By now you’ve probably come across at least one news story about the rumored periscope zoom camera that Apple’s (supposedly) getting ready for the new iPhone. After debuting on Android in 2019 via the Huawei P30 Pro, the modern version of a periscope zoom lens is now expected to finally make it to the iPhone 15 Pro Max, and possibly the smaller iPhone 15 Pro too.While we don’t know exactly how much more capable than the 3x zoom lens on the iPhone 14 Pro the new periscope shooter will be, there seems to be a surprising or even “shocking” (by Apple standards) development related to the primary, more important camera on iPhone 15 Pro Max (and iPhone 15 Pro, we’d hope).

Believe it or not (and I certainly find it hard to believe), reputable tipster Ice Universe is now telling us that iPhone 15 Pro Max will use a sensor with “specifications… close to 1-inch – that’s for sure!”. Ice is a smartphone camera fanatic who does his research, which might give this surprising leak of information some added credibility.

Still, there are a few unturned stones around the iPhone 15 Pro Max’s “close to 1-inch” camera, which I can (at least) try to shuffle around if not turn. Apparently, we’re talking about an unreleased Sony sensor that was once supposed to bless Sony’s own Xperia Pro-II – a phone that was never released.

And apparently, this sensor is about 2x more expensive than the 50MP IMX989 in the Xiaomi 13 Ultra, which is a “full” 1-inch type sensor. And apparently (as per an older report) Apple might finally address some of the biggest problems with the iPhone’s questionable image processing.

And apparently I’ll try to make sense of all the random information to give you an idea of what might be coming to iPhone 15 Pro Max or/and iPhone 16 Ultra. If the rumors are true.

Close to 1-inch primary camera (possibly) coming to iPhone 15 Pro Max: Apple finally willing to fight Android on a hardware level?

Over a decade ago, when Matika Wilbur began photographing all 562 federally recognized tribal nations in the US (a number which has since grown to 574), she wanted to make a comprehensive portrait of contemporary Indigenous life — one that not only corrected harmful, persistent stereotypes, but could be used as a positive resource for the youngest Native American generation.

“Project 562 is rooted in narrative correction work,” Wilbur explained in a video call. “When I started, I was looking at uncovering contemporary Indigenous identity and really looking at what it looks like to be a Native person right now.”

Matika Wilbur Credit: Matika Wilbur

“I made a very conscious decision to move home, so that my baby would have that relationship with this place,” Wilbur said. “So her afterbirth could be buried here, where her grandmother’s cedar tree is and where her ancestors are. I realized that was very important to me.”

Project 562 is staggering in its scope, representing the Miccosukee Tribe in the Everglades all the way to the Siberian Yupik people far off the Alaska coast.

The portraits — from elders and teens to multiple generations posing together — have a sense of intimacy and warmth, with each image accompanied by her collaborators’ own accounts of their lived experiences. Through its interviews, the project delves deeply into kinship and love, displacement and reconnection, the generational impacts of colonialism and racism, environmental justice and activism, and inclusion and belonging.

Matika’s mother, Nancy, and daughter, Alma Bee. Credit: Matika Wilbur

As time went on, Wilbur felt deeply changed by the work, gaining a greater understanding of herself in relation to the land on which she was raised.

“We do have these systemic ways of developing our children to have relationships with the place that they come from, and to… teach them to become stewards,” Wilbur said. “As I started traveling, I started to put together and realize the different ways that these different communities do that. For me, it felt intrinsic, because I grew up fishing, I grew up on canoes, I grew up going to the longhouse, I grew up going to ceremony. And all of these things made me a person of the tide, but I wouldn’t have told you 10 years ago, that that was how I identify.”

And the more she traveled, the more she understood how “site-specific” her identity was, Wilbur explained. “I would meet the people of the blue-green waters and the people of the tall pine trees or the people that live within the four sacred mountains, and I would get to go to ceremonies and witness cultural protocol that made their communities deeply, intrinsically, inextricably connected to the land that they come from. That was profound for me.”

Below are some portraits featured in “Project 562,” and the stories behind them.

