- Paperback: 256 pages
- Publisher: Wiley; 1 edition (February 22, 2010)
- Language: English
- ISBN-10: 047056508X
- ISBN-13: 978-0470565087
- Product Dimensions: 6.1 x 0.6 x 9.1 inches
- Shipping Weight: 1.1 pounds
- Average Customer Review: 3.4 out of 5 stars See all reviews (14 customer reviews)
- Amazon Best Sellers Rank: #541,221 in Books (See Top 100 in Books)
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Canon PowerShot G11 Digital Field Guide 1st Edition
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Now that you've got a new Canon PowerShot G11 10.0 megapixel digital camera, take this handy book along to help you tap all the tricks and features that your cool new camera has to offer. Canon PowerShot G11 Digital Field Guide, sized perfectly to fit in your camera bag, includes pages of step-by-step techniques, beautiful full-color examples, and professional tips sure to help you capture exactly the images you want. Understand all the technology your new camera has to offer—such as new face recognition software, a 5x optical zoom, faster electronics, and much more—with this step-by-step guide. It's so handy, you can check for tips while you're shooting!
- Provides no-fail techniques for getting the most out of your Canon PowerShot G11 digital camera
- Walks you through the PowerShot G11's new features and functions, including face recognition software, 5x optical zoom, RAW image format capture, a wider aperture than standard PowerShot models, faster electronics, and remote capture
- Elevates your photography skills to a new level with photography secrets from professional photographer and author Charlotte Lowrie
- Teaches you photography essentials and offers beautiful, full-color examples to inspire you on your next shoot
Move from standard shots to power shots with Canon PowerShot G11 Digital Field Guide.
Top Ten Canon PowerShot G11 Photography Tips
Amazon-exclusive content from author Brian McLernon
1. Keep the camera steady. The small size and light weight of the Canon PowerShot G11 make it the go-to camera of choice for quick snapshots of people, locations and dynamic action. Even with that convenient portability, it is still important to hold or support the camera as steady as possible to produce crisp, sharp images, especially at the longer focal lengths of the zoom range. Use a tripod or self timer to fire the camera at shutter speeds slower than those you can safely handhold, usually @ 1/20 second and longer.
2. Watch the edges of the frame. Before taking the picture, quickly scan the edges of the viewfinder or LCD image to make sure no part of the subject is cut off or goes out of the frame in a distracting way. This applies to hands, arms, legs and feet in people photos, and architectural or natural elements in scenic photos. Linear objects that run out of the picture frame tend to take the eye with them and can diminish the impact of your main subject. Overly bright objects on the edges will cause the same effect. Use background elements to frame and visually contain your subject to help keep the viewers eye within the frame.
3. Use backlighting to make your subject pop. Backlighting a scene, where the sun or the main light source is behind the subject, can really help make it stand out and is a very effective way of separating the subject from the background. Backlighting creates a rim of highlights around the outer edges of the subject and usually requires a stop or two of positive exposure compensation or flash to open up the shadowed side of the subject that’s facing the camera. Backlit photos are most successful when the picture is composed utilizing a darker toned background.
4. Pan the camera with the subject to convey action. Panning the camera to follow a moving subject requires a little practice and the right timing but can yield dramatic images of sports, dynamic action or events and celebrations. Panning allows the subject to occupy virtually the same spot in the frame while the background is rendered as a horizontal or vertical motion blur. Panning along with a moving subject can also tame a busy background and reduce it to pleasing streaks of color. Choose a slightly slower than normal shutter speed of say, 1/30 or 1/20 second and track the subject as it moves across the picture plane. Backgrounds are equally important in panning shots; a monochromatic background won’t produce the contrast or color streaking that makes panned shots look their best.
5. Choose the right aperture. The right aperture or f/stop setting can often make or break a successful photograph. In the caption of every image in the Canon PowerShot G11 Digital Field Guide with the exception of those of the camera and accessories, I list which ISO, shutter speed and aperture combination I used to make each of the resulting shots so readers will be armed with the exact information they need to go out and make a similar image. While aperture does control the intensity of light entering the camera, it also controls the amount of depth-of-field or selective focus that will be present in the final image. Anytime I want to diminish the importance or details of a background, I employ a larger aperture and possibly a longer lens focal length setting. For rich scenic or macro shots where I want as much detail as I can get, I use a smaller aperture. Think of aperture as a tool to make more or less of the elements in the photograph sharper or softer.
6. Fill the frame. The great photographer Robert Capa once famously remarked “If your pictures aren’t strong enough, you’re not close enough”. Trying to create a meaningful photograph of a subject that is too far away, too small, or lost in the chaos of a scene will surely result in unsatisfactory images that neither please the photographer nor create the intended emotional response. You don’t need a lot of competing details in the frame to produce compelling imagery. Keep the composition simple and hone in on the subject by physically moving closer or zooming in to reduce distracting elements from the shot. In many cases, less is more.
