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Firaxis delays Marvel’s Midnight Suns, maybe until Khalid , People spent much less time watching gaming streams this spring, report says By K. Holt , Bonifacic , But anybody there could have taken the same shots Brown did. Their angles and compositions didn’t strike me as more than snapshots of the moment.

Particularly for war. Convenient for iPhone. Not sure how you can suggest I’m not empathetic. I think my 2 previous posts clearly express otherwise. My father took shrapnel in WW2 and saw some horrible things. Since i was a kid he said he’d never let me join the military. Now, i work with a lot of veterans. I have a pretty good idea what’s going on out there and i hate war. But Brown’s just not showing me anything new or significant.

And no offense, but Brown’s penchant for banging saturation and contrast to really unnaturally high levels seems an odd characteristic to chose for such subject matter. The color profile feels like Nat Geo tribal portraits, not journalism, particularly not war journalism. There is a larger social comment at work, which goes beyond straight reportage. This why Magnum represent the work. Their photographers stray into areas of artistic execution when telling stories.

The use of high contrast and saturated colour play on the comments of contemporary social media. The fact that there is a deliberate use of the Hipstomatic app to execute the works is a deliberate ploy used to critique the narcissist notions of western individualism.

If you spend time with the work these ideas trickle down. There is something detached in this approach that grinds with the subject matter, I believe this approach was to seperate it from the standard approach to photojournalism, we have become so desensitised too. For me these ideas communicate well and it is a stronger body of work for it. Brown’s work just does not speak to me. I don’t find anything about it interesting or edifying.

Nor clever nor appealing. To me those shots just look like snapshots shot by anybody that happened to be in that spot at that time. And then processed beyond even Ken Rockwell’s bleeding color. I don’t mean any of that as an insult to anyone. For a first owner without Canon history there is almost no lenses available, I own one and I must buy old EF lenses, lol.

The OP clearly means old as in an older design not developed as native for the RF mount and therefore not optimised for it. They are still very current and will be for some time to come. Not accurate. Canon has that lens covered for me. To say there is almost no lenses available is just not correct. FYI the Sony a7 is available on amazon right now for alot less than this and even though its many years old it still has this rp beat. The a7 is a dog; poor color technology, very poor ergonomics, slow AF, nothing redeeming about it.

Only on paper can one say it looks good. I guarantee you that if you give someone an RP and a7 to shoot, they will choose the RP because it will be a far better experience using it.

Are you shooting jpeg only? I always found canons raw incredible bad for editing I get what the OP is saying, but as someone who owned EF glass and moved to the RP, believe me, you won’t notice much a difference. So much lighter than the EF version and much sharper. I’m saving up for it and it will probably be my first native RF mount lens. Colour technology is an argument for boons that shoot jpg who don’t value their work enough to bother editing it.

Especially with old manual lenses and Canon EF through adapter. A7 MK1 with EF 85 1. The control scheme is actually very good on A7 with 3 wheels assigned to your liking I personally have them set to aperture, SS and ISO respectively and dedicated exp. Raws are good enough for most amateurs and enthusiasts like me. I like the comment “fun to use” which I totally agree. In photography, we must enjoy the process of doing it not what a particular camera lacks or have.

The end result of getting the photo of that decisive moment of a certain situation is probably more important than whichever brand one use. I always judge a photo by the content or story it carry, not from what camera it was shot wirh. The RP is very much an easy camera to use. So, the user would probably have more chances of capturing the decisive moments without much hassle. That is all it matters. Obviously, if you can afford the higher price, go for the EOS-R which has a lot of better features and a bigger battery.

In the hand of an experience photographer both cameras can deliver the result. I used a variety of cameras and often an Oly TG4 is all one need to capture the fleeting moment or expression.

Yes, too often we get bogged down in tech specs and talk but in reality it is the experience of using it that counts, unless you are a pro and then other factors of output come into play. One reason why smartphones are totally dominating the market is that they offer the far better user experience for most.

Yes, too often we get bogged down in brand loyalty and talk but in reality it is the experience of using it that counts but that is highly subjective and the more objective approach is IQ, Dr and other measurable facts. Canonists obviously don’t want to look at these things and we have these ridiculous color science and handling arguments that are so ‘s.

Uh, “handling arguments” aren’t “so s. And that matters WAY more than hair-splitting differences between sensor characteristics. Because the 6DM2 will simply get the shot more often than any mirrorless.

Yeah, I’m including the drastically overrated a9. I post-process so i make my own color. I think Sony users are being unreasonable tough on the RP.

I handled one at a recent NPPA workshop and found it a most pleasant cancer to use. I saw no raw or video, but was impressed at the balance.

