The Canon EOS R6 V, with its kit lens, the newly-introduced RF 20-50mm F4 L IS USM PZ.

Images: Canon

The Canon EOS R6 V is a video camera designed for "advanced creatives," built around the same 32MP full-frame sensor and processor as the company's hybrid mirrorless EOS R6 III. It has a boxier design, having lopped off the EVF (and mechanical shutter), and added a fan to help prevent overheating when using its more ambitious recording modes.

• 32MP full-frame CMOS sensor
• Built-in fan
• 7K recording up to 60p (Canon Cinema Raw Lite)
• Full-width oversampled 4K ≤60p, subsampled 4K 120p
• 3:2 Open Gate recording up to 30p
• Built-in image stabilization rated to 8.5EV
• 3.0", 1.62M dot fully-articulating screen
• Dual tripod mounts for horizontal/landscape shooting

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While the EOS R6 V's capabilities are very similar to the EOS R6 III's, its design and controls are centered around video. Its flat top plate will play well with gimbals, and it has top-plate and front-plate record buttons, with the former also having a zoom lever around it. There are several customizable buttons, with one set up by default to bring you to the Color menu, where you can change from shooting in the standard color mode into C-Log 2 or 3 recording, the recently-added HLG HDR mode (which joins the existing PQ HDR mode), and more.

The EOS R6 V has the customary 1/4-20" tripod mount on its bottom plate, but it also has an additional one on the side of the grip, next to the card door that hides the CFexpress type B and UHS-II SD slots. This lets you easily mount the camera vertically when shooting for social media, though the cards would then be hard to access. On the other side of the camera are most of the ports you'd expect for an enthusiast video option: full-size HDMI, headphone and microphone ports, 10Gbps USB-C and a remote terminal (If you want timecode, you'll have to step up to the cinema line.)

Perhaps the biggest performance differentiator between the EOS R6 V and R6 III is that the new camera has a fan, which Canon says will allow it to record heavy formats for much longer, even under warm conditions. When the EOS R6 III launched, Canon said it could only record 20 to 30 minutes of oversampled 4K/60 or open gate 7K before overheating. With the Canon EOS R6 V, though, the company is promising two hours or more in those modes, even in ambient temperatures of 30°C (86°F), as long as you have the fan and overheat limits set to high, and the camera on a tripod.

Canon says the fan in the EOS R6 V is smaller than the one found in the EOS C50; while the more consumer-oriented version should perform well under most circumstances, the pro-grade camera is designed to essentially never overheat, no matter how long you're shooting for, and how hot it is.

The camera also gains several video-focused features. It has a product-focused "Close-up demos" mode that temporarily overrides facial recognition when you're holding up something to the camera. Unlike on previous Canon cameras, including the EOS R6 III, where it was a scene mode that severely limited your control over exposure and audio settings, it's now just an AF option that you can enable across video modes.

The EOS R6 V also offers granular control over white balance, letting you customize how quickly its auto system will adjust when, say, moving from an indoor to outdoor setting. You can also assign a custom button to lock white balance, and to switch between up to four pre-selected kelvin settings.

It uses the same menu system from Canon's other consumer-focused EOS cameras, rather than borrowing the production-focused UI of Canon's cinema line, as you'll find on the EOS C50, a highed-end camera that uses the same sensor. While this undoubtedly makes the camera simpler for a beginner to pick up, it also means more advanced users won't have the ability to set shutter angle, rather than speed, or to get a desqueezed preview when using anamorphic lenses.

In terms of stills, the EOS R6 V has similar capabilities to the EOS R6 III, in that it can shoot 32MP images in burst rates of up to 40fps. However, if you're shooting fast-moving subjects, you'll have to be aware of rolling shutter, since the camera doesn't have a mechanical shutter. This also limits its capabilities for flash shooting; in fact, the ability to even use a flash at all won't be added until after the camera launches, via a firmware update. Even after it arrives, though, we wouldn't expect it to sync above 1/60th of a second, given the EOS R6 III's 13.5ms e-shutter readout rate.

Up until now, Canon's V-series cameras have mainly been lower-end options aimed towards more casual creators. With the EOS R6 V, though, the company is competing with the likes of Sony's ZV-E1 and Nikon's ZR, providing an option between the entry-level vlogging cameras and its pro-grade ones designed to be operated by a team.