Dr. Henrietta Mann

CHEYENNE

Dr. Henrietta Mann has been an educator for more than five decades, architecting Native American studies programs for multiple universities. She was recently honored with a National Humanities Medal by President Biden and appears on the cover of “Project 562.”

Dr. Henrietta Mann Credit: Matika Wilbur

“I wanted to have a matriarch on the cover,” Wilbur told CNN. “I really have thought a lot about rematriation (restoring sacred principles), and the work of rematriation and how important it is to uplift our women who have worked for decades, like Auntie Dr. Henrietta Mann who dedicated her life to the betterment of Indigenous people.”

Hannah Tomeo

COLVILLE, YAKAMA, NEZ PERCE, SIOUX, SAMOAN

Hannah Tomeo is an athlete and a Northwest Indian Youth Conference Princess. Wilbur photographed her in the Methow Valley outside of the multiday conference, which is hosted by a different tribe in the region each year. At the 2016-2017 event, Tomeo and Wilbur were both keynote speakers.

Hannah Tomeo Credit: Matika Wilbur

“Running has been my absolute passion and my stability, but I felt as if no one wanted me to succeed in high school,” Tomeo told Wilbur for “Project 562.”

“My teacher told me it was in my genetics to be an alcoholic; my basketball coach would drug test only me on the team; my track coach told me I would just be another stupid Indian runner with no chance in the real running world. I let those words motivate and push me until I earned the fastest times in the school, but they still wouldn’t let me race.” Tomeo was replaced in races with no explanation until she finally quit, she explained. “My spirit had officially been broken. I never thought I would run again. Then my dad gave me these words: ‘You can either be a quitter or come back a success story. Your choice.'”

“That summer I trained harder than ever and came back strong. I made it to State. I made first team and placed in the Nike meet in Boise and at Footlocker in California… My story isn’t over.”

Darkfeather Ancheta, Eckos Chartraw-Ancheta, and Bibiana Ancheta

TULALIP

Darkfeather Ancheta (left) and her sister Bibiana have become “like sisters” to Wilbur, she noted in the book. Here they are pictured with Bibiana’s son, Eckos.

Darkfeather, Eckos and Bibiana Ancheta Credit: Matika Wilbur

“I had a dream about them standing there like (in the photograph) in front of Tulalip Bay,” Wilbur told CNN. “So I called them and asked them if I could take their photo in the way that I’d seen in my dream.”

“Our communities still have these kinship systems and these familial ties where an auntie is like a second mom. She is the protector and equally invested in the growing of the child… I wanted to try to create an image with this image that really showed and encapsulated, you know, the way that we take care of our babies, the way we love our babies.”

Joshua Dean Iokua Ikaikaloa Mori

KĀNAKA MAOLI

Joshua Mori is a farmer, teacher and founder of community, wellness and agriculture nonprofit Iwikua in Kauaʻi, Hawaii. Wilbur photographed him with one of his three children on his aquaponic farm, a method for water-based farming that uses fish as a natural fertilizer.

Joshua Dean Iokua Ikaikaloa Mori Credit: Matika Wilbur

“My work is about wanting to take back the food system and really attack colonialism at the source,” Mori told Wilbur for “Project 562.” “At our root source, our diet, which affects everything in our bodies — how we feel, how we think, how we love, how we procreate. Food, in my opinion, affects all of that. So we’re doing aquaponic farming, which is just taking a traditional model of a food system and just shrinking it down to modern technology. We take our traditional Native knowledge and integrate it with modern technology to make it more accessible.”

“The kids learn when they come out here traditional hale building (house building), traditional farming, working in kalo patches, and also modern farming techniques,” he added. “They learn how to spearfish and fish traditionally. Also, star navigation. How to use all of the tools, really, how Hawaiians became Hawaiians.”

Drew Michael

YUP’IK, IÑUPIAQ

Drew Michael is a traditional Yup’ik mask-maker and identifies as Two Spirit, or having both masculine and feminine spirits. Michael and his twin brother were adopted and raised by non-Native parents in Alaska and spoke with Wilbur about reconnecting to his Indigenous identity. Wilbur photographed him in his home.

