Just bought a Canon EOS Digital Rebel XS/1000D and looking to combine practical know-how with inspiration? This one-stop; easy-to-read guide covers all the basic functions of the camera; and everything beyond.Inside; youll find detailed explanations of every control and every feature; including full-color illustrations showing how changing each setting will affect your photos. But this books greatest strength isnt its focus on the camera; its the detailed; easy-to-follow instruction it offers on using your camera to take superior photographs. The lens; the subject matter; the light-all these variables are covered in depth; and always in the context of the Canon EOS Digital Rebel XS/1000D.Written by a widely acclaimed photographer and teacher; Canon EOS Digital Rebel XS/1000D shows you how to get the shots you can see in your head but have never been able to capture with a camera..Get up and running in five minutes with the quick start guide.Master your cameras many features and controls.Profit from dozens of tips and tricks .See first-hand how different settings affect your photos.Refine and manage your photos using the Canon software.Be inspired by hundreds of gorgeous; full color photographs; and learn how to get the same effects in your own shots
#403786 in eBooks 2013-03-19 2013-03-19File Name: B00BY39TNQ
Review
1 of 1 people found the following review helpful. Five StarsBy M. ClevelandTHE resource on matter Pauml;rt.8 of 8 people found the following review helpful. The most accessible book in English on Arvo PartBy Old WestThis collection of essays will be of interest to anyone who enjoys Arvo Parts music. There are a couple of chapters that will be too technical for non-specialists to enjoy; but they can be passed over in favor of whatever follows. The vast majority of the volume is accessible to the educated layman with a strong interest in music. Of course; the more musical knowledge one has (and the more familiarity one has with Parts music); the more accessible the book becomes.There are; to my knowledge; three books currently in print in English about Arvo Part. I have all three; and feel that if I were to have only one; this unquestionably be it. Highly recommended.7 of 9 people found the following review helpful. Informative; but the lack of Pauml;rts pre-1976 works is an enormous omissionBy Christopher CulverTHE CAMBRIDGE COMPANION TO ARVO PAuml;RT; edited by Andrew Shenton; contains 10 essays by various scholars on Pauml;rts music and its reception. Published in 2012; the book covers Pauml;rts output up to 2010. While some knowledge of music theory is necessary to get the most out of this book; it written for a fairly general; though educated; audience of classical music fans.This book suffers from an enormous flaw; and that is its lack of coverage of Pauml;rts music prior to the advent of his "tintinnabuli" style in the mid-1970s. While the tintinnabulli style may have won Pauml;rt the greatest acclaim and following; and his earlier modernist explorations appeal to a considerably smaller crowd; his works of the 1960s feature enormous riches that deserve exploration and commentary in a volume like this. It may well be that Pauml;rt is discouraging discussion of these works; as he now refuses to speak of the Soviet era in interviews; and the ECM label that Pauml;rt considers the source of definitive recordings is not touching these pieces. And the writers for this volume clearly want to stay on Pauml;rts good side; as the composer attended the conferences that led to this collection.In the first paper; Immo Mihkelson does talk about Pauml;rts activity in the 1960s and 1970s. However; this is not a discussion of the music itself; but rather a biographical sketch that mentions only the names of those pieces that led to censure from the Soviet music authorities ("Nekrolog"; "Credo"). The interesting revelation in Mihkelsons paper is that Pauml;rt worked as a sound engineer for several years in the 1960s; which surely helped to shape the aesthetic of Pauml;rts ECM recordings in collaboration with Manfred Eicher.Two essays here are rooted in music theory. Leopold Brauneisss "Musical archetypes: the basic elements of the tintinnabuli style" presents the remarkably strict method that Pauml;rt uses to generate works: two voices (a melody voice and a triadic voice) and rhythms based on the accentuation and punctuation of the religious texts he sets. Descriptions of this technique have been published before; but tintinnabuli is still evolving and Brauneiss covers some developments appearing in Pauml;rts recent pieces. Thomas Robinsons "Analysing Pauml;rt" discusses competing ways of describing Pauml;rts music such as Schenkerian analysis; set theory; etc.Laura Dolps "Arvo Pauml;rt in the marketplace" underscores how the worldwide popularity of Pauml;rts music is not due to the music alone; but to a marketing approach determined mainly by ECM and critics who lumped Pauml;rt together with Gorecki and Tavener as "holy minimalists". Marguerite Bostonias "Bells as inspiration for tintinnabulation" offers some interesting details on the survival of church bells under the Soviet Union and where Pauml;rt could have heard the sonorities that led to his new musical style.There are several appendices. One is a "performers view" of Pauml;rts music by Andras Peer Kauml;hler. This is followed by short pieces by Pauml;rt on Alfred Schnittke; Heino Eller and the composers acceptance speeches from prices in 2007 in 2010. Finally; there is a list of Pauml;rts works up to the date of publication.Fans of the composer would learn a thing or two from this volume; but I must say that I expected more from a volume in the Cambridge Companion series.