7. Shoot horizontals and verticals. Magazine and newspaper photographers often strive to give their editors the most choices in regards to layout options by shooting both horizontal and vertical images of the subjects they are assigned to shoot. Many times in the shooting process, new compositional ideas will present themselves to the keen-eyed photographer who begins taking pictures with a definite shot in their minds eye, but who is sensitive enough to recognize new ones as they appear in the course of the shoot. Having both horizontals and verticals of the same subject affords options and flexibility when creating albums, slideshows or web sites.
8. Reverse-engineer photos you like. Be on the lookout for photos or scenes that you see and really like in newspapers, magazines, movies and television programs and then try to figure out how they were accomplished. Where was the sun or the lighting placed in relation to the subject or scene? What time of day do you think it was? What focal length lens/white balance setting or camera angle was used? Once you have a rough idea of the techniques used, go out and try to recreate a similar set-up and photograph it as best as you can to match the original. Many of my favorite photo ideas came to me in a darkened theatre or auditorium or while flipping through a magazine.
9. Backgrounds, backgrounds, backgrounds. In my photo classes and workshops, I always stress the importance the background plays in successful photos. The background is the palate upon which your subject rests and should relate to the subject or enhance its importance or can simply be a wash of out of focus color elements. Similarly, a background that provides dramatic contrast to the subject, for example a full body image of a sequined ballerina in an old abandoned factory will set up a dynamic tension in the viewer’s eye that makes for a memorable photo.
10. Point of view. The background can be further controlled by where the camera is placed. The G11’s small size makes it ideal to be placed in unusual locations where a larger camera wouldn’t fit and moving the camera around will yield a wide array of interestingly different interpretations of the same subject. Considering this, I often get down on my knees or lay on the ground when photographing children to mimic their world-view, or shoot from a lower camera angle when photographing CEO’s or sports stars to exaggerate their stature and magnify their importance. Many interesting images can be accomplished by simply moving the camera around to different points of view.
Photos from Author Brian McLernon (Click to enlarge)
From the Back Cover
Unlock all the power of your PowerShot G11
It's no wonder the G11 is the compact camera favored by both professionals and serious hobby photographers. There's its new dual anti-noise system. Higher flash synchronization speed. Enhanced DiG!C 4 image processing technology. And now, there's this handy guide to explain how to set up your G11 and use every menu, setting, and control. Take it wherever you take your PowerShot and take great photos and movies anywhere.
Set up your G11 and get familiar with the camera and lens controls, shooting menus, and exposure mode
Learn about the subtleties of light, white balance, and composition
Capture once-in-a-lifetime events in video and edit movie clips right in the camera
Explore the secrets of getting great portraits, event photos, travel shots, wedding pictures, and more
Inside your free gray and color checker card to help you achieve accurate white balance and color
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Top customer reviews
Mr. McLernon's book seems written for barely experienced photographers, the kind of folks not likely to choose the Canon PowerShot G11 over simpler models. This is an excellent camera that can intimidate beginners and many with intermediate skills. If that describes you somewhat, then this book will be an excellent choice for you.
Photographers who already are comfortable with managing exposure settings in their entirety will not get value from this field guide. The reason I wanted a book was that the Canon User Guide that comes with the camera has tiny type, flimsy pages, and illustrations that can be hard to interpret. McClernon's guide is the opposite, but is not quite a substitute for the full coverage of the Canon product.
I wanted revelations, some explanations that would help me identify and remember patterns in the menus and feature sets of the G11. Those weren't in this book. I get more by using the Canon guide's TOC and index than from the Field Guide. His writing is fine, and the photos McLernon chose to heavily illustrate this bulky book also approach excellent.
But it looks like it's part of a production line of how-to books whose instruction values are targeted towards the casual shooter who wants her sports and portrait snapshots to look better. The G11 can do that for her, and that's why it's so popular with professionals and serious amateurs alike. Not with this book, though. It does not condescend, but neither does it will enlighten a reader who don't already know why she'd want exposure compensation or a fill flash or even a viewfinder.
I think the only reason this is called the "...Field Guide" is because that's the name of the series. I won't take this book into the field because it's too big and heavy, and there's nothing of the "quick, how do I..." quality of a real field guide. In fact, I may not even want to keep it in my bookcase.
Not to be condescending, but to describe where you stand in the universe of beginner to studio- or news-photographer skill level: A two-star photographer could buy this two-star book and gain some interesting and valuable skills. It's a good read, but not for advanced amateurs. If you don't get excited at receiving a free neutral gray card with the book, this it isn't the book for you.
I was surprised to learn this camera has features even beyond what Canon's own user's guide describes.
Great camera, pretty much replacing my XTi with its 18-200 MM lens, and the book helps me reveal its secrets.