We've taken a look at how the Sony a7 V performs when it comes to stills, now it's time to turn our attention to video. The company's latest hybrid is once again in front of our studio scene, and we aim to see how the 4K footage it delivers stacks up compared to its predecessor and competitors.

The a7 V's 4K/24 video is oversampled from 7K capture by default, with no option (or real need) to drop down to a subsampled or line-skipped mode. Thankfully, the footage from that mode has good levels of detail and is competitive with the oversampled modes from cameras like the Canon EOS R6 III and Panasonic S1II. However, both those cameras have higher-resolution recording options (7K for Canon, 6K for Panasonic) that allow you to capture a good deal more detail, something the a7 V lacks, but that could be helpful when you're shooting subjects with very fine detail, or want some room to crop in post.

Moving up to 4K/60, the story is slightly more complicated, as the a7 V has an "Angle of View Priority" mode that you have to turn on if you want to get full-width recording at higher framerates; leaving it off will incur a 1.17x crop. While Sony says that enabling the mode turns off noise reduction, we didn't see a major difference at base ISO. With Angle of View Priority on, the a7 V's 4K/60 footage is a touch more detailed than that from the Canon or Panasonic.

The a7 V requires a 1.52x crop to record 4K/120, thus using less of its sensor (and changing the framing more) than the S1II with its 1.24x crop, and the EOS R6 III with its subsampled but full-width 4K/120 recording. As with 4K/60, with Angle of View Priority off, there's a further crop, adding up to 1.79x.

All that said, the a7 V's 4K/120 footage is substantially more detailed than the EOS R6 III's, and is competitive with the S1II's. We also don't see an observable reduction in detail going from the 4K/24 APS-C mode to the 4K/120 mode.

There's been a lot of discussion about the features the a7 V is 'missing,' compared with its rivals. But it's worth considering whether these are relevant to you or are just people point-scoring about brands.

Whereas Panasonic and Canon allow open-gate shooting, capturing the whole sensor output, the Sony only shoots in 16:9, UHD 4K. If your workflow requires higher resolution capture, the use of anamorphic lenses or you're trying to compose for both vertical and horizontal delivery, simultaneously (which is an aesthetic challenge, even when it's technologically possible), then those other cameras will be a better choice.

Likewise, if your shooting benefits sufficiently from the increased workflow complexity and storage challenges of shooting raw video (the advantages of which are much less pronounced than in stills shooting), then this isn't the camera for you. But a great many people find that shooting high quality 4K footage is more than sufficient for their needs, and the a7 V appears competitive in this regard.

Calling the Jetbeam E28 a "flashlight" is almost a disservice, as the gizmo can pump out five different light sources and serve as a battery bank to charge your devices. It's currently blasting through its Kickstarter campaign with just a few days left.

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Category: Gear, Outdoors

Tags: Flashlights, EDC, Everyday Carry, Rechargeable, Camping, Kickstarter, Crowdfunding

The fact that I’m covering a second electric dirt bike in a span of a week should tell you that motorcycle manufacturers are getting more and more open to taking more risks. That’s terrific news, if you ask me.

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Category: Motorcycles, Transport

Tags: Segway, Electric Motorcycles, Dirt Bikes, Enduro, ebikes, Zero Motorcycles

The whole point of making new motorcycles from scratch is creating them the way you want, right? Think aviation-inspired geometry, full carbon-fiber body, top-spec components, and an artsy design … and once you have all of that in there, sure, chuck an electric motor in there that gives it a 150 mph top speed.

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Category: Motorcycles, Transport

Tags: Electric Vehicles, Electric Motorcycles, cafe racer, South Korea, Art, ces-2026

Two revolutionary aerospace technologies collide as GE Aerospace and Lockheed Martin team up to demonstrate a new liquid-fueled rotating-detonation ramjet (RDRJ) designed to close the "efficiency gap" in hypersonic flight with new tactical inlets.

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Category: Military, Technology

Tags: GE Aerospace, Lockheed Martin, Hypersonic, Rotating Detonation Engines

After a highly celebrated North American relaunch in 2024, Westfalia has been focused on expanding out its lineup one model at a time. On the very first day of this year's Florida RV Supershow, it debuted its most focused product yet, a roomy camper van so specifically designed around the needs of TWO adventurous road-trippers, it's actually called the "For 2." But is it really?