It's an especially interesting competitor to the recent ZR, as they're similar in several ways: both use the full-frame sensors found in the companies' enthusiast-tier hybrid cameras, and both focus on letting you up your production value by shooting in Raw. There are pros and cons to each; the ZR has internal 32-bit float audio and a 4" display, compared to the EOS R6 V's 3" monitor, but Canon allows for full sensor height "open gate" recording, and has full-size HDMI and SD card slots, versus the ZR's micro-variants. But both clearly target the same market.

The EOS R6 V will be available starting at the end of June, and will retail for $2499, $300 less than the EOS R6 III. There's also a version with special firmware features for recording stop motion, available for $100 more. The camera is launching alongside the RF 20-50mm F4 L IS USM PZ, a video-focused power zoom lens that will act as its kit option, and which you can read more about here. The kit will cost $3699, $200 less than if you bought the camera body and lens separately.

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Press release:

MELVILLE, N.Y., May 13, 2026 – Canon U.S.A., Inc. a leader in digital imaging solutions, today announced the launch of the new full-frame EOS R6 V camera, the RF20-50mm F4 L IS USM PZ lens and accessories designed to empower the content creators and advanced videographers of today who seek flexibility, portability and high-end video performance in one powerful package. The EOS V-series lineup from Canon answers this call and delivers advanced video tools in a streamlined, creator-friendly system designed to let creativity soar.

Make Movie Magic with the EOS R6 V Camera

A new addition to the EOS V-series lineup specifically built for video capture, the EOS R6 V camera is designed for creatives who capture video on a daily basis who want control, operability, and reliability, with limited creative constraints. Designed for handheld and gimbal shots, the camera features robust in-body IS as well as a 7K / 32.5MP full-frame CMOS sensor, 7K 60p RAW, 7K 30p Open Gate, and support of Slow and Fast Mode. From short-form social video to long-form video productions and podcasts, the EOS R6 V camera is a powerful tool for exploring the expansive possibilities of self-produced storytelling.

Key features include:

• 32.5MP full-frame CMOS sensor, 4K up to 60p oversampled recording, and uncropped 4K 120p to deliver high-quality slow motion
• Advanced AF tracking optimized for video shooting, smooth autofocus performance for video, and in-body image stabilization for handheld shooting.
• Enhanced operability and reliability, including a compact, flat body design with reduced profile, vertical shooting support with dedicated vertical tripod mount, and integrated zoom lever and tally lamp.
• Internal cooling fan helping to enable extended shooting times.

Zooming In on Creativity

Every filmmaker toolkit needs a standout zoom lens, and the new RF20-50mm F4 L IS USM PZ zoom lens is an outstanding option. This full-frame compatible L-Series, RF mount lens is Canon’s first L-series lens to feature built-in power zoom without the need for additional accessories. With a versatile 20mm to 50mm focal range, it provides ultra-wide angle views, and zooms through to a standard field of view – bringing subject details within reach. The lens enables high-quality video imagery, balancing lightweight agility with professional-level performance.

Key features include:

• Built in power zoom, with the ability to switch between manual and power zoom functionality, all controlled from a single zoom ring.
• Constant f/4 aperture across the zoom range, maintains consistent image brightness while zooming from the expansive view of the 20mm wide, to the detailed 50mm telephoto setting, providing versatility for video and photo shooting.
• Internal optical zoom design, for a balanced center of gravity essential for gimbal use.
• Compact, lightweight design supporting comfortable and long-duration handheld and gimbal video shooting.
• Ability to remotely power zoom the lens using the Canon Camera Connect app1 or through the use of Canon wireless Bluetooth® enabled remotes such as BR-E2 and BR-E1.

Accessories Designed for Flexibility

To complement the EOS R6 V camera and RF20-50mm F4 L IS USM PZ lens, Canon is debuting a range of optional accessories tailored to modern content production, including:

• BR-E2 Wireless Remote Control: The BR-E2 Wireless Remote Control is a next-generation Bluetooth® Low Energy remote supporting the new EOS R6 V camera as well as all other EOS cameras (excluding the EOS R100) or PowerShot cameras released from August 2022 onwards. Features include lever-operated zoom operations and exposure compensation, making it an ideal accessory for vlogging, livestreaming and solo shooting.
• HG-200TBR Multi-Function Tripod Grip: Features a versatile combination tripod and hand grip that is designed for both horizontal and vertical formats and supports both video and still shooting. A movie record button and zoom and exposure compensation levers provides smooth and intuitive movie shooting. Included with the HG-200TBR Multi-Function Tripod Grip, is the BR-E2 Wireless Remote Control.
• AD-M1 Macro Lite Adapter Set: A specialized accessory set designed for use with macro lenses and select standard lenses. The kit includes a mount ring, micro lite adapter and flash head mount, enabling enhanced close-up photography and creative lighting control.