I viewed that as a nice toy to which I could adapt my Leica M mounts – I still shot Nikon for business. The RP is a fine camera, unfortunately, in my opinion, Canon is trying to squeeze premium money out of it. Why Canon user would want to spend this much today on yesterday technology? W3PYF : You might want to check your auto-spell settings Sony users trolls, not normal ones are unreasonable to all brands, but especially against Canon.

Improvement are so small now. Just buy what you linke. If these Sony users were so happy with Sony they wouldn’t feel this “pain” from their old brand and just be enjoying their new brand. It’s like if someone divorced their first wife and remarried, but then spent all of their time obsessing over their first wife and her faults. If someone left Canon for Sony, then fine It’s not that hard.

It’s a camera. That is true for some, yet, it is good justification for paying like today’s technology because yesterday technology is much cheaper. Thoughts R Us “It’s like if someone divorced their first wife and remarried”.

Nope, is not “spent all of their time obsessing over their first wife and her faults”. The hopes are that Canon is going to make a change and just like they had the guts to switch system rather than complying passively or even justifying Canon marketing strategies, they are vocal in calling them out. If Canon was to change, many would go back and that would be the hope. Some of as are vocal because we hope for a change. Most Sony users are delusional hacks with an inferiority complex.

Haptics, ergonomics and lens selection are the most important criteria when making a camera choice in If you have issue getting good results in , sorry but the camera has little to do with your sub par results. Joke aside, your condescending tone shows that you are pretty unaware how far ahead Sony is moving. You clearly have no idea of what an A9 especially with current firmware is capable of, with native glass and even with Canon glass.

A camera is more than the sum of its parts. I would not take this camera to a sports match let alone a war zone. Sorry but the A9 does not replace the the D5 or 1Dx for fast paced action and this is simply because the EVF does not match a high quality OVF – this is single biggest factor as to why the large majority of sports shooters still prefer DSLRs and will do so for the foreseeable future.

Sony still has a lot of work to do regarding the overall handling and build quality of their cameras and they totally miss the mark vs DSLRs. A9 is by no means perfect and there are extreme situations in which indeed a 1DX or the D5 might be more suitable, but for the majority of applications what the A9 lets you do is far past what any camera is capable out there today.

I am not here anyway to convince you or argue with you, as you seem to lack any form of mental flexibility to grasp simple facts that deviate from your own mindset. Btw I shot for a long time with Canon pro bodies and I still have a 1DX collecting dust on the shelf. I have come to my own conclusion regarding the A9 as it fits my workflow. You seem you have difficulty accepting that. Whilst I can get the results I need with an A9 it is not a camera I enjoy using and there are reasons for that.

The ergonomics, haptics and build are sub par. A D5 is better IMO for the work it was designed for. There is a reason single digit Canikons are still preferred over the A9 -for the simple reason that the A9 is not any better or more reliable than a DSLR. Even where Sony might have an edge, they simply lack in areas that actually matter.

Haptics and reliability. I shoot mirrorless also and I shoot Olympus. I consider my Em1 mark ii far superior to Sony with regards to haptics handling. Everyone has preferences, but you are wrong in translating your preferences to unquestionable objective facts. The very marginal disadvantage you mention does not make up for real time exposure information, no blackout, brightness in low light seamless switching from EVF to monitor shooting etc.

Your Oly is a joke compared to the A9. For sport what matters the most is speed and best AF, and in that regard nothing comes close to the A9. Enjoy your better haptics while I get the better pictures.

It just makes no sense for most because they are invested in their systems, which of course are also very good systems, not because they think the A9 is inferior. In the process of keeping up with technology, switching to the A9 has been for me the single gear upgrade that has most significantly impacted my work. The A9 expands creativity when compared to the 1DX or the D5 at so many different levels it is not even funny.

But you would not even know of what I am talking about. I shoot night events and dance performance in dim light all the time. I could not go back to an OVF. The fact that you litter a Canon forum for an entry level mirrorless camera with your Sony mantra only enforces my earlier points. Whilst you might have a spec sheet. I have work in National collections. They are produced by the creative behind the camera. Some of the best sports photography I have seen in recent years was made with a 4×5 Speed Graphic film camera.

It destroys anything you have ever produced with your A9. The vast vast majority of sports photography today is produced with single digit Canikons and this continues to be the personal preference for the majority of working professionals. Sorry but this is irrefutable fact. All a sudden dismissing the relevance of speed and focus acquisition for a sport photographer?

That tells really how all over the places you are. Btw: “The fact that you litter a Canon forum for an entry level mirrorless camera with your Sony mantra only enforces my earlier points” no, I am simply responding to your post: “Most Sony users are delusional hacks with an inferiority complex. If you have issue getting good results in , sorry but the camera has little to do with your sub par results” I clearly leave Canon at home and shoot Sony so I can embrace inferiority complex and subpar cameras.