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Category: Campervans, Adventure Vehicles, Outdoors

Tags: Westfalia-Automotive, Campervan, RV, Camping, Outdoors and Camping

Product photos: Richard Butler

Ricoh has released a monochrome version of its GR IV enthusiast compact camera. The GR IV Monochrome features the same 26MP BSI CMOS sensor and 28mm equiv F2.8 lens as the color version, but is black-and-white only.

• 26MP BSI CMOS sensor with no color filter array
• On-sensor phase detection
• ISO 160-409,600
• In-lens shutter allows flash sync to 1/4000th sec
• E-shutter allows use of F2.8 at up to 1/16,000 sec
• Built-in red filter, giving punchier blues.
• 53GB of internal memory
• 250 shot-per-charge battery rating
• UHS-I Micro SD memory card slot

The GR IV Monochrome will sell for a recommended price of $2199. This is a 46% premium over the list price of the standard GR IV, suggesting Ricoh feels that the mono version will have a smaller audience to foot the development costs. The MSRP in the UK is £1599, which is only a 33% mark-up over the standard version's original list price.

• What is it
• Body and handling
• Initial impressions
• Specifications
• Press release

Buy now:

As the name implies, the Ricoh GR IV Monochrome is a black-and-white only variant of the GR IV.

You get all the usual benefits and costs of a mono-only sensor: a higher base ISO, because less light is being lost to a color filter array (a 2/3 of a stop increase, in this instance), and much sharper detail, as there's no demosaicing taking place.

You also get better noise performance at any given ISO: again because there's no color filter sapping any light, but with that advantage disappearing if the color version can use its lower base ISO.

However, with only a single color channel, there's a lot less flexibility to the Raw files: once the image appears to be clipped, there's no way to approximate highlight data from unclipped channels.

To prevent overexposure when shooting at F2.8, the GR IV Monochrome lets you switch from its in-lens shutter to an e-shutter. The electronic shutter can deliver exposures down as low as 1/16,000 sec, letting you use the maximum aperture, even in good light, despite the camera not having an built-in ND filter. As with the regular GR IV, the mechanical shutter has an upper limit of 1/2500 sec at F2.8: you need to stop down to F5.6 to achieve the 1/4000 sec maximum.

Interestingly, Ricoh says the GR IV Monochrome's autofocus is the same as that on the GR IV, which means it has on-sensor phase detection. This would mean that, unlike the Leica Q3 Monochrom, it has to do some degree of interpolation during processing, to hide any impact of those phase-detection pixels. We've not seen any negative impact from this in our preliminary shooting, even when trying to induce flare to highlight any issues.

The company also says that the sensor is not the same one used in the K-3 III, though it wasn't specific about how the two differ.

Other than the lack of color filter array, the other difference is that the GR IV Monochrome has a slot-in red filter, rather than the neutral density filter in the color version. This selectively lowers the impact of blue and green light on the sensor, which gives more dramatic skies and higher contrast, generally.

The filter in the GR IV Monochrome reduces the overall light to the camera by around 3 stops, for a neutral subject (it's around a 4 stop cut for blues, 3.5 for greens and closer to a single stop for reds).

As you might expect, the GR IV Monochrome looks and handles exactly like the regular GR IV: it's a tiny camera for one with such a big sensor and yet it manages to put a lot of control at your fingertips without seeming too cramped.

The finish of the camera is also a little different, with a less textured matte black finish. The shutter button is also black and the GR logo on the front is a very dark grey, rather than white. The green LED ring around the power button is also white, to keep with the monochrome theme. Sadly, Ricoh has not borrowed the beautiful 'Monochrome' typography from its Pentax K-3 III Monochrome DSLR.

The control logic is well worked through, as you'd expect for the eighth generation of a design (prior to 2013's GR, with its APS-C sensor, were four iterations of GR Digital, which used a much smaller Type 1/1.7 sensor in a very similar body).

Despite its size, the GR IV's magnesium alloy body makes it feel very solid, without being overly weighty. And, unlike almost all modern cameras, it will sensibly fit in a pocket.

Ricoh says the GR IV's lens was specifically designed to reduce the risk of dust ingress, but that they had to make the choice between the small form factor that a retractable lens makes possible and complete weather sealing, so there are no promises around the level of sealing.

Buy now:

Ricoh was kind enough to lend us a pre-production GR IV Monochrome, to let us get a feel for the handling, but we were asked not to make measurements or publish images from it, as it's not necessarily representative of final production performance.

