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The iPhone 18 Pro Max main camera's new variable aperture is a huge deal and, in my limited experience, I can already see that it could transform iPhone photography. Still, to know why this matters, you need to understand how it works.

The best analogy is your eyes.

If you've ever squinted to read something, you understand how an aperture works. The more open your pupil, the more light that comes in, but it's widely scattered, making objects in the distance out of focus. If you squint, that cuts the amount of light coming into your eye, but it also removes more of the scattered light, leaving only the sharper light and imagery. On a camera, the open aperture (represented by lower f-stop numbers) has the same effect as your wide-open pupils. Lots more light, but only stuff nearest you is in focus. A smaller aperture, represented by higher f-stop numbers, is the eye-squint: less light but more focus throughout the frame.

Ever since Apple announced the iPhone 18 Pro (and Pro Max's) big camera update, which also includes voluminous Pro-level controls, I've been itching to try them. As soon as I got my iPhone 18 Pro Max in black, I ran outside to see if the update makes an appreciable difference in photography quality and possibilities.

The short answer is yes.

A few things you should know about this new hardware feature. First, it's only on the 48MP main lens, so the 48MP, 4x telephoto, and 48MP ultrawide cameras only have fixed apertures: ƒ/2.8 and ƒ/2.2, respectively. Those are decently wide apertures, but the Main camera has Auto, ƒ/1.48, ƒ/1.8, ƒ/2.8, ƒ/4.0. That's a wide range. It's not quite DSLR-level, where you can stop down to, say, ƒ/11, which can be useful for deep focus and for capturing ultra-bright objects like the moon at night.

It's also worth noting that these are physical f-stops. The iPhone 18 Pro Max Main camera aperture features an array of interlocked blades thinner than a human hair, and they slide over each other as the aperture opens and closes. It's an engineering marvel. In the right light, you can see them adjusting.

I think it's fair to wonder why we need a physical, variable aperture when many of the iPhones since the iPhone 7 Plus have included portrait mode technology. In the early days, it used information from its wide and telephoto lenses to craft a bokeh effect. Eventually, Apple started using software to analyse the image and create a portrait mode with just a single lens (see 2020's iPhone SE). No matter how the iPhones have done it over the years, it's impressive and, for most users, good enough.

My goal, though, was to see how the portrait mode on the iPhone 18 Pro Max might differ from variable aperture photography (my preferred setting was f1.48). In other words, software vs. hardware. I did also fiddle with the other f-stops, but in bright daylight, the bokeh effect on ƒ/1.8 and ƒ/2.8 is quite subtle.

I took pictures of myself, photos of statues, and the image above of a drying leaf. That photo, or rather that one compared to the Portrait Mode shot of the same leaf, is what convinced me: this is a game changer.

When you use Portrait Mode on an iPhone, you can adjust the bokeh before or after photography. It's a reminder that this is, at least in part, a software effect that can include or discard as much background sharpness as you desire.

Using the variable aperture is more akin to traditional photography. You have the lens, the aperture settings, and, now, if you choose, shutter speed, exposure, and focus. In the initial images, I left everything alone except for the aperture. To access it, you select the grid menu in the camera app, choose Aperture, and then select the aperture opening of your choice.

I chose f1.48 and snapped a photo of the same leaf.

The result, which you can see above, was two pretty good pictures, but closer examination reveals how Portrait Mode struggled with the curling leaf. Look at the stem. It's almost gone. By contrast, on the variable aperture shot, it was clear that the phone wasn't trying to apply some software magic to separate the leaf from the background and create the bokeh. The leaf is complete. The whole image looks natural and, honestly, the hardware does what it would do on a traditional camera: let the lens and aperture opening make the call.

The leaf is in stark, colorful focus, and the background, while not as blurred as you get from Portrait Mode's default settings, is pleasantly out of focus.

I saw similar results with my selfies. Again, Portrait Mode goes hard on the background blur, but because it's largely computational, some artifacts remain. In particular, the space between the right stem of my glasses and my head is oddly sharp. And, if I'm being honest, the default level of bokeh sort of disconnects me from the background environment.

