending development on a game called Project Victoria and also reducing the number of people working on Bifrost. In that same announcement, People Can Fly also revealed that Square Enix was publishing Gemini. People Can Fly last worked with Square Enix to publish Outriders, somewhat of a minor cult hit now, but not a commercial success at launch. Even with the cuts and cancelled games, the studio still has multiple upcoming projects in the works, including Project Delta, which People Can Fly is creating for Sony and Gears of War: E-Day, which the studio is co-developing with Xbox studio The Coalition.This article originally appeared on Engadget at https://www.engadget.com/gaming/people-can-fly-cancels-two-games-and-lays-off-developers-220310524.html?src=rss

Neuralink competitor Paradromics plans to conduct the first clinical trial of its Connexus brain implant later this year.

Enterprises should experiment with MCP where it adds value, isolate dependencies and prepare for a multi-protocol future.

A teen tech entrepreneur is working to retrofit robots with simulated artificial bodily functions like a virtual heart rate, body temperature, and sweating response — a bong-rip idea to make them better emulate human emotional states like joy or anxiety.In an interview with TechCrunch, the 19-year-old founder of "emotionally intelligent robots" company Intempus, Teddy Warner, explained why he's imbuing AI with digital versions of the often-uncomfortable sensations you feel during spells of heightened emotion like fear and anxiety.Warner told the website that he got the idea for his company while working at the AI image generator outfit Midjourney.During his time at that company, the researcher and his coworkers were tasked with building out a so-called "world AI" model, which essentially means an AI that makes decisions like humans do in the real world.While world models have made waves in the AI industry in recent years, they've fallen short because, as Warner puts it, they're being trained on data from robots that heretofore have lacked the kind of physiological feedback humans have."Robots currently go from A to C, that is observation to action, whereas humans, and all living things, have this intermediary B step that we call physiological state," he explained to TechCrunch. "Robots don’t have physiological state. They don’t have fun, they don’t have stress."For robots to understand our human world, they need "be able to communicate with humans in a way that is innate to us, that is less uncanny, more predictable, we have to give them this B step," he continued.In short, Warner thinks robots need to be able to feel like we feel. After hooking himself and his buddies up to polygraph tests to capture their sweat data, the youthful founder built out an AI model that can, as he told the website, "essentially allow robots to have an emotional composition" based on lie detector data.Depending on how much Kool-Aid you've had to drink, the concept of feeling robots — and AI trained on lie detector tests — is either goofy or terrifying. The latter vibe is worsened by Warner's recent announcement that he'd won a Thiel Fellowship, which the controversial tech billionaire Peter Thiel awards to several youngsters each year to fund their entrepreneurial dreams.Since September, Warner has built out the Intempus research apparatus and managed to sign seven partners in the process. He's now hiring staffers and working on testing his retrofitted feeling robots in front of customers — though he says he's not opposed to building his own robots in the future."I have a bunch of robots, and they run a bunch of emotions," he told TechCrunch. "I want to have someone come in and just understand that this robot is a joyful robot, and if I can innately convey some emotion, some intents that the robot holds, then I’ve done my job properly."Share This Article