I guess I got to tell that to my clients. That is true, but not for your reasoning, as I have already stated, and if Nikon and Canon do not change their path this will not be the case for very long.

And yes there is a history of sports photography shot on slow film cameras that destroys anything you will ever produce with your Sony. You would also note that in making a good photograph requires one to have creative facility. Your responses shows that you lack both these qualities. Every time you respond here you continue to project the stance that it is the camera that makes a good photograph.

Whilst the camera may aid this, a good photographer will get results regardless of the camera in use. This is fallacy. And I have a plethora of historic evidence to prove it. Isn’t it curious that you did not find interesting at all that a professional photographer with an extensive experience with a new technology has a radically different opinion from your own?

Why not asking in what way the A9 might have had such a relevant impact in my shooting experience? But that means being humble, and interested in new things that do not necessarily resonate with your own self-important, opinionated views. Funny guy, you are just so easy to read. I bet you also have really only a one-dimensional photography style. If any. I never asked your opinion on the A9. You gave it. I have used the A9 enough to come to my own conclusions and expectations based on my experience vs many cameras I own.

The A9 falls short of these expectations. I can get better IQ with far more enjoyable cameras. You are pushing the one dimensional argument. That somehow based on your experience I should come to the same conclusions or agree with you. Not on the subject of the A9 or photography in general. I told you to enjoy your A9. Armandino, why do we care about your A9 again?

I had an A9 and it was a good camera but so what? Isn’t this the RP topic? As long as you make vague, unsupported arguments what you say is irrelevant, I did not fail to read your point, it was irrelevant as presented. It resides here because RP might have been only the trigger. You are not interested? My message are simply a response to a very opinionated, aggressive and miss-informed comment by kodacolor, living nostalgically the tech of the past, just like his name.

Had a chance to handle the RP briefly in my local camera shop and its tiny! Although with a side by side comparison to the R it doesnt look all that much smaller but in the hand it feels surprisingly compact and solid. I think Canon has a winner on their hands for existing apsc users that like the brand and are familiar with the interface and the price is very compelling I’ve used it. It’s rather nice.

Not highly specified, but enjoyable to use. Really needs an AF joystick though, and a more long-lasting battery. That’s a trend with most of the critics of any brand: those who criticize the most haven’t even used or held the camera, and are going by brand bias and paper specs.

And yes, I’ve been guilty of that as well. But all cameras are so good these days that when you actually use one, you realize how powerful and competent the device really is.

All cameras these days are engineering marvels. Why canon or sony pick any brand and dismiss anyone who says anything negative as in camp of never held it. Next time try using full ISO , , , , etc. Had one in my hand today and its very small and compact yet feels solid – even my pinkie could get a grip But its price will also see it have to square up against Sony’s a7 Mark II. How does it fare? A September firmware update will bring some minor enhancements to the autofocus user experience in Canon’s current full-frame mirrorless cameras.

Now that we’ve finished our full review of Canon’s latest affordable full-framer, we’ve taken a look at how well or not it works for some common use-cases. The Sigma 20mm F1. Does it take pretty pictures though? We have the answers. Sigma’s been on a roll with their mirrorless Art series lenses. Does the new 24mm F1. It brings a new, 25MP sensor and bit 4K capture at up to p. We’ve put it to the test, both in the studio and out in the field.

In our tests it delivers big performance and offers a few good reasons why you might choose a 12th-Gen Intel laptop over a Mac. Canon’s high end APS-C mirrorless camera has plenty of compelling features, but is it worth the price? Jordan took it on vacation to find out. These capable cameras should be solid and well-built, have both speed and focus for capturing fast action and offer professional-level image quality. What’s the best camera for shooting landscapes?

High resolution, weather-sealed bodies and wide dynamic range are all important. In this buying guide we’ve rounded-up several great cameras for shooting landscapes, and recommended the best. If you’re looking for the perfect drone for yourself, or to gift someone special, we’ve gone through all of the options and selected our favorites.

Although a lot of people only upload images to Instagram from their smartphones, the app is much more than just a mobile photography platform. In this guide we’ve chosen a selection of cameras that make it easy to shoot compelling lifestyle images, ideal for sharing on social media. The latest version of Sigma’s 20mm F1. Check out our gallery, including some astro images, to see how it performs! Two of the GPUs are designed for workstation desktops, while a third is for laptops.

This second-generation adapter is smaller, faster and quieter than its predecessor. Midwest Photo was robbed late last week after a stolen truck broke through the store’s front entrance. The store is in the progress of recovering from the damage and stolen goods. Photographers should be on the lookout for any suspicious product listings online.

