I believe, from a certain amount of hanging out around both traditional and 3d artists, that the part of the equation too many forget is OBSERVATION. It is one thing to let go of the craft skills. It is quite another to never have had them, or the discipline to look at the world, understand it however imperfectly, and be able to form an internal vision in response it. Pointing no fingers whatsoever, but some of the loudest cries I have heard claiming that inner beauty trumps craft are from those who, from all evidence, aspire to nothing more than slavish copy-cat of commercial works, and their only uniqueness is how badly they fail in that attempt. But this is off the point. Poser gets no respect because the price of entry is so low. And it even carries the ability to fool those who don't know it well; many has been the tale of a stock V3 wowing them at bastions of "modeled it all from scratch, yes I did." Poser is, however, actively DISLIKED because it is too efficient. It is the GarageBand of the 3d world; more people are making more 3d faster, and the old systems are simply not set up to deal with it. More than anything else, what marks Poser is how MUCH of it there is. And with that much volume, patterns that might otherwise be hidden by the efforts of the individual artists make themselves apparent; like the way watercolors always reveal themselves, the basic constraints of Poser make themselves visible when seen en masse; bad anatomy, broken poses, queasy lighting, flat eyes, cardboard clothing, figure-centric staged renders, and so forth. All of these may be and often are surpassed by individual artists -- just as individual watercolors can have the depth and opacity of oils, or the fine detail of acrylics -- but the net impression of viewing the totality is that of the worst qualities of the program.