We may earn a commission from links on this page.While most people think of smart cameras as just a part of their security system, they’re also a good way to monitor the things growing in your yard. In most cases, the cameras you already have set up for security can be doing double duty as a tool to keep track of what's happening in your garden.I believe we’re on the cusp of smart cameras becoming a much bigger part of the gardening experience. For the last few years, smart bird houses have exploded in popularity. One of those companies, Bird Buddy, has launched an entirely new line of cameras specifically for micro-viewing experiences in the garden. Their Petal cameras, expected to be available next year, should be positioned closer to the ground than most security cameras, and are meant to capture bees, insects, and butterflies, as well as the growth of your plants. Using AI (as a subscription service), the camera will allow you to assign names to your plants and even communicate with them. Still, there is a lot you can do with security cameras already on the market. Remote monitoring Credit: Amanda Blum In an ideal world, you could pack up for vacation and your yard would take care of itself—but a smart camera can allow you to remotely keep an eye on what’s happening and monitor for any damage. What’s impressive to me is how well my solar-powered cameras maintain their connection, even during low temperatures and freezing rain.  I've been impressed at how much detail I can get from small plants through my cameras. Credit: Amanda Blum Cameras allow you to keep an active watch on your yard. Not only will your security camera let you know if your trusted waterer drops by while you're gone as promised, but you can actually see how your plants are doing and if additional help is needed.  I’m always impressed at how good the zoom is on the cameras I use around my yard; I can actually tell if a tomato is ripe or if broccoli is ready to be picked. Last year, when I couldn’t get outside because of a sprained ankle and had someone helping in the garden, being able to see what they were doing and communicate with them via my security camera was invaluable. It’s much more effective than trying to describe what you need or want. Catch pestsGarden pests are frustrating for a wealth of reasons. To start with, you often don’t know what kind of pest you’re dealing with, and it’s nearly impossible to catch them in the act. Smart cameras are perfect for this, because they give you fly-on-the-wall ability to passively watch. Motion detection does most of the work for you. My security camera let me know I had raccoons in my yard last winter. They weren’t doing any damage (yet), but it helped influence how I design my garden and chicken coops. The cameras identified the cat that had chosen my garden to use as a litter box, checking in each night around 1 a.m. I’ve been chasing down a rat for the last two weeks, and the cameras do a spectacular job of catching his activity, which tells me where to add traps and what I may be doing that is enabling him. Other uses for smart cameras in your yard Credit: Amanda Blum The most invaluable service I’ve gotten from my cameras are how I use them to monitor backyard pets. I could not figure out how my newly adopted doberman was escaping from the yard, so I installed security cameras, and discovered she was climbing a five-foot tall chain link fence. I’ve got three cameras installed in my chicken coop, and they tell me when there are eggs to be grabbed, if a chicken is becoming broody, if everyone got into the coop at night, and if that pesky rat has cracked into the chicken food. When I first got my chickens, I couldn’t figure out which bird was laying which color egg, but the cameras helped. And now that I have a beehive, being able to see the activity going in and out of the hive is a helpful to monitor the health of the hive, and if a rodent of any kind tries to get in, I’ll know immediately. How to choose a camera for your yardI’ve tried smart cameras from almost every major brand, and I’ve figured out some things. First, in almost all cases, I want a PTZ (point, tilt, zoom) camera. These allow you to use your phone as a remote control and move the camera around, often almost 360 degrees, to zoom in on what you want. This is far superior to a fixed range camera. It’s simply annoying to have something going on just outside of the range of your camera and not be able to do anything to adjust it remotely. Additionally, I look for an app that makes it easy to watch clips. While I think Reolink cameras are affordable and functional, their app forces you to watch a horizontal clip on a vertical screen, so details are incredibly small. The Ring app has a lot of bloat, bringing neighborhood alert notifications to your phone. I enjoy the Aqara, Switchbot, and Eufy apps for getting to the video quickly and easily. Lastly, as you add cameras to your collection, being able to remain free from subscription costs is a real bonus. For that reason, I have largely switched over to Eufy cameras, which—if connected to a Home Base—don’t need a subscription. What I use in my yard: I replaced all my floodlights with this camera for overhead views Eufy Wired Floodlight Cam $199.99 at Amazon $219.99 Save $20.00 Shop Now Shop Now $199.99 at Amazon $219.99 Save $20.00 I place these wireless cams anyplace I want a 360 view of what's happening in my yard. Eufy Solar Powered Wireless Camera $259.99 at Amazon $349.99 Save $90.00 Shop Now Shop Now $259.99 at Amazon $349.99 Save $90.00 I have this epoxied into three spots in my chicken coop. Eufy Indoor PTZ Camera $34.88 at Amazon Shop Now Shop Now $34.88 at Amazon Just added this to monitor my beehive. Eufycam S3 Pro $439.99 at Amazon $549.99 Save $110.00 Get Deal Get Deal $439.99 at Amazon $549.99 Save $110.00 All my cameras sync to the homebase so I don't need a subscription. Eufy HomeBase $149.99 at Amazon Get Deal Get Deal $149.99 at Amazon SEE 2 MORE Where to place your camera Credit: Amanda Blum All security cameras are either hardwired or wireless. You might already have exterior floodlights on your home, and wired security cameras can use those connections, replacing the lights (many units come with floodlights). In this case, your connection is likely high up, and can’t be moved easily. So long as it’s high up, you likely have a good field of vision of your yard, but make sure to consider plants that grow in the summer, and if they’ll block your view. If you don’t have these connections available and don’t want to pay an electrician to create them, you need wireless cameras. But I actually prefer my wireless cameras. First, the solar power on most of them is astounding. I live in the Pacific Northwest, a place with seven months of gloom, and my cameras always stay powered. Second, being wireless means you can move your camera around to find the perfect spot. Usually all you need is to screw the base into the spot you want the camera. Don’t be afraid to try different spots, when I was chasing down how my dog escaped, I had to keep moving the camera. I attached the camera to a 2x4, and moved the wood around the yard, leaning it against whatever was near until I found the right range of vision.