New Content Creator Kits

To empower creators of all varieties, Canon is also launching new content creator kits including:

• Creator Accessory Kit II: Stereo Microphone DM-E100, Tripod Grip HG-200TBR and Wireless Remote Control BR-E2
• PowerShot V1 Video Creator Kit: PowerShot V1 camera, Tripod Grip HG-200TBR and Wireless Remote Control BR-E2
• EOS R50 V Video Creator Kit: EOS R50 V camera and RF-S14-30mm F4-6.3 IS STM PZ Lens Kit, Tripod Grip HG-200TBR and Wireless Remote Control BR-E2

Availability

The Canon EOS R6 V camera body only, kit with the RF20-50mm F4 L IS USM PZ lens, or the Stop Motion Animation Firmware2 are expected to be available in late June and July for an estimated retail price of $2,499.00, $3,699.00 and $2,599.00 respectively3. The Canon RF20-50mm F4 L IS USM PZ lens is expected to be available in late June for an estimated retail price of $1,399.003.

The BR-E2 Wireless Remote Control, HG-200TBR Multi-Function Tripod Grip and AD-M1 Macro Lite Adapter Set are expected to be available in late June for an estimated retail price of $69.99, $159.99, $179.99 respectively3.

The Creator Accessory Kit II, PowerShot V1 Video Creator Kit and the EOS R50 V Video Creator Kit are expected to be available in early July for an estimated retail price of $249.99, $1,279.00 and $1,199.00 and respectively3.

1 Compatible with select smartphone and tablet devices (Android™ version 5.0 or later and the following iOS® devices: iPhone iOS 12.0 or later, iPadOS 13.7 or later, iPod Touch 12.0 or later) equipped with Bluetooth® version 4.1 or later and the Camera Connect App Ver. 2.7.30. This application is not guaranteed to operate on all listed devices, even if minimum requirements are met.

2Certain camera features are disabled when the Stop Motion Animation Firmware is installed. For more details, visit https://www.usa.canon.com/explore/stop-motion-animation-firmware

3 Specifications, availability and prices are subject to change without notice.

• JPEG (Exif v2.31)
• Raw (Canon CR3)
• HEIF (10-bit)

• Phase Detect
• Multi-area
• Center
• Selective single-point
• Tracking
• Single
• Continuous
• Touch
• Face Detection
• Live View

• Program
• Aperture priority
• Shutter priority
• Manual
• Flexible-priority program

• Single Shooting
• High-speed continuous
• Low-speed continuous

• Multi
• Center-weighted
• Spot
• Partial

• 6960 x 4640 @ 30p, 12-bit, Raw (other), 1x Crop
• 6960 x 4640 @ 25p, 12-bit, Raw (other), 1x Crop
• 6960 x 4640 @ 24p, 12-bit, Raw (other), 1x Crop
• 6960 x 4640 @ 23.98p, 12-bit, Raw (other), 1x Crop
• 6912 x 4608 @ 30p, 10-bit, H.265, 1x Crop
• 6912 x 4608 @ 25p, 10-bit, H.265, 1x Crop
• 6912 x 4608 @ 24p, 10-bit, H.265, 1x Crop
• 6912 x 4608 @ 23.98p, 10-bit, H.265, 1x Crop
• 6912 x 3672 @ 60p, 12-bit, Raw (other), 1x Crop
• 6912 x 3672 @ 50p, 12-bit, Raw (other), 1x Crop
• 6912 x 3672 @ 30p, 12-bit, Raw (other), 1x Crop
• 6912 x 3672 @ 25p, 12-bit, Raw (other), 1x Crop
• 6912 x 3672 @ 24p, 12-bit, Raw (other), 1x Crop
• 6912 x 3672 @ 23.98p, 12-bit, Raw (other), 1x Crop
• 4096 x 2160 @ 120p, 10-bit, H.265, 1x Crop
• 4096 x 2160 @ 100p, 10-bit, H.265, 1x Crop
• 4096 x 2160 @ 60p, 10-bit, H.265, 1x Crop
• 4096 x 2160 @ 50p, 10-bit, H.265, 1x Crop
• 4096 x 2160 @ 30p, 10-bit, H.265, 1x Crop
• 4096 x 2160 @ 25p, 10-bit, H.265, 1x Crop
• 4096 x 2160 @ 24p, 10-bit, H.265, 1x Crop
• 4096 x 2160 @ 23.98p, 10-bit, H.265, 1x Crop
• 3840 x 2160 @ 120p, 10-bit, H.265, 1x Crop
• 3840 x 2160 @ 100p, 10-bit, H.265, 1x Crop
• 3840 x 2160 @ 60p, 10-bit, H.265, 1x Crop
• 3840 x 2160 @ 50p, 10-bit, H.265, 1x Crop
• 3840 x 2160 @ 30p, 10-bit, H.265, 1x Crop
• 3840 x 2160 @ 23.98p, 10-bit, H.265, 1x Crop
• 4096 x 2160 @ 60p, 10-bit, H.265, 1.6x Crop
• 4096 x 2160 @ 50p, 10-bit, H.265, 1.6x Crop
• 4096 x 2160 @ 30p, 10-bit, H.265, 1.6x Crop
• 4096 x 2160 @ 25p, 10-bit, H.265, 1.6x Crop
• 4096 x 2160 @ 24p, 10-bit, H.265, 1.6x Crop
• 4096 x 2160 @ 23.98p, 10-bit, H.265, 1.6x Crop
• 3840 x 2160 @ 60p, 10-bit, H.265, 1.6x Crop
• 3840 x 2160 @ 50p, 10-bit, H.265, 1.6x Crop
• 3840 x 2160 @ 30p, 10-bit, H.265, 1.6x Crop
• 3840 x 2160 @ 25p, 10-bit, H.265, 1.6x Crop
• 3840 x 2160 @ 23.98p, 10-bit, H.265, 1.6x Crop