Travel with Peter to see how he shoots, and view some of the spectacular photos he captures along the way. Includes sample gallery. We go hands-on with Sigma’s latest ‘Digital Native’ wide-angle lenses for L-mount and Sony E-mount cameras to see what features they have and what sets them apart from the rather limited competition.

Sony has announced in-camera forgery-proof photo technology for its a7 IV mirrorless camera. The technology, aimed at corporate users, cryptographically signs images in-camera to detect future pixel modification and tampering. It uses tracks, cords and hooks to store your gear flat against the wall without hiding it from view.

The new Sigma 24mm F1. Check out our sample gallery to see how sharp it is, as well as how it handles flare, chromatic aberrations and sunstars. Sigma’s new 20mm F1. Chris and Jordan run through their absolute favorite lenses for Sony E-Mount, including both Sony lenses and third party options.

Nikon has released the financial results for the first quarter of its fiscal year, revealing increased year-over-year revenue and profits. Alfie Cameras is launching its Alfie TYCH next month on Kickstarter, but before then it needs beta testers to see how its triple lens half-frame camera performs. NASA is preparing for a simulated Mars mission that will house four crew members in a module on Earth. The crew will remotely control drones and rovers to collect rock samples on a simulated Mars.

Skypersonic, a remote control drone company, is supplying mission-critical technology as part of the mission. The explosion created one of the most energetic short-duration gamma-ray bursts ever observed. The Tamron Lens Utility Mobile app is set to launch later this year. The app will let you use your compatible Android device to control, customize and update compatible Tamron lenses without the need for a computer. The images, which appear to be screenshots from a press briefing, reveal some of the details of the forthcoming lens.

The Peter McKinnon camera tool features a patent-pending design that features integrated Phillips and flathead drivers, as well as extendable arms capable of holding four other bits that can be swapped out to fit your needs.

Nikon has updated the firmware for its Nikkor Z 50mm F1. Is this good or bad for the industry, and what are the long-term implications? Reading mode: Light Dark.

Login Register. Best cameras and lenses. Previous 1 Introduction. Tags: review , canon. Next page. Discuss in the forums See full product details Watch the video review View sample images. We are retrieving offers for your location, please refresh the page to see the prices. View Comments Comments All Well the camera ist really nice, very small, very light and very comfortable to hold.

GEwart Having read only a few of these comments mostly positive by those who work with and own the RP I’m sorely tempted to buy this camera at this late stage. Ten Cent Photos I too have to agree with those that say this review and others here says more about editors and testers, than the camera’s reviewed. Paul F Nicol I have been using crop cameras since the 10D. Samuel Dilworth Could you summarise the firmware updates, Axel?

Brek01 I have just ordered one of these, I must say, DP’s recent canon reviews are lukewarm at best, with a decidedly negative feel to them. PropaPH not much mention of the great flip out rotating touch screen, which has a great feel, is super easy to use and is a much better design than nearly anything else other full frame mirrorless cams.

PeterPike The best review on this camera that I read. MAC Wowser! Michael B 66 I paid a little bit more in Euro. Northgrove Tempting entry camera despite its flaws for me as someone who wants to finally try full-frame. Axel Bang Denmark Recent firmware updates are game changers.

RP now meets much of the criticism.


[Pinnacle Studio 16 Ultimate review

Fewer formats re supported in the trial version of Pinnacle Studio. This worked well for the first movie, but even though Studio was working in a discrete environment each time, the scenes displayed for the second and third dree included up to a dozen scenes from the earlier movies. Image formats supported. These Video editing software are similar to the UK. The information may be generic in nature, which covers the entire range of products that fall within this category, pinnacle studio 16 ultimate system requirements free might not apply to this specific model.


Pinnacle studio 16 ultimate system requirements free.Canon EOS RP review


A daily dose of the news you need. Just enter your email and we’ll take care of the rest:. Please enter a valid email address. Please select a newsletter. Sign up. Firaxis delays Marvel’s Midnight Suns, maybe until If budget is an issue or business requirement; it is far more professional to have multiple cameras than 1 pro body and no back up.

Whilst pro bodies are generally more reliable they do fail. Michael Christopher Brown is an example of using a consumer camera to document the war in Libya on the most consumer of cameras – an iPhone – for Magnum photo agency no less. I don’t care about other people’s low expectations and asceticism. I’m into high definition photography. You can live in a cave and draw pictures on the walls with a rock, if you like it. But if you bring all 3 of your consumer cameras into humid, hot, cold, “unfriendly” environment, they can all fail simultaneously.

And then what? You can’t win this. You have to have the right tool for the job and sometimes it can be your phone. Try digging some information about really unfortunate memory card and camera failures. You’ll be surprised. I can cross the road on red light, unharmed. But it doesn’t mean that it’s safe or that everyone should do it. Well to be honest you seem way to overly cautious to be putting yourself in any situation that would place yourself in any danger let alone a camera.