Drew Michael Credit: Matika Wilbur

“Growing up, I did not have a good sense of my culture or identity as a Yup’ik and Iñupiaq man… I did not have access to that until I took a carving class with my father,” Michael told Wilbur in “Project 562”. “I was able to create my own piece, my own representation, almost a copy of a mask in a book from an exhibition. That was the first time that I was introduced to my culture, and I felt like I was starting to own it a little bit. As I learned more about masks, why they were used, who used them, and then the ceremonies and rituals, I started to see and learn about myself through the masks.”

“I know especially in Yup’ik culture, people were Two-Spirited, and typically they would be healers because they could see into both worlds, the masculine and feminine, and can almost hold hands with both… so, since I am Two-Spirited, and I also do masks and other forms, I try to talk about different healing within my work.”

Fannie and Robert Mitchell

DINÉ

The Mitchells have been married for more than six decades. Robert, a former railroad worker, now raises livestock on their land. The couple prefer to speak in Navajo, so their daughter-in-law translated for Wilbur. Wilbur spent her 30th birthday with them, and was treated to dinner, cake and gifts in their home.

Fannie and Robert Mitchell Credit: Matika Wilbur

“There’s not a lot of Native people that you meet anymore that just speak their language. And so for me, it was a profound experience, to be in a home where they’re still living very traditionally, and taking care of sheep, and speaking their language,” Wilbur told CNN.

“In my time on the road, I approached it in really the only way that I know how — which is as a Native person. You don’t show up empty-handed, you bring food, you stay a while. You leave traditional gifts behind, you stay in touch with folks, and so I felt really fortunate to get to meet these folks and to get to be in their home for a little while.”

Out of frame, she said, there was a touch of chaos taking place. “There’s a drawn-back version of this portrait, where there’s a sheep licking me as I’m taking this photo and there’s two horses trying to eat my light… and that’s why they’re laughing.”

John Sneezy

SAN CARLOS APACHE

John Sneezy, who identified as Two Spirit, was a Grass Dancer at powwows for more than three decades, but was not able to perform in the Traditional Cloth category — which Wilbur notes is danced by women — until 2016, when he participated in the Bay Area American Indian Two-Spirit Powwow (BAAITS). Wilbur photographed him in San Francisco. He died before the book published.

John Sneezy Credit: Matika Wilbur

“Our young Two Spirit people in Indian Country experience a lot of violence for their identity. John would say, ‘I dance, and I wear women’s regalia, and I want to be shown in your book like this,'” Wilbur recalled to CNN. “John called me and told me that it was really important to him that we continue to uplift stories about Two Spirit people, so that our young Two Spirit relatives feel safe and seen and heard.”

“John had spent his whole life wanting to dance in a woman’s Apache dress, but didn’t feel safe to do so until he traveled to the Bay Area American Indian Two-Spirit Powwow, which I think says a lot about the way that members of the LGBTQ+ community are treated in some of our communities. It’s really important in national conversations about Indigenous identity that we make sure to acknowledge our Two Spirit relatives and create space for representation. And John would want me to share that with you.”

Top image: Amanda Attla (Athabascan, Yup’ik) from Huslia, Alaska.

If you like getting “lost” on a road trip, taking the long way there, try driving on U.S. Highway 90 south of Van Horn in far West Texas.

Near Valentine is the permanent art installation Prada Marfa. The faux “store,” complete with a showroom of the designer brand’s famous shoes and hand bags, was created by artist duo Michael Elmgreen and Ingar Dragset. A rancher’s fence surrounding the selfie magnet is filled with locks inscribed with expressions of love.

Close to Marfa, you’ll find on the side of the road the larger-than-life, freestanding murals of James Dean, Elizabeth Taylor and other icons from the 1950s movie Giant on the location where the film was shot. The murals are by John Cerney, who has a way of incorporating two-dimensional artworks into different landscapes, creating much larger three-dimensional spaces. If you listen closely, you’ll hear music playing from a roadside speaker.

News Roundups

Catch up on the day’s news you need to know.

About five minutes down the road you’ll come across a mid-20th-century piece of art. The old neon Stardust Motel sign is still standing, though the motel is long gone. A small red light illuminates the sign against the dark skies.

Photos: On a road trip outside Marfa, photographer finds dark skies, ‘giant’ art

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