Canon has announced a new full-frame power zoom lens: the RF 20-50mm F4 L IS USM PZ. As it's launching alongside the company's new video-focused camera, it's no surprise that the primary audience for this lens is videographers, though it has a clever trick that makes it an interesting choice for photography as well.

The RF 20-50mm F4 L IS USM PZ has 13 elements in 11 groups, with 2 glass molded aspheric lenses and ultra-low dispersion elements. It has a minimum focusing distance of 0.24m (9.4"), providing up to 0.14x magnification at its widest setting and 0.33x at its long end.

The lens's trick is how you change your focal length. Canon says this is its first switchable power zoom. That means that you can control it by jogging the zoom ring, like with its other RF power zoom lens, or by rotating the zoom ring between set points, as with most stills zooms. The first bit of the lens's zoom ring is its power zoom setting, letting you rotate it left or right to have the motors zoom it in or out, but flip a switch, and you can get to the more traditional, mechanically limited zoom ring.

In power zoom mode, its zoom can also be controlled by the camera body, and you can configure its speed. Canon also says you can control the zoom using its Camera Connect app, or with a Bluetooth remote connected to your camera.

The power zoom is driven by two of Canon's "Nano UltraSonic Motors" – one for each of its zoom groups – while another Nano USM handles focusing. The company says that focus breathing, where the field of view changes with the focus, is minimized. It's also an internally zooming design, so its center of gravity shouldn't change substantially as you change your focal length, making it suitable for gimbal use.

As you might hope for a lens that you may hold at arm's length to film yourself, it's not particularly heavy at 420g (14.8oz). It's 98mm (3.9") long and is threaded to accept 67mm filters.

Since it is a video-focused lens, it's also not a surprise that it features optical stabilization, which Canon says is rated for 6EV at the center on its own, and up to 8EV at both the center and corners when coordinating with a camera's IBIS system.

Beyond the fancy zoom ring, it has the controls we've come to expect from an L-series RF mount lens: there's a programmable function button, switches to control stabilization, power zoom mode and focus mode, and a customizable control ring. The company also says the lens is sealed against dust and moisture, and that it has a fluorine coating on the front element to repel oil and water. It includes a lens hood and a fabric carrying case.

This lens is an interesting addition to Canon's lineup, and will likely be an especially welcome one for content creators. It's Canon's first full frame lens for RF that has power zoom via internal motors, rather than via an external attachment, making it much friendlier to use. The zoom range is also a reasonable choice for vloggers, as, on a full frame camera, it'll be wide enough to comfortably film yourself without totally excluding your surroundings.

In that way, it's a very close analog to the APS-C 14-30mm F4-6.3 IS STM PZ that Canon launched alongside the EOS R50 V, though the constant aperture is a welcome addition, especially given the RF 20-50mm F4 L IS USM PZ's price. It will retail for $1399 standalone, and is also available as a kit with the EOS R6 V for $3699 (a $1200 premium over the camera's body-only price). It's slated to start shipping at the end of June.