The results on the Gertrude Stein statue are less equivocal. The default portrait mode seems to favor the figure a bit more, though I still like the variable apertures' more realistic background blur.

Later, I started fiddling with a combination of aperture settings, shutter speeds, exposures, and focus. There are limits on all of these tools, but that's really the limitation of a smartphone camera. Without the really big sensor, wider space between the lens, aperture, shutter, and sensor, there's only so much you can do.

Still, I was impressed. My variable aperture shots look closer than ever to pro-level photography, and the additional pro controls are just so much fun to play with.

If there's any disappointment here, it's that we have just one variable aperture. I could do amazing things with more f-stops on the telephoto lens. Ah well, there's always next year.

Check out my gallery to see some of what I shot on my first day with the iPhone 18 Pro Max.

Charles Cecil wants to make one thing clear: “I'm not anti-AI.”

The veteran British developer behind the legendary 1996 point-and-click game Broken Sword: The Shadow of the Templars speaks to TechRadar about AI's divisive role in modern game development - and, in particular, how it was used in the upcoming remake of the sequel, Broken Sword - The Smoking Mirror: Reforged, due out in 2027.

The original, a commercial success selling 759,000 copies, sees American tourist George Stobbart team up with freelance journalist Nicole Collard to track a mysterious Mayan stone across Paris, London, and Central America. This remake doesn't use AI, and, according to Cecil, there's a very good reason for that.

“I think AI has its place,” Cecil says. “It's just not relevant in our games because we want human animation, human characterization and human expression, and that's much better done by humans.”

A perfect example of that lies in the game's hand-drawn art, all of it redone for Broken Sword - The Smoking Mirror: Reforged.

This hugely labor-intensive process encompassed roughly 55,000 frames of animation, more than the 30,000 of Broken Sword: The Shadow of the Templars’ 2024 remake.

“George opens the newspaper and kind of just glances at the screen,” says Cecil, referring to the actions of the game's protagonist in an early scene. “He's looking at the viewer, and that's what human beings do. That is not something that AI can do.”

In low-res, eyes were just dots on a face. In high-res, eyes are windows to the soul and therefore have to be animated with precision and intent. Where applicable, artists were free to add flourishes, using their own interpretation to fill in the gaps.

For instance, the painting of Professor Oubier hanging on the wall in the rapidly burning study was always too pixelated to see clearly. Now, however, you can make out exactly what he looks like in 4K, at 36 times the original resolution, all while a visibly uncomfortable George jostles his rope bindings.

Developer Revolution Software didn't stop there. The team redrew scores of items that never really made much sense. Take the poison dart, which now looks less like a playing dart and more like something shot out of a blowpipe.

Despite the decision to abstain from AI use for the most part, it wasn't entirely absent. AI was used for the initial round of upscaling before artists added detail by hand, with backgrounds scanned as black-and-white layouts for them to build on using the originals as references. AI was more of a tool than a creative device.

“We experimented with AI for the first one, and we used AI to upscale and then redraw the characters. And as I say, it can upscale, but it can't put any character in.”

That's largely thanks to the luxury of time. The first game needed to be made in a year or risk cancellation. Revolution Software sprinted to the finish line, but made a few shortcuts along the way.

One oversight was 40 voice lines that were recorded and packaged in the game's files but never used. Now, in Broken Sword - The Smoking Mirror: Reforged, fans can finally hear them (one line involves George asking the Parisian waiter about the tequila worm in his pocket).

Another infamous example occurs in the Game Boy Advance version. “You have a choice to go to Spain or Syria,” says Cecil. “If you do one, you can finish the game, and it's fine. If you do the other, it takes you there, but you can't then finish. There's a bug that doesn't allow you to finish…It's an awful, awful bug. I mean, it's absolutely shocking.”

An AI might have spotted such mistakes, but then again, you could argue mistakes are what give art humanity. If nothing else, they make for a great story.

But the remake is far from a bug-fixing exercise. Instead, it's an opportunity to make the game better. Where most remasters seek to preserve the subject, Broken Sword - The Smoking Mirror: Reforged is almost an act of excavation.