As for high definition photography most ff cameras are weather sealed. And so is the RP. I shoot high definition photography in the form of MF and they are not weather sealed. These images have been produced into a gorgeous photo book. Not sure if you have even let a camera get wet they are tougher than you think let alone step foot into a real situation that would test the limits of any camera.

Your argument is an oxymoron. You lost this argument before it started. At the end of the day if you have talent but are low on funds and do find yourself needing to shoot warfare in a tropical jungle. You can get a silicon body wrap for pretty much any camera going these days. This a a couple of silicon lens sealers and your good to shoot in anything. Ugly yes. But it will do the job. I shoot pro sealed bodies but your argument is the tech equivalent of hypochondria.

I’m not against “cheap” photographers. I just don’t call them professional photographers. In many cases it is even hard to call an artist with a pro camera a professional, because he can barely utilize the tool and lacks basic knowledge.

Pure talent without skills and professionalism is called dilettantism. You don’t need to go to the North Pole to kill your camera. In reality, a few serious splashes of water liquid can damage a semi-pro class of camera like 5D series.

Just like the constant air humidity in some parts of the world kills the consumer level cameras rather easily. I’m being very careful with my cameras. But you can’t “babysit” tools you use to get the job done. It would be counterproductive. And you are wrong about weather sealing. Most cameras are not weather sealed. Read the manual. But then you are not really a professional if you have no money for proper tools. A similar argument to yours would be that most people are astronauts, only they don’t have money for spaceships, so they ride trains and buses instead.

Now you are just talking absolute rubbish. The definition of a professional is getting paid for ones work. Terry Richardson one of the highest paid fashion photographers today developed his style using compact 35mm film cameras he also uses consumer lumix camera to achieve his particular style. Andreas Gursky and Jeff Wall are highly technical and are purely art photographers. They are also highly professional. You are way out of your depth here. But keep digging.

Lol astronauts??? What the hell are you talking about? But yes you can get professional results with your 6d and entry level primes Your hypocrisy is the only coherent aspect of your argument.

Read a few actual books and maybe go to school or something because you are only making a complete fool of yourself with your nonsensical arguments. Astronauts indeed. But if you can’t make enough money to get proper tools, then you are definitely not a professional.

Get over it. There’s plenty of “art” and artists that nobody knows or cares about. Some just get lucky. And it doesn’t matter if your camera breaks while you are doing art, nobody’s going to notice. Because that’s not a job. There’s a difference, just like between a farmer and a homeless person.

Both need to get food somehow. One is growing it, while the other one is searching for it or even stealing from the farmer. That’s all. No magic. Sometimes homeless people get lucky and find golden nuggets or something.

But it’s not a profession. I don’t make money out of photography. But I’m getting better results with my setup, than most professionals offer. Because most clients are not as hungry for image quality as I am :. So, nobody bothers to over-deliver. There’s no hypocrisy in my argument. I would never use my 6D to make make money professionally or call myself a professional if I’d make some money. That’s not how it works. The unprofessional blame their tools.

Being professional has nothing to do with the camera or perceptions a camera gives. Knowing what you are talking and how you hold yourself is professional. Understanding budgets and operating a profitable business is another means of being professional. You always make your best work, especially if starting out.

This is simply because it has your name on it and as a professional you value your reputation above all. Your general outlook and folio have a long way to go.

Good luck. It is one of the most important things really. Like second from the top :. The unprofessional use lousy tools, so that they have something to blame. You seem to realize what it takes to be a professional and what makes one a true professional. That’s crazy. There are plenty of professionals who learned their lessons the hard way. And there are plenty of those who refuse to believe that it might happen to them, until it does. And then their stubbornness melts really fast. Despite the Naysayers the Canon RP is not a lousy camera.

A professional will be just that and be prepared with a second body and what ever is required to get the job done. Put it this way. Who would you rather have photographing you important event or story? Or your rich uncle Bob who had a couple of photography lessons and just bought a D with professional glass? I was talking about lousy unprofessional tools. You are attacking a straw man now. Uncle Bob doesn’t qualify as a pro.

And what will you do when a card with half of the data from that single slot 6D dies? He’s nephew is an artsy extremist. And that guy probably uses some cheap Chinese fake knock-off cards too. Someone with a couple of second hand Rebels and kit lenses isn’t a pro either. Reality is exactly the opposite – uncle Bob uses the 6D and a pro uses D’s possibly second hand.

What lousy unprofessional tools are you talking about? I was only referring that the RP is good enough for professional work. It is. From the perspective of its build and IQ ability. Canon make quality products. If I was starting out again. The RP would be a camera I consider for budgetary reasons. You get there. Glass has and always will be king for a pro. If you are so paranoid and risk averse, a photography career is not for you!