Canon wasn't content to just launch a new camera and lens today. Arriving alongside them is a collection of accessories. Some of them are clearly tied to the EOS R6 V, while others seem to have just been ready at the same time.

Starting with the one that'll excite every user of Canon's RF mirrorless system: a new rear cap for lenses. While that might not sound game-changing at first blush, it could be a big quality-of-life improvement. With the first-gen cap, there was only one correct way to attach it, making lens changes difficult if you were trying to move fast, or were in low-light conditions. Worse still, it was easy to leave it only partially attached, since you could somewhat fit it on in a different position. The new model fixes this, letting you attach it at three different points, like the old EF cap.

You can buy new caps for $9 each, and Canon says that eventually its lenses will come with the updated ones out of the box, though it obviously has to sell through the existing stock first.

Canon has also updated its bluetooth remote. It now features two customizable buttons, a shutter release (which allows for half-pressing to focus) and video record button, and a jog lever which can be used to control a power zoom lens or exposure compensation. Canon also says the new model, called the BR-E2, will be able to switch between different cameras without having to go through the pairing process.

The remote can slot into the HG-200TBR, a tripod grip that gives you an ergonomic way to hold your camera, as well as a way to mount your microphone in the proper orientation if you're recording vertical video. At $160 it isn't cheap, though it comes with the remote.

Finally, Canon is announcing the AD-M1 Macro Lite Adapter Set, which lets you attach the company's (sold separately) Macro Lit flashes to "macro lenses and select standard lenses." There's some irony in it launching alongside a camera that literally can't do flash photography at launch, but for macro enthusiasts using other Canon cameras, it could be useful. It will retail for $180.

The company says the products will launch in "late June."

Welcome back to our Question of the Week series! This reader-focused series aims to get our photographic community to share thoughts on all sorts of photography-related topics in our forums. We pose questions about gear, favorite camera stores, advice, problem-solving and more, and you share your thoughts and opinions.

This week, we’re leaning into the holiday spirit! The season of giving (and occasionally re-gifting) is upon us, and that means it’s time to unwrap some memories – both heartwarming and hilarious.

What’s the best photography-related gift you’ve ever received? Maybe it was a dream lens that caused you to take on an adventure deep in the mountains, or a handmade camera strap that’s now an essential part of your kit. And what about the worst? Perhaps someone thought you needed yet another "World’s Best Photographer" mug, or that odd lens filter set that turned every photo a shade of green.

In this edition of our Question of the Week series, we want to hear your gift stories: the memorable, the useful and the truly baffling. Share your favorites (and flops) in the forum link below. Photos of the gifts (or what you created with them) are also more than welcome! We'll highlight some of your most entertaining and heartfelt responses in next week's roundup.

Click here to answer the Question of the week

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Rhys Parry/ The University of Queensland/ The Conversation

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Apple has acquired Patchflyer, the one-person company behind Color.io, a web-based color grading tool used by photographers and filmmakers, according to acquisition disclosures reported by MacRumors. Color.io creator Jonathan Ochmann has also joined Apple, though Apple hasn't announced what it plans to do with the technology.

Color.io was known for its film-inspired color tools, custom color models and an in-browser workflow. It appealed to creators looking for more advanced color grading without opening a full desktop editing suite. That service shut down on December 31, 2025.

In November 2025, Ochmann shared news of the closure on the Color.io site, as found via the Internet Archive. "Color.io isn't shutting down because it's struggling. But after 10+ years of running everything alone, I've reached a point where I need to grow in ways that aren't possible as a solo builder," he wrote. "I have an opportunity to work alongside a company whose products have shaped and inspired me, to work on creative tooling at a scale I could never reach on my own." It's now apparent that Apple was that company.

Color.io's browser-based interface helped make film-inspired grading tools accessible without a full desktop editing suite.

Image: Color.io

The acquisition is especially interesting given Apple's recent interest in creative software. Apple completed its acquisition of Pixelmator in February 2025. Then, at the beginning of this year, Apple announced Apple Creator Studio, a subscription bundle of several of Apple's creative apps, serving as an alternative to Adobe Creative Cloud. The tech giant also acquired MotionVFX, a maker of Final Cut Pro plug-ins and templates, in March.

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Panasonic's new Lumix L10 is the company's latest pitch for the enthusiast compact we've been waiting for. It's a modern, fixed-lens camera aimed at photographers who want more direct control in a carry-everywhere camera.