But, even in the limited time we've spent with the camera, its appeal shines through: it forces on you that same way of looking at light and shade that Leica's monochrome cameras bring. And I maintain that using a camera that can only capture black and white is a completely different experience to using a normal camera in mono mode. Knowing that you can't switch, no matter how appealing the colors are in your scene means you solely focus on light, shadow and contrast.

The inclusion of a built-in, switchable red filter is a brilliant idea, letting you add that punch to your images at the touch of a button, without having to add a filter ring adapter or carry filters round with you. I'm sure there'll be people who would have preferred a different color, but red seems like a sensible option since they had to choose one. And the option to engage electronic shutter, so that you can still shoot wide-open in bright conditions feels like a reasonable work-around.

Even more so than the standard GR IV, the Monochrome version is going to be a niche proposition. Some people will immediately know they want one, while I suspect a great many people will be baffled at the idea that a regular GR IV in mono mode wouldn't be similar enough. And cheaper.

The price of adopting a decidedly niche camera is that there are fewer people to share the development costs with. The Ricoh is just over a quarter of the price of the other dedicated mono compact on the market – though the Leica Q3 mono has a sensor more than twice the size and a maximum aperture that's over a stop brighter, so can capture more than four times as much light – but there's still something inherently counter-intuitive about having to spend more, for less.

Product photos: Richard Butler

Ricoh has released a monochrome version of its GR IV enthusiast compact camera. The GR IV Monochrome features the same 26MP BSI CMOS sensor and 28mm equiv F2.8 lens as the color version, but is black-and-white only.

• 26MP BSI CMOS sensor with no color filter array
• On-sensor phase detection
• ISO 160-409,600
• In-lens shutter allows flash sync to 1/4000th sec
• E-shutter allows use of F2.8 at up to 1/16,000 sec
• Built-in red filter, giving punchier blues.
• 53GB of internal memory
• 250 shot-per-charge battery rating
• UHS-I Micro SD memory card slot

The GR IV Monochrome will sell for a recommended price of $2199. This is a 46% premium over the list price of the standard GR IV, suggesting Ricoh feels that the mono version will have a smaller audience to foot the development costs. The MSRP in the UK is £1599, which is only a 33% mark-up over the standard version's original list price.

• What is it
• Body and handling
• Initial impressions
• Specifications
• Press release

Buy now:

As the name implies, the Ricoh GR IV Monochrome is a black-and-white only variant of the GR IV.

You get all the usual benefits and costs of a mono-only sensor: a higher base ISO, because less light is being lost to a color filter array (a 2/3 of a stop increase, in this instance), and much sharper detail, as there's no demosaicing taking place.

You also get better noise performance at any given ISO: again because there's no color filter sapping any light, but with that advantage disappearing if the color version can use its lower base ISO.

However, with only a single color channel, there's a lot less flexibility to the Raw files: once the image appears to be clipped, there's no way to approximate highlight data from unclipped channels.

To prevent overexposure when shooting at F2.8, the GR IV Monochrome lets you switch from its in-lens shutter to an e-shutter. The electronic shutter can deliver exposures down as low as 1/16,000 sec, letting you use the maximum aperture, even in good light, despite the camera not having an built-in ND filter. As with the regular GR IV, the mechanical shutter has an upper limit of 1/2500 sec at F2.8: you need to stop down to F5.6 to achieve the 1/4000 sec maximum.

Interestingly, Ricoh says the GR IV Monochrome's autofocus is the same as that on the GR IV, which means it has on-sensor phase detection. This would mean that, unlike the Leica Q3 Monochrom, it has to do some degree of interpolation during processing, to hide any impact of those phase-detection pixels. We've not seen any negative impact from this in our preliminary shooting, even when trying to induce flare to highlight any issues.

The company also says that the sensor is not the same one used in the K-3 III, though it wasn't specific about how the two differ.

Other than the lack of color filter array, the other difference is that the GR IV Monochrome has a slot-in red filter, rather than the neutral density filter in the color version. This selectively lowers the impact of blue and green light on the sensor, which gives more dramatic skies and higher contrast, generally.

The filter in the GR IV Monochrome reduces the overall light to the camera by around 3 stops, for a neutral subject (it's around a 4 stop cut for blues, 3.5 for greens and closer to a single stop for reds).

As you might expect, the GR IV Monochrome looks and handles exactly like the regular GR IV: it's a tiny camera for one with such a big sensor and yet it manages to put a lot of control at your fingertips without seeming too cramped.