Why would you think that was a literal statement? My point is the photographer takes the pictures. BTW – What kind of situation are you exactly worried about?

A cat attack? An angry bird? A large thump from a wild flower.. Or are you worried about dew damage from wet grass? Silly me. I hear those brides can get pretty crazy when the sh! Consumer cameras fail faster and more frequently than professional or semi-professional cameras for a reason. Which is why professional tools cost more. Not because they are less crippled, like Canon’s philosophy shows. When you are trying to save money by using non-professional tools, you are being unprofessional and risking your reputation.

This might not apply when you are self-employed and you sell your work long after it’s done. But, even then, it just might turn out to cost more in the long run, when you kill some RP’s in the process, due to inadequate workloads, temperatures, humidity and physical abuse, which they can’t handle.

Why don’t you use the same logic on lenses? There are plenty of great optical quality consumer lenses. You must be brainwasher with “lenses-first” mantras, aren’t you? You also have poor business sense.. Renting bodies is expensive long term. You own cameras to get familiar with them. Most full frame cameras are prosumer and sealed. You also insure them against failing. The RP is weather sealed like a 6d.

Having 2 Bodies like the RP or 6D with good weather sealed glass is more reliable than one body like a D with cheap unsealed glass. Sealing only matters if the lens is sealed.

If your only body fails no matter how pro it is you will look like a fool. The lens mantra exists for a reason you hack. Has your 6d failed yet? You will probably break and fail before it does. You build a kit over time and as your business grows you upgrade. Plus insurance. Both cameras and lenses are losing their value over time and they brake, they get stolen, they need to be serviced, they become obsolete or at least outperformed by the newer stuff that you’ll wish to upgrade to.

Nothing is for ever. Specially the tools of a working professional. About those sealed cameras. In canon world, for example, the only “sealed” cameras are 1DX series and maybe the 1D4. The 5D, 6D, 7D series or whatever else even the older 1D bodies , are only “resistant” to a degree, which isn’t really that high to exceed. Consumer cameras are fine for a walk in the park.

Not professional tasks, you hack. That’s why my 6D didn’t break yet. I’m not a pro. And neither are you. So get over yourself. You buy your equipment and you insure it against theft and breakage. I tried to talk sense to you. And from over 10 years as a working professional. The truth is you will not become a pro because you are scared.

You think the worst of things. Your work is timid yet you think you know what it takes. It takes risk. Risk to dive in and be comfortable with whatever you can afford, risk to just give it a go.

I have friends that started out with less than a 6d. They stated with apsc and some basic lenses. They now make really good livings. You know why? Cameras are actually pretty rugged they are designed for some punishment. The majority of professionals actually shoot cameras like the 5d, 6d series. Trust me they can take a lot more than a walk in the park. And you are so wrong. It’s stupid to assume that everyone with a proper camera wants to become a professional photographer.

Like everyone who owns a car wants to become a taxi driver? I have no photography career intentions at all. I just realize how it actually works. And you are just talking. You are a cheap photog. You might become a pro one day, but you have to learn a lot first. Nobody just becomes a pro when he touches a whatever camera and sells a picture.

You are a gambler and you have no idea what professionalism is. You live in a fantasy world and you dream about becoming a “princess” just by taking risks. That’s not how things work in reality. Whether you want to become a pro or not. I never said you have to be cheap, but you need to start somewhere. If you want make profession from photography the tools are readily available.

You can get professional results from the majority of cameras today. If you were a serious pro, then you would easily make enough money for all the proper tools, while renting everything for one season.

And you wouldn’t suggest BS strategies instead. Have fun and good luck. Utter Ignorance! Rent money is dead money. What is one season? Your strategy over a say a 6 month period is to spend on average more than the amount it would cost to buy the camera outright and be left with nothing to show for it? You are paying for depreciation and insurance.

As your overheads are more due to a silly decision to rent all your gear. You need to pass this extra cost onto the client, making you less competitive in the market. When buying. You overheads are actually less as you are not supporting another business, you can charge a little less to recoup the expenses over a longer period.

Once you have a few jobs under your belt, You can sell a body to upgrade. Check the resale on your 6d. Your strategy is BS. Cheap photographers cannot afford renting stuff. And after all the blah blah about how “professional” the RP is, you talk about D and D, but not the D, which is the same consumer grade camera as the RP.

Why didn’t you get two D’s instead, uncle Bob? Put your money where your mouth is. I said the RP can be used for professional work. If I want a future proof set up I would take one over the because the glass would be a good long term investment. I put my money where I need to.

When I made the switch from film to digital I was in a fortunate position and able to get 2 D bodies for digital work. That was a pretty hefty investment back then. I could still use it for professional work and nobody would ask questions.