“All of these things we now have the time to do,” says Cecil. “Because what Revolution has done for the last 15 years is we've self-published all our games. And I can decide when we’re going to spend a little bit more time getting this, right? Is it worth it?”

The devs found time to add features, too, like a new three-tier hint system that actively monitors your progress and feeds you steadily more obvious tips so you're not stuck for too long. The final tip tells you outright what to do. Thankfully, purists can turn it off.

Meanwhile, Nintendo Switch 2 players get four different control schemes: touchscreen, gamepad, one Joy-Con 2 detached and used as a mouse, or a versatile combination of everything.

Plus, there’s something Cecil has personally wanted to add for 30 years: a beautiful, detailed map of Paris. This is used to aid player navigation instead of having them rely on clunky icons. With everything in the game, these feel like choices made by humans, not AI.

“We've really gone out of our way to produce something that, in my view, is completely future-proof, because people were playing the first one 30 years ago, and millions and millions of people have played that game. And my ambition is that in 20 years' time, a fourth generation will be playing again.”

“Going forward,” he continues, “people are going to seek out human-crafted art. You know, there's going to be that sense, because obviously we all have a human connection with each other.”

• Satellite imagery shows China building a roughly ~200m ship in Shanghai that analysts say is a mothership for submarine-sized drones
• It pairs a bottom-opening well-deck and 12-arm cradle with an internal hangar that experts estimate holds four 115- to 148ft XXLUUVs
• While the ship itself is shorter than an Essex-class carrier, its dock clocks in at about 1,115ft

China appears to be building a type of ship no navy is publicly known to operate: a large surface vessel designed to carry, launch, and recover uncrewed submarines the size of conventional crewed boats

The hull was first posted on September 13 2026 by Japanese open-source analyst KAROTASU and assessed two days later by H I Sutton at Naval News.

It currently sits at a dock at the Hudong-Zhonghua shipyard in Shanghai, and Beijing has yet to formally acknowledge its existence, so it has no name, list of capabilities, or the military branch that will eventually operate it.

KAROTASU's post places the vessel in what he calls a 340m-class dock, which works out to approximately 1,115ft. However, the dock is not the ship. The same post estimates the hull itself at roughly 200m long and 30m wide, and notes that a second, unidentified structure is being assembled in the same dock.

Defence Security Asia, using imagery dated September 15, puts the hull at about 205m by 27m, which clocks in at roughly 672 ft. This makes the mothership big, but not as big as the largest WWII-era fleet carriers, though larger than the US Navy's Independence-class light carriers from that era.

For context, an Essex-class carrier, the backbone of the US Navy's Pacific campaign from 1943, measured 872 to 888ft overall and displaced 36,380 long tons at full load. At 656 to 673ft, the Chinese hull comes up roughly 200 to 230ft short.

The primary use case of such a mothership would be to deploy extra-extra-large uncrewed underwater vehicles (XXLUUVs), which is a mouthful, and it builds around China's naval ambitions at a time when it seems certain that any conflict or show of power between the world's two superpowers will involve a maritime component.

At 35 and 45m (115 and 148ft), the XXLUUVs are the size of small crewed submarines and have an estimated range of 10,000 nautical miles based on a similarly sized concept that a Chinese shipbuilder has exhibited.

This, at the very least, challenges the current balance of power on multiple naval fronts that were not in play previously: until now, the drones have been tested from specially built floating docks, which conceal them in port and carry them out to sea for launch.

This works well on paper and for trials, which often use a mix of towing, favorable weather, and predictable shore infrastructure, but it limits range to their maximum operating capabilities and access to spare parts/repair potential, all of which the yet-to-be-named vessel addresses.

All in all, in a world that has conflicts flaring up left, right, and center, the world's largest surface ship is designed around full-size uncrewed submarines, with an enclosed hangar to house and maintain them, which is both a statement and a real threat to the US and its allies on the naval front from China, which is closing gaps on multiple fronts and taking the lead on others, even as territorial disputes in the South China Sea remain a key issue.