The finish of the camera is also a little different, with a less textured matte black finish. The shutter button is also black and the GR logo on the front is a very dark grey, rather than white. The green LED ring around the power button is also white, to keep with the monochrome theme. Sadly, Ricoh has not borrowed the beautiful 'Monochrome' typography from its Pentax K-3 III Monochrome DSLR.

The control logic is well worked through, as you'd expect for the eighth generation of a design (prior to 2013's GR, with its APS-C sensor, were four iterations of GR Digital, which used a much smaller Type 1/1.7 sensor in a very similar body).

Despite its size, the GR IV's magnesium alloy body makes it feel very solid, without being overly weighty. And, unlike almost all modern cameras, it will sensibly fit in a pocket.

Ricoh says the GR IV's lens was specifically designed to reduce the risk of dust ingress, but that they had to make the choice between the small form factor that a retractable lens makes possible and complete weather sealing, so there are no promises around the level of sealing.

Buy now:

Ricoh was kind enough to lend us a pre-production GR IV Monochrome, to let us get a feel for the handling, but we were asked not to make measurements or publish images from it, as it's not necessarily representative of final production performance.

But, even in the limited time we've spent with the camera, its appeal shines through: it forces on you that same way of looking at light and shade that Leica's monochrome cameras bring. And I maintain that using a camera that can only capture black and white is a completely different experience to using a normal camera in mono mode. Knowing that you can't switch, no matter how appealing the colors are in your scene means you solely focus on light, shadow and contrast.

The inclusion of a built-in, switchable red filter is a brilliant idea, letting you add that punch to your images at the touch of a button, without having to add a filter ring adapter or carry filters round with you. I'm sure there'll be people who would have preferred a different color, but red seems like a sensible option since they had to choose one. And the option to engage electronic shutter, so that you can still shoot wide-open in bright conditions feels like a reasonable work-around.

Even more so than the standard GR IV, the Monochrome version is going to be a niche proposition. Some people will immediately know they want one, while I suspect a great many people will be baffled at the idea that a regular GR IV in mono mode wouldn't be similar enough. And cheaper.

The price of adopting a decidedly niche camera is that there are fewer people to share the development costs with. The Ricoh is just over a quarter of the price of the other dedicated mono compact on the market – though the Leica Q3 mono has a sensor more than twice the size and a maximum aperture that's over a stop brighter, so can capture more than four times as much light – but there's still something inherently counter-intuitive about having to spend more, for less.

Blood sampling is painful and invasive, plus it only tells you what's going on in the patient's body right when the sample is taken. So, how about this? Permanent skin grafts that glow green when specific biomarker chemicals are present in the bloodstream.

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Category: Science

Tags: Skin, University of Tokyo, Stem Cells

Storied British brand Phelon & Moore made its comeback in the two-wheeled scene only recently. It looks like the company isn't resting on its laurels, coming up with an adventure-oriented scooter in a span of mere months since its revival.

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Category: Motorcycles, Transport

Tags: Scooter, Phelon & Moore, Adventure Bikes, Off-road, Honda Motorcycles, Yamaha

Allergen Alert, from French food safety diagnostics company bioMerieux, is a “pocket-sized laboratory” instrument capable of identifying food allergens. It was recently unveiled at the 2026 Consumer Electronics Show in Las Vegas.

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Category: Wellness and Healthy Living, Body and Mind

Tags: Allergies, Food technology

All photographers inevitably deal with creative droughts or periods when they feel their skills have plateaued. At the end of last year, I wrote about part of why (and how) that's manifested for me over the past few years. For me, one common tool I fall back on to combat such feelings is tackling a specific project or goal related to photography, which I just wrote about as well.

I've completed multiple 365s (a photo a day for a year) and 52-week projects (one photo each week for a year). Most recently, I've accidentally stumbled into a project with a friend that involves alternating who picks a theme each week, and then each creating a photo around that theme. We don't have a set end date, so it could be less than a year or more than a year, but so far, we're about 12 weeks in.

Those are the projects that have helped me, but there are countless other iterations and other types of projects. No matter what, though, the main goal is to force yourself to pick up your camera either to try to generate some creativity or learn new skills.

With that in mind, I'm curious to hear from you all:

What projects are you undertaking to move your photography forward?

Some of you shared a glimpse into your projects in the comments on my recent article, but we'd love to see more. Maybe it's a project you're working on now, or maybe it's something you've done in the past. It could be a week-long project, or maybe a multi-year undertaking.