I have also been able to keep current as my needs changed. But if anyone wanting to start out and was on a budget most are to a degree and wanted to go Canon mirrorless, I would say get the RP and invest in glass over the R, because the glass great glass btw will be the better long term investment. Better bodies will come out you will have the lenses ready for it when it does. Killing RP’s with professional workloads is wasting money too. And the D is a pro tool. So you make the right choices yourself, but you give bad advices to everyone else.

I see What a hypocrite. What glass on the RP? Those huge new expensive FR L’s? The ginormous 1. Professional photography is not about making investments. It’s not an investment when its resale value is less than half of what you paid for it. When you buy a phone you call it an investment too? Besides, you can rent with buy out option.

Actually the D is a semi professional camera, however I was in a fortunate position. Not everyone is. I have no doubt that the RP could handle more than you think. As for killing them, people use far lesser cameras for professional work.

Besides, you buy new and they are covered with a two year warranty. You also have a spare if one fails. As for the lenses. They are awesome and I have tried them. Nothing will work for you. I know a guy with a 60d with well over a , clicks – still working. This is a more common than you think. Most people would never reach anywhere near the cameras shutter rating before upgrading or moving to a different camera. Not even with professional usage. They use very minimal set ups and are actually proud of the fact.

When someone questions their gear – they wear it like a badge of honour, because they know that when it comes to the photos, they are the real professionals. They use what they need to get the results people pay them handsomely for. Many of the lesser photographers I know use better gear. They are not any better for it, nor do they get the best jobs. You get hired on the merits of your work not your gear.

For a good majority the RP is more than enough camera. In short, It sucks at shadow noise. RTV5 was created initially as Rice Broadcast Television in ; RBT began to broadcast the following year in , and aired its first live show across campus in In the spring of , RBT members decided the station needed a new image and a new name: Rice Television 5. One of RTV5’s most popular shows was the hour show, where a camera and couch placed in the RMC stayed on air for 24 hours. One such show is held in fall and another in spring, usually during a weekend allocated for visits by prospective students.

RTV5 has a video on demand site at rtv5. In the group’s funding was threatened, but ultimately maintained. In the small student staff requested to no longer be a blanket-tax organization. In the fall of , the club did not register as a club.

The Rice Review , also known as R2, is a yearly student-run literary journal at Rice University that publishes prose, poetry, and creative nonfiction written by undergraduate students, as well as interviews.

The journal was founded in by creative writing professor and author Justin Cronin. The Rice Standard was an independent, student-run variety magazine modeled after such publications as The New Yorker and Harper’s. Prior to fall , it was regularly published three times a semester with a wide array of content, running from analyses of current events and philosophical pieces to personal essays, short fiction and poetry.

In August , the Standard transitioned to a completely online format with the launch of their redesigned website, ricestandard. The first website of its kind on Rice’s campus, the Standard featured blog-style content written by and for Rice students.

The Rice Standard had around 20 regular contributors, and the site features new content every day including holidays. In no one registered The Rice Standard as a club within the university. Open , a magazine dedicated to “literary sex content,” predictably caused a stir on campus with its initial publication in spring A mixture of essays, editorials, stories and artistic photography brought Open attention both on campus and in the Houston Chronicle.

Vahalla is the Graduate Student Association on-campus bar under the steps of the chemistry building. The Rice baseball team won the College World Series , defeating Stanford , giving Rice its only national championship in a team sport.

The victory made Rice University the smallest school in 51 years to win a national championship at the highest collegiate level of the sport. The Rice baseball team has played on campus at Reckling Park since the season. As of , the baseball team has won 14 consecutive conference championships in three different conferences: the final championship of the defunct Southwest Conference , all nine championships while a member of the Western Athletic Conference , and five more championships in its first five years as a member of Conference USA.

Additionally, Rice’s baseball team has finished third in both the and College World Series tournaments. Rice now has made six trips to Omaha for the CWS. In , Rice became the first school ever to have three players selected in the first eight picks of the MLB draft when Philip Humber , Jeff Niemann , and Wade Townsend were selected third, fourth, and eighth, respectively. In , Joe Savery was selected as the 19th overall pick. Rice has been very successful in women’s sports in recent years. In —05, Rice sent its women’s volleyball, soccer, and basketball teams to their respective NCAA tournaments.

The women’s swim team has consistently brought at least one member of their team to the NCAA championships since In —06, the women’s soccer, basketball, and tennis teams advanced, with five individuals competing in track and field. In , the women’s volleyball team again made the NCAA tournament. In the Women’s Swim team won their first conference championship in the history of the university.