• Boyagongdao's BG-5 robotic golden arowana was one of the most popular attractions at CIFTIS 2026, with staff saying it plans its own route around obstacles
• The 3 kg, 640 mm robot is rated to operate at 5 meters with a top speed of 0.6 m/s, even as endurance, cameras, and payload remain undisclosed
• The design is not new: the BG-5 has been on the company's site since 2023, and a near-identical arowana robot has been available on their site since 2021

A golden fish doing laps in a small tank at Beijing's Shougang Park has become one of the most shared clips from this month's China International Fair for Trade in Services (CIFTIS).

The BG-5, a robotic golden arowana made by Boyagongdao Marine Technology Group, effectively serves as an autonomous underwater surveillance drone.

The fish has gone viral on Reddit since, with footage of it reaching the top of r/Damnthatsinteresting since it was first posted.

The BG-5 has also received coverage (in Chinese) from mainstream Chinese news sources, and while details are scarce on the product page (also in Chinese), its dimensions are listed as 640 by 204 by 90 mm, with 3 kg in tow.

It can travel at a maximum depth of 5 meters and maintains a top speed of 0.6 meters per second or approximately 2.16 km/h. Boyagongdao has not published endurance, payload, or camera specifics, and it has not made any battery-life figures public.

The BG-5 is not new, however; its product page carries images uploaded in August 2023, and the company used the BG-5 to illustrate a World Oceans Day post (in Chinese) in June 2023. The same description appears on a Chinese equipment marketplace listing (in Chinese) dated July 2024.

This isn't even the company's first arowana robot: its older Robosea website has product images dating to 2021 and describes the ROBOLAB-GL, a multi-jointed arowana robot with similar use cases, including education, research, entertainment, and marine biology.

It does, however, have an overwhelmingly military aspect, and the company's background confirms this. Boyagongdao has described itself as a military-civil fusion enterprise , pitching its bionic ROBO-SHARK as a quiet platform with a sound-absorbing shell for concealment and its ROBO-ROV for tasks including underwater combat.

A company representative, Zhang Yu, also said in a 2025 report its bionic technology "can also be used in military and national defense fields."

The irony here is that it also doubles as an excellent anti-poaching tool: the golden arowana is a color variety of the Asian arowana, a species left endangered by over-harvesting for the aquarium trade, and it has fishing restrictions in place.

A drone-like surveillance fish lookalike could make fishermen even more nervous about attempting to catch any of the endangered species, even as the relatively suspicious exclusion of hardware internals, capabilities, and endurance/performance figures makes one consider that it is aiming to cater to a single primary customer, despite the company's insistence on multiple use cases for the BG-5.

Talk to anyone about Dyson, and you can be certain that pricing will come up before long. It's not unjustified: this is the brand that gave us a $399 (£299 / AU$549) hair dryer, back in 2016 when that kind of price tag was unfathomable for such a product. It's the brand whose current flagship stick vacuum costs $979.99 (£749.99 / AU$1,349). And, most recently, it's a brand that unveiled an electric toothbrush that costs $499.99 (£419.99 / AU$799).

I'm not surprised, therefore, that at a roundtable I attended at the recent Dyson Unpacked launch event, the conversion ended up turning to pricing. Nor was I surprised to hear that the roundtable guest of honor, Jake Dyson — son of brand founder James and company Chief Engineer — had plenty to say on the subject.

[To avoid confusion, throughout this feature I'll use 'Jake' to mean the person, and 'Dyson' to refer to the brand.]

"If you want the best, you have to pay," he begins. "If you want the best engineering, you have to pay. If you want all the features."

If you move past the price tag, Dyson's products often really do achieve something different. That hair dryer's unusual design breathed new life into a market that had been stagnant for years. That flagship stick vacuum can sense exactly the size and number of particles it's sucking up and adjusts its suction in response. And the toothbrush? It has an in-built camera and can detect gaps between your teeth, into which it'll shoot mouthwash.

So the price tag might not be on a par with that of competitor products, but neither are the products.