The L10 combines a 26.5MP Micro Four Thirds sensor with a 24-75mm equivalent F1.7-2.8 lens and the same processor found in the S1RII. It also offers phase detection autofocus and the latest subject recognition features you'd expect from a modern camera. Plus, Panasonic added an OLED viewfinder and an articulated rear screen.

Buy now:

We have the camera in hand, and in our latest YouTube video, we unbox the L10 and the included accessories. We'll be sharing more details about the camera once we've had an opportunity to put it through its paces, so stay tuned for more. For now, you can read more about the latest compact in our full article about the announcement.

Panasonic is celebrating the 25th anniversary with the launch of a large sensor enthusiast zoom compact.

The L10 is essentially a fully modernized version of its LX100 camera, using the company's latest 26.5MP sensor and the processor used in the S1RII. It features a version of the 24-75mm equivalent F1.8-2.8 lens from the LX100, updated in an unspecified way.

While the new model clearly shares much of the LX100 series' heritage, Panasonic says the L10 represents a new premium compact camera line.

The use of that sensor means it offers phase detection autofocus and the dynamic range boost function from the GH7 and G9II, along with all the company's latest subject recognition algorithms.

As with the other LX100 cameras, the lens doesn't cover the whole sensor, instead delivering up to 20MP images. It takes a multi-aspect approach, giving a consistent angle of view whether you shoot 4:3, 3:2 or 16:9 aspect ratios. A dedicated switch on the lens barrel lets you directly select these ratios or 1:1.

The camera has a full-metal body and a fully articulated 1.84M dot rear display. It also gains a more modern 2.36M dot OLED viewfinder, rather than the field-sequential display used by the LX100 models.

This makes it a significantly different camera than the LX100-related Leica D-Lux 8, which persisted with the sensor and processor from the LX100 II and kept the fixed rear screen design of the older models. The L10 also switches to using the much larger BLK-22 battery from the GH series, which should significantly improve performance.

The Lumix L10 Titanium Gold edition will be available directly from Panasonic in most markets.

Image: Panasonic

The move to a modern AF system, the addition of an articulated rear screen, the switch to an OLED viewfinder and the adoption of a larger battery appear to directly address our biggest concerns about the LX100 II, making the L10 highly sought-after within the DPReview team.

In addition to the major hardware changes, the camera gets several new image presets: L.Classic and L.Classic Gold, which give the look of historic film stocks. It also has the Leica Monochome look we've seen in recent Panasonics. On top of this, it has the LUT button on the back of the camera, first seen in the Lumix DC-S9. This accesses the camera's ability to upload, overlay and combine custom image styles using the movie industry standard Cube LUT format.

Custom look-up tables (LUTs) can be downloaded via the Lumix Lab app, which also lets you create your own custom LUTs or use the app's ability to generate 'Magic LUTs' that attempt to mimic the look of images you've uploaded to it. This system gives you a wide degree of control over your out-of-camera images. In addition, Lumix Lab will gain the ability to process Raw files both from the L10 and other recent Lumix cameras.

Panasonic says the L10 is primarily intended for stills, and it has neither a headphone nor HDMI socket. Despite this, it's capable of 10-bit log capture and 5.1K open-gate video recording, as well as 4K/120 capture.

The L10 will launch with a recommended price of $1499.99. The standard model will be available in black or black with silver-anodized aluminum top and baseplates.

There will also be a Titanium Gold special edition, with themed-color menus, a threaded shutter button, a leather strap and a matching auto lens cap. The Titanium Gold edition will retail for $1599.99 and will only be available via the Panasonic website and in limited numbers.

Whether your laptop is your main source of income or you just use it for entertainment, running out of juice just when things get interesting can be a major annoyance. The Edge power bank has been designed to alleviate such things.

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Category: Consumer Tech, Technology

Tags: Kickstarter, Laptop, Battery

Volcanoes are messy things, what with all that ash, water vapor, sulfur, and greenhouse gases polluting the atmosphere.

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Category: Environment, Science

Tags: volcano, Methane, Global Warming, Emissions, Atmosphere, University of Copenhagen

With its modest length of just 20 ft (6 m), the Tulsi doesn't have a whole lot of room for life's luxuries. Still, the tiny house manages to fit the essentials for downsizing into its compact towable frame – and does so at an affordable price.

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Category: Tiny Houses, Outdoors

Tags: Building and Construction, Tiny Footprint, Micro-House, House, Home