This was an impressive feat considering they won without having a diving team. The team repeated their C-USA success in and Though not a varsity sport, Rice’s ultimate frisbee women’s team, named Torque, won consecutive Division III national championships in and In , the football team qualified for its first bowl game since , ending the second-longest bowl drought in the country at the time.

The Owls lost 41— The bowl appearance came after Rice had a game losing streak from to and went 1—10 in Tensions remained high between the athletic department and faculty, as a few professors who chose to voice their opinion were in favor of abandoning the football program.

The program success in , the “Rice Renaissance,” proved to be a revival of the Owl football program, quelling those tensions. David Bailiff took over the program in and has remained head coach. Jarett Dillard set an NCAA record in by catching a touchdown pass in 13 consecutive games and took a game overall streak into the season.

In , the football team posted a 9—3 regular season, capping off the year with a 38—14 victory over Western Michigan University in the Texas Bowl. The win over Western Michigan marked the Owls’ first bowl win in 45 years. Rice named former Cal Bears head coach Ben Braun as head basketball coach to succeed Willis Wilson, fired after Rice finished the — season with a winless 0—16 conference record and overall record of 3— Rice’s mascot is Sammy the Owl.

In previous decades, the university kept several live owls on campus in front of Lovett College , but this practice has been discontinued, due to public concern regarding animal welfare. Rice also has a member coed cheerleading squad and a coed dance team, both of which perform at football and basketball games throughout the year. As of , Rice has graduated 98 classes of students consisting of 51, living alumni. Alumni of Rice have occupied top positions in business, including Thomas H. Hobby, Jr.

Rice alumni who became prominent writers include Larry McMurtry , [] Pulitzer Prize —winning author and Oscar -winning writer of the screenplay for Brokeback Mountain ; Joyce Carol Oates , [] who was once a doctoral candidate in English; John Graves , [] author of Goodbye to a River ; and Candace Bushnell , author of Sex and the City , who attended for three semesters.

Howard Hughes , aviator, engineer, industrialist, film producer and director. Annise Parker , 61st Mayor of Houston. Alberto Gonzales , former U. Attorney General. George P. Glenn Youngkin B. Cite error: A list-defined reference named “RF-Students” is not used in the content see the help page. Cite error: A list-defined reference named “Rice a best buy in Fiske college guide” is not used in the content see the help page. See also: List of companies in Houston. See: List of colleges and universities in Houston.

Category Texas portal. From Wikipedia, the free encyclopedia. University in Houston, Texas. Main article: Campus of Rice University. Main article: Rice Innovation District. Main article: Residential colleges of Rice University. Main article: Rice Owls. Main article: List of Rice University people. He Jiankui Ph. Rice University — Fondren Library. Archived from the original on August 19, Retrieved October 31, February 19, Archived from the original on February 21, Retrieved February 19, The Office of Institutional Research.

Rice University. Fall Archived from the original on December 15, Retrieved February 12, Archived from the original on February 25, Retrieved January 19, Archived from the original on March 2, Retrieved July 5, Archived from the original on November 7, Retrieved November 7, Archived from the original on September 28, Retrieved September 28, Retrieved April 13, Archived from the original on March 8, Archived from the original on July 13, Retrieved July 12, Times Higher Education.

March 11, Archived from the original on June 18, Retrieved June 23, October 31, Archived from the original on July 19, Retrieved July 19, Center for Postsecondary Education. Archived from the original on January 5, Archived PDF from the original on June 7, Retrieved November 22, June 16, Archived from the original on December 19, Office of Academic Advising. Archived from the original on November 1, Archived from the original on January 26, Retrieved August 9, Rhodes Scholarship Winners”.

The Rhodes Scholarships. Archived from the original on July 26, Archived from the original on September 21, Retrieved September 9, November 7, Archived from the original on May 13, Retrieved June 16, Houston Chronicle. Archived from the original on June 4, The Journal of Blacks in Higher Education. Autumn JSTOR Penguin Books. ISBN Rice Thresher. June 12, Archived PDF from the original on November 25, Retrieved September 26, Archived from the original on July 21, Retrieved July 21, June Archived PDF from the original on September 26, Archived from the original on May 23, Retrieved July 30, Austin, Texas: University of Texas Press.

Archived from the original on April 13, Retrieved September 6, The Kinder Institute for Urban Research. Archived from the original on August 8, Retrieved August 10, Archived from the original on January 25, Retrieved January 25, HyperWar Foundation. Archived from the original on January 12, Retrieved September 29, Rice University Archives.

July 1, This release focuses largely on product stability and core feature performance, along with dozens of crash and bug fixes for targeted improvements to more than unique user-identified scenarios. Pinnacle Studio 26 is our most reliable and stable version to date. Incredible performance improvements have been implemented in user-identified areas such as software launch time, resource utilization, interface and project preview responsiveness, as well as import and export speed.

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