We're not interested in doing the cheapest. At all. We want to introduce new technology and do new things.

Jake Dyson

"We're not interested in doing the cheapest. At all. We want to introduce new technology and do new things. That's what we're interested in," continues Jake. "We're also not afraid to have the most expensive. Because, unfortunately, doing things like this, you can't do cheaply."

He's also, frankly, sick of the constant discussions about it (of which I'm aware this article is a part). "We get quite a lot in America where it's just attacks on price every single time we launch a product," he says. I can sense the frustration from spending months and years developing a product, only for the headlines to be dominated by comments about the price."

He continues: "They've completely missed the fact that… look at what it's doing for you." He gestures to the CameraJet, which is the hero launch from the event. "Look at the advance in oral care. And, you know, we can't make things cheaply because they have high-tech technology in them. And they perform as well as they do."

What is unfortunate about this particular example is that following our roundtable discussion, reports started rolling in from early customers that the CameraJet wasn't performing well. In fact, in many cases, it was refusing to perform at all. I've discussed that in more detail in a separate article, and Dyson is adamant it's an isolated issue with a handful of specific batches of products, rather than a design fault.

It's enough here to state that not every product is going to be a slam-dunk. I've tested a ton of different Dyson products and there are innovations I love, and innovations I don't rate at all, but my overriding feeling is that I'm pleased that someone is out there changing things up. You don't have to buy it, after all.

Imitation might be the sincerest form of flattery, but Jake is less than enamored with the copycat products that have a habit of following any successful Dyson launch.

"We obviously patent areas of the product, if we can patent them, to prevent that. But we do that in every product, and they always find a way," he says. "And they find a way, but the product isn't as good. They say that it is, but it isn't."

The brand similarly guards against third-party accessories being subbed in. There are chips in the brush heads that mean the CameraJet will detect if a non-Dyson head is attached — just as the vacuums will know if you've added a fake battery, and the hair stylers know if you've picked up a budget attachment pack on Amazon. That kind of thing does start to sting a little, because Dyson accessories tend to come with their own hefty price tag. The toothbrush heads are $29.99 / £25 / AU$49 for a pack of two, for example.

The engineering flair is one thing, but Dyson products tend to also have a recognizable aesthetic, and part of that is the colors. Some of them have a personal connection, says Jake: "This blue [on the toothbrush] is inspired by Yves Klein, who's an artist that my father really likes. He wasn't allowed to use the same blue, but we created our own. And the first vacuum cleaners have purple in them, because of the lavender from the south of France, which is something he loved as well."

He continues: "So it's about, you know, references, but [also] about art, bringing that creativity into the product, and also recognizing it as a Dyson product."

Blazing new trails inevitably requires a lot of effort and time (and therefore money). Dyson is also keen to be as efficient as possible. "We can make one thing and use it across multiple products," says Jake. "You try not to do things twice that take an awful long time and a lot of investment. You try and use it again in another product."

He talks about certain innovations the brand will seek to "platform". So a version of the shrunk-down motor and heater that's used in the Airwrap also features in the Supersonic r hair dryer, and now also in Dyson's new Airsmooth hot brush.

You try not to do things twice that take an awful long time and a lot of investment.

Jake Dyson

Similarly, the battery platform developed for the PencilVac also shows up in the PencilWash. "Once we've done the electronics and the management system for the batteries, which is an expensive development, we can all use the same thing in multiple [products]. So platforming is quite important," he adds.

The process for this happens naturally. "You cross-pollinate, you join the dots — 'If we put that with that, we could do this'," he shares. "You're thinking about other areas of the home, things people use every day… As a company, we're getting much better at predicting that before we do it."

He continues: "It makes us realize there are other technologies we need to develop ourselves — which we are, behind the scenes — to enable us to go into those new areas and do something better than anyone else."

So we won't expect Dyson's pace of innovation to slow any time soon, then — but neither should we expect prices to drop. It's a strategy that has paid off so far. As Jake recalls, of the brand's decision to launch its $400 Supersonic when you could get a hairdryer for $40: "It didn't stop anyone buying them."