No matter what, we're curious what projects have helped, or are helping you bring back inspiration or forward momentum to your photography. Even better, share some of the images you've taken for such projects! Your responses and images may even be featured in next week's front-page update.

California-based startup Pliyt believes the future of ridesharing means sharing the ride as little as possible.

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Category: Urban Transport, Transport

Tags: Autonomous Vehicles, Electric Vehicles, Ride-sharing, ces-2026

Typically, a jack of all trades is... well, you know, but the Tink is adept at performing multiple roles. The compact tiny house is very flexible and packs in lots of clever storage, room for guests, and even space to work from home.

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Category: Tiny Houses, Outdoors

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

Why did the ice ages occur? If you need a scapegoat, a new study by Stephen Kane of UC Riverside suggests pointing the finger at Mars. According to computer models, the pull of the Red Planet may have altered the Earth's orbit until things got nippy.

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Category: Space, Science

Tags: Climate, Mars, UC Riverside, Weather, Ice, Astronomy

Yamaha isn’t a new name in the four-wheeled department. The Japanese company has lent engines to the likes of the Lexus LFA, Ford Taurus SHO, and Lotus Exige. At the back end of 2024, we got to know that it was now working with storied British carmaker Caterham on its new electric sports car.

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Category: Automotive, Transport

Tags: Yamaha, Caterham, Electric Vehicles, Coupe, Porsche, 911

Last week, Fujifilm Japan launched a surprising and rather controversial new offering in its Instax lineup, the Instax Mini Evo Cinema. The company has now announced the global release of the hybrid camera, providing more details about its features and capabilities.

The Instax Mini Evo Cinema offers a hybrid experience by combining the ability to take digital images, instant film photos, and record video. It is designed to produce retro-looking videos and photos, and the sensor appears to be a throwback as well. It's built around a shockingly small 5MP Type 1/5 (∼2.8 x 2.2mm) CMOS sensor, which is smaller than even the most budget-focused smartphones. It features a 28mm equiv. lens with F2.0 aperture.

The sensor may be far from impressive, but the Instax Mini Evo Cinema includes plenty of features for those wanting a more playful camera experience. The "Gen Dial," which was referred to as the "Eras Dial" in the Fujifilm Japan press release last week, allows users to apply effects from 10 different eras, including grainy, pale tones for the 1930s, vibrant colors for the 1980s and "sharp, rich imagery of the 2020s."

Users can fine-tune the look of each preset with a dial on the lens, which adjusts color, contrast, and noise in 10 variations per era. There's also a Frame Switch, which allows users to add a frame based on each era to images or video clips.

There's a zoom lever that allows for digital zoom during video recording, though Fujifilm doesn't specify the exact capabilities of that feature. A switch on the side of the camera allows you to change between photo ("Still") and video ("Cine") modes. Video clips max out at 15 seconds, but you can combine clips to create videos up to 30 seconds long in the Instax Mini Evo smartphone app. If you choose to print a still image from a video, it features a QR code that, when scanned, allows for playback. Fujifilm specifies that clips are only stored for 24 months, though, so you'll want to be sure to download them before that.

The camera uses a microSDXC card for storage, and images and videos can also be stored in the Instax Mini Evo app. It features a 1.54-inch LCD and an integrated light that can be used as a flash or a continuous light source. It supports remote shooting with the app and offers a self-timer as well. The camera uses Instax Mini instant film.

The price may be as much of a shock as the sensor size: $410. And you'll also have to buy instant film on top of that, too. Fujifilm says it will be available for purchase at the beginning of February.

Press release:

VALHALLA, N.Y., January 13, 2026 - FUJIFILM North America Corporation, Imaging Division, today announced the introduction of instax mini Evo Cinema™ (mini Evo Cinema) hybrid instant camera. mini Evo Cinema offers multiple ways for users to make highly personalized, one-of-a-kind content through still photos, short-form video (15-second clips), and instax™ mini photo prints via the free, downloadable instax mini Evo™ smartphone app. This 3-in-1 camera is designed to give users one of the most dynamic creative experiences the instax™ brand has offered.

"mini Evo Cinema offers the best of both worlds – the vintage look of an 8mm video camera, with all of the modern functionality of a hybrid image creation tool, integrating photo, video, and print in one unique package," said Bing Liem, division president, FUJIFILM North America Corporation, Imaging Division. "mini Evo Cinema delivers a smooth, unique photographic experience that gives the user a myriad of ways to turn casual moments into unforgettable ones."

