Need advice: Panasonic FZ35 vs Canon SX20

Discussion in 'Canon' started by Paul Ciszek, Nov 30, 2009.

  1. Not necessarily. For example every time I've used studio flashes
    they've come along free with free use of a friendly local
    studio. There are a few local studios which will sometimes exchange
    modelling for a chance to play with their gear. And if my camera lacked
    a hot shoe I'd prefer where possible to find out how to maximise my
    use of it, rather than borrow someone else's camera.
     
    Chris Malcolm, Dec 11, 2009
    #61
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  2. Paul Ciszek

    J. Clarke Guest

    Don't know how things are in the UK but there's not much publicly accessible
    studio space available in the US. Around here there's only one that I know
    of and it has a store stocked with the latest and greatest Nikon and Canon
    products attached--using a better camera than a point and shoot there is a
    non-issue--just tell them what you want to use.
     
    J. Clarke, Dec 11, 2009
    #62
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  3. Not only was Chris not assuming that, he didn't even seem to be
    assuming it, since he specifically mentioned putting a bit of paper
    over the flash window.
    Unlikely as it may be, it is actually the case that is under
    discussion here.

    Last time I attended a session where a local studio invited local
    photographers to swop modelling for a go with their studio lighting,
    at least two were using cameras without hot shoes. The studio
    assistants were very helpful in finding ways in which their cameras
    could trigger the studio strobes, and discussed this very question
    with them. And the last time I attended a strobist portrait meeting of
    local photographers, one of them brought along a portable battery
    powered studio strobe and helped those without hot shoes to use
    it. And once again discussed this question with them.

    So while these scenarios may be unlikely, it's certainly not difficult
    to encounter them in some local photographic circles.
     
    Chris Malcolm, Dec 11, 2009
    #63
  4. Paul Ciszek

    Hank H Guest

    If only you people had any experience at all with the equipment you
    incessantly want to give advice about, the world would stop seeing you for
    the total fools that you are.
     
    Hank H, Dec 11, 2009
    #64
  5. Paul Ciszek

    Toxic Guest

    Nice to see you probe the depths of your experience to offer sage advice.
     
    Toxic, Dec 11, 2009
    #65
  6. Paul Ciszek

    Toxic Guest

    Other than zapping the retina to reduce 'red-eye',
    why else would there be more than the single flash?

    FWIW: My P&S only uses multiple flashes if the red-eye reduction is
    turned on, otherwise it's a single flash.
     
    Toxic, Dec 11, 2009
    #66
  7. http://www.adorama.com/SZ23504.html

    Handles any and all pre-flash of the built-in flash from any camera in any
    mode.

    Surprisingly sturdy construction for so little money. And the lock for
    tilting any flash for bounce-flash methods is secure and solid. I tested it
    with all modes on all my cameras. Works flawlessly in both of its
    pre-flash-rejection and manual modes.

    I own several for wildlife-photography in remote and rugged locations where
    long-distance zoom images are fraught with red, green, orange, yellow, and
    blue-eye effects from distant nocturnal animals when using focusable
    flash-units (of my own design). A wide separation of flash from camera is
    mandatory to prevent retina reflections from animals at those greater
    distances. Animals' eyes also being much more highly reflective than
    human's eyes. To prevent any of the camera's own flash from reflecting from
    their eyes I simply mount a very small v-shaped reflector on the face of
    the camera's flash. A tiny strip cut from a piece of polished aluminum
    sheeting and bent at 90 degrees in the middle. The bottom of V oriented
    flat against the flash's face. It now redirecting the light of the camera's
    flash to either side, with none showing forward. You could even use a small
    strip of white or foil-coated card-stock in a pinch, but my shooting is
    often in adverse weather conditions and I need something more durable.

    Studio photographers (and newsgroup trolls) aren't very experienced, nor
    knowledgeable. They take photos, imaginarily or otherwise, of the most
    simplest and boring of subjects using century-old textbook methods. Using
    only the ideas and equipment they can find in ads on the net or in their
    badly written how-to books and favorite blogs. They haven't a clue in any
    real-world conditions. Exactly like all the role-playing trolls that
    desperately pretend to be experts in these photo-newsgroups. They're so
    easy to spot, by anyone who has ever held a real camera before.
     
    And Now For Something Completely Different - A Per, Dec 11, 2009
    #67
  8. I am giving an example where studio flashes on their minimum
    power will not drown out all effects of the minimum flash needed
    to trigger them. That's all there is to it.

    Where does 'handheld' and 'of themselves' come into play?
    Never heard of tripods and self-timers?

    Maybe you should try to photograph glossy coated porcellan
    figurines ... with on-camera flash under the conditions given
    above.

    -Wolfgang
     
    Wolfgang Weisselberg, Dec 12, 2009
    #68
  9. Paul Ciszek

    John Turco Guest


    Correction: "Instamatic" was never used by Polaroid. Rather, it was
    Kodak's name for its 126 and 110 cameras, which took ordinary film
    cartridges (not "instant" ones).
     
    John Turco, Dec 30, 2009
    #69
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