On Sat, 25 Jul 2009 02:37:43 +0200, Wolfgang Weisselberg
wrote:

Pearls Before Swine wrote:

Or just use any of the high quality P&S cameras that rival or beat most
DSLRs in image quality.

... you just have to define image quality as "everything's in
focus" and some more jokes of that kind, which are perfect
for portraits, for example.

Of course, connecting the studio flashes to the P&S is gonna
be interesting ... ever seen a P&S with a PC connector, when
most miss a basic hot shoe?

Translation: You're an idiot troll who's not even aware of what equipment
and accessories are available for P&S cameras. They can all be hooked up to
banks of studio flashes. If you bought even one camera in your lifetime you
would know this.


They don't suffer from X-Sync limitations.

Even assuming that was true it's about never a problem in the
studio ...

The CHDK compatible cameras having full-frame flash sync up to
shutter-speeds of 1/40,000 second.

And an AF taking ages.

Translation: Idiot snapshooters, whether they use a P&S or a Point and
Shoot DSLR, depend on auto-focus auto-everything.


That's shutter-speed, not flash-duration. Flash-duration
runs from 1/10,000 to 1/64,000 (up to 1/224,000 on some of them).

So what good is 1/40,000s shutter with 1/10,000s flash? Yep,
logic strikes again. Now, about the flash power at your fabulous
speeds, is that even one milliwattsecond? Will it visibly light
up a bright white paper 10 cm from the lens?


Translation: You don't know what to do with any camera in your hands or how
to use any of its features if you did actually get a real camera in your
hands one day.


What good is having camera that has slightly cleaner high-ISOs if your
moving subjects are going to get ambient-light blurring from your
crippling-slow focal-plane shutter speeds.

Yes, if you glue the shutter open, you might have problems.
Fortunately, normal people don't act like you.

Translation: You aren't even aware of what effects are caused by different
shutter-speeds.


Some of you people can't seem to think things through far enough.

What was the reason for using studio flash units, again? To
look cool or to have them stand in the way when you use that
P&S of yours?

[Snipped a lot of crap coming from a swine's mind. Let's
adjust that for reality:]

Betty: "Gee, little Billy boy looks so *zombie* with his gleaming
paperwhite skin and his red red eyes! And his face looks so
flat, too. And such great strong film grain, even in colour,
just as if a demon had mixed up the image! The teacher
always says he's possessed by the devil, but how did you
manage to get him look so terrible on paper? All the other
photographers can only show a little pretty angel, and never
go all the way to show shots looking like real oil paintings
by mad apes! And how he looks so ghost-translucent in parts!
What's your secret?"

Translation: You're an idiot troll who's not even aware of what equipment
and accessories are available for P&S cameras. They can all be hooked up to
banks of studio flashes.


Photographer: "Wellll, I bought a crappy P&S camera instead
of my proper camera bodies and lenses, because some usenet
troll without a real name said they were oh so much better.
I spend many thousands on real gear, but that P&S won't even
interface with my studio flashes. So I use it's inbuild flash
for ultra short flashes, but have to expose very long to get
at least some light onto the sensor.

Translation: You've never used any of these cameras so you just like to
make things up about them.


Now, the flash makes the eyes red and the skin zombie-ugly,
and the long exposure makes your boy look translucent when
he moves. Because of the little light I can use --- remember,
my expensive studio flashes won't work --- I must use high
ISO and brighten the image a lot --- that causes the demon
ape colours all over, and the noise control software makes
it all look detailless like an oil painting.

Luckily that camera has a tripod hole, or it would look
completely unsharp as well."

Betty: "Marry me! I want your baby! Now!"
[We close the curtains over the little scene where the Betty's eyes
start glowing red, she turns half translucent and the photographer
gets possessed as well.]

Translation: You never had a clue, you don't have a clue, and never will
have a clue. Try buying and using some real cameras one day instead of the
ones you envision in your virtual-reality pretend-photographer life.


(They're so funny!)

You're so out of your depth, it's funny.

You're right. I'm not laying in the pretend-photographer's gutter like you
are doing and always will be doing. That's your exact and only "depth".


-Wolfgang

Wolfgang, give it up. You're so transparent as a pretend-photographer
virtual-reality roll-playing troll it isn't even amusing anymore. You're
just pathetically sad and boring, like your real life that you live in your
mommy's basement.