Main Features:

Gen Dial™

The mini Evo Cinema hybrid instant camera features a first for instax™ cameras – the Gen
Dial™, which allows users to apply photo effects from 10 different eras to their image – from the grainy, pale tones of the 1930s, to the vibrant colors of the 1980s, to the sharp, rich imagery of the 2020s, each era is designed to capture the look and feel of the imagery of that time.

Degree Control Dial

Content created in each era can be fine-tuned with the Degree Control Dial. By simply rotating the dial to precisely adjust color, contrast, and noise expression, users can create up to 10 creative variations per era.

Frame Switch

Once an era is chosen and the intensity of the era is selected via the Degree Control Dial, users can continue to personalize by adding a frame to every shot or video clip utilizing the Frame Switch. There’s a frame for every era, each paying homage to the characteristics, media, and playback devices that defined that time.

Cine/Still Mode

Users can easily switch between "Cine" and "Still" modes to capture either a video or photo, respectively, with ease. In Cine mode, users can shoot a series of clips – up to 15 seconds in total – and the camera will stitch them into one smooth video automatically. Via the free, downloadable instax mini Evo™ smartphone app, users can connect via Bluetooth® and extend video creations to 30 seconds by adding or reordering clips.

Zoom Lever

Mini Evo Cinema features built-in digital zoom. The tactile Zoom Lever lets you dial up the
intimacy of the shot or pull back for greater scope and more atmosphere.

"My Gallery"

Within the instax mini Evo™ app, the My Gallery section provides users a secure place to store the images and videos they create, segmented into categories including Favorites, Printed, Video, Photo, Projects. Through this function, users can also save printed images digitally to their smartphone’s camera roll, finished with the iconic instax™ mini border.

Video Printing

Users can access videos via a one-of-a-kind instax™ mini instant photo1 printed with a QR
code2 ready to be scanned and played back on a smartphone. Video and audio data is securely stored for 24 months.

Timeless Design

With sleek black, glimpses of green, and analog-inspired details, this hybrid instant camera is crafted for those who appreciate tactile functions alongside beauty and elegance. Additional camera features include:

• Remote shooting capability (via app3)
• Integrated Selfie Mirror and Self-Timer
• 1.54-inch high-resolution LCD Monitor
• Print Lever
  • The camera features an analog-style printing operation lever – lift and twist to
    print a photo.
• Accessories
  • mini Evo Cinema includes viewfinder and grip attachments, and a premium hand strap.
• USB-C & Micro SD Card Slots4
• Integrated flash/continuous light source

Pricing and Availability

instax mini Evo Cinema™ hybrid instant camera will be available in early February 2026 at a Manufacturer’s Suggested Retail Price of $409.95 USD and $479.99 CAD. For more
information, please visit https://www.instaxus.com/cameras/instax-mini-evo-cinema/.

1 instax™ mini instant film required, sold separately.

2 The text QR code itself is a registered trademark and wordmark of Denso Wave Incorporated.

3 Smartphone required (sold separately). Download of free instax (insert correct name of app) smartphone app required

4 Micro SD card sold separately

The mobile entertainment industry has a tendency to make devices lighter and more immersive, blurring the line between everyday life and virtual reality. Xynavo AR glasses offer a glimpse of what the future of portable entertainment may look like, and they are currently available for backing on Kickstarter.

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Category: Virtual Reality, Consumer Tech, Technology

Tags: Kickstarter, Augmented Reality, home theater, wearable electronics

There are many approaches you can take to stop smoking, from nicotine replacement therapy to behavioral support to good ol' quitting cold turkey. None of these are easy, but it turns out that using a mobile smoking cessation app can greatly increase your chances of breaking the habit.

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Category: Wellness and Healthy Living, Body and Mind

Tags: Apps, Smoking, quit-smoking, Assistive Technologies, Health

Forget livable EVs – the plug-in hybrid powertrain has long been the best immediate solution for camper vans and large motorhomes. What we haven't previously considered, though, is that it could be an equally viable solution for camping trailers. Evotrex makes that case with the PG5 travel trailer, a livable power plant with a multi-source generation system developing electricity for camp life and travel. Beyond its high-tech electrical underpinnings, it's a beautifully designed trailer that encourages campers to get the most out of their outdoorsy adventures.

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Category: Camping Trailers, Adventure Vehicles, Outdoors

Tags: Caravan, smart RV, electric-camper, Plug-in Hybrid, PHEV, Trailer, RV, ces-2026, Outdoors and Camping, Off-road, Off-grid, Camping