“If you’re thinking of buying a feature-packed DSLR then chances are you’ll be looking at a u00a31,000 piece of kit. Canon is looking to change that with the introduction of the EOS 77D and 800D cameras.
If you’re familiar with the Canon DSLR line-up you’ll know the company’s impressive 80D rules the mid-level market. Great as it is, it’s not exactly budget and accessible for all.
The 77D takes the core format of the 80D, strips away the weather-sealing and some of the price for a more accessible take, at u00a3829 body-only. The 800D cuts away another u00a350, removes the top panel LCD display and some physical controls, priced u00a3779 body-only.
It means Canon’s range is going to be filling pretty much every space on camera-sellers’ shelves. It could be seen as risky and confusing, given the sheer volume – 750D, 760D, 800D, 77D, 80D – but, with some thought, the right camera matched to the right user could be a savvy move for the Japanese company.”
“This post includes spoilers for the entirety of Get Out. One of the most popular promotional images of the new horror-comedy film Get Out is that of a young black man staring straight at the camera. Little details stand out about him if you look long enoughu2014heu2019s wearing a gray hoodie and T-shirt, thereu2019s a slight crease on his foreheadu2014but these are otherwise hard to really notice because of his eyes, which are wide and wet and red and give the unmistakable impression of a person frozen in pure, cold fear. As the protagonist of Get Out, Chris Washington tells a great deal of the story using only his eyes. This is of course a testament to the excellent work of the actor, Daniel Kaluuya, who plays him. But itu2019s also evidence of the filmu2019s subtle obsession with ways of seeingu2014whether through cameras or through (literally) different pairs of eyes. Part racial satire, Get Out follows Chris as he meets his girlfriendu2019s parents for the first time at their secluded home far from the city. The girlfriend, Rose Armitage (played perfectly by Allison Williams), is white, and Chris is a little nervous about how her family will react despite her reassurances to him (u201cTheyu2019re not racists. I would have told youu201d). Throughout the film, the director Jordan Peele uses the sense of sight to amplify imbalances of power and controlu2014imbalances often drawn along racial lines. Related Story Get Out Is a Fu
y and Brilliantly Subversive Horror Film Notably, Chris is a photographer, and apparently a very good and respected one. Get Out introduces viewers to him through his art: Before we even see Chris, weu2019re shown black-and-white prints of his work on the walls of his Brooklyn apartment in a sequence set to Childish Gambinou2019s u201cRedboneu201d (u201cNow donu2019t you close your eyes …). Itu2019s the kind of collection that could be reasonably described as u201crawu201d and u201chonest,u201du2014unpretentious snapshots of New York streets and the diverse range of people who spend time there. The main plot quickly spins into motion as Chris and Rose set out on their trip, but in its first minutes Get Out has already established that Chrisu2019s professionu2014he is basically a trained observeru2014will be crucial to the rest of the story. What he notices, and doesnu2019t notice, will take on a life-or-death importance. Chrisu2019s job is an excuse for him to bring his trusty DSLR with him to the Armitage residence. Constantly slung around his neck, the camera functions as a kind of protective shield between Chris and the odd behavior he encountersu2014namely from the familyu2019s large group of white friends and neighbors, and their two black house-servants, Walter and Georgina. The camera simultaneously creates distance and closeness between Chris and his subjects; itu2019s a way to both observe and to escape. Itu2019s through this lens that Chris manages to spot another black person (Lakeith Stanfield) at one of the Armitagesu2019 gatheringsu2014but when Chris goes to introduce himself, the other man turns around with a glassy, far-off stare and introduces himself as Logan. From his eyes, itu2019s immediately obvious somethingu2019s wrong.”
“Even though Supreme Leader Snoke seemingly came out of nowhere in Star Wars: The Force Awakens, the Emperor may have known about the mysterious baddie as far back as Return of the Jedi. The latest canon novel Aftermath: Empireu2019s End introduced the concept of Imperial u201cobservatoriesu201d and now, several fans think that from these observatories, the Emperor became aware of Snoke.
To be clear, Empireu2019s End does not specifically mention Snoke. But a character named Gallius Rax does claim that the Emperor was u201cconvinced that something waited for him out there u2014 some origin of the Force, some dark presence formed of malevolent substance.u201d As pointed out by Screenrant, one of these secret Imperial observatories was on the planet Jakku, the future home of Rey in The Force Awakens. And from these observatories, the Emperor was monitoring u2026 something.”