Who's art is better, Rembrandt or Jackson Pollock? Since so much of "better" is artistic interpretation, why is this even a discussion point? For commercial work, like everything else, it depends on your goal. Every technology has advantages & disadvantages. You evaluate on a case by case basis. There can be no generalization that will satisfy every situation.

By my measurement, the contacts align up properly. If on the flash, I can read continuity at the other end of the cord. I can't check it attached to the camera because they will not be active unless the shutter is depressed, and then only briefly. All units were purchased new, and appear to be undamaged.
On the camera, the camera menu allows be to change exposure. On the cord, the camera says no flash attached.
I have tried it on 2 different cameras- same result. I have a letter in to Vivitar (cord)and to Promaster (flash). If I get it figured out, I will post an answer.

Agreed, it only goes on one way. Gonna have to ask Vivitar.

Like every other tool, it can only do what the artist tells it. If the ability of the photographer is less than the capability of the camera, it doesn't matter. When you discover that the camera cannot do what you want to accomplish, it is time to move up. Until then, why spend money on tools that you don't use?

Before you trade it in, try several setting changes. The sports setting will reduce shutter delay. Some other settings will increase it. If you still need to change, go to a store, take your own SD card & ask to try several different cameras. Since cameras have individual personalities, you need to find one that matches yours.

I have a Canon T3i and occasionally use a Promaster 7500DF dedicated digital flash unit. It functions properly when mounted on the hot shoe, but when I move off camera with a Vivitar shoe cord VIV-FC-Can, it does not work. Cord is new. I have checked the continuity of all contacts and find no breaks. Have I missed something? Any suggestions?

I did friends for $200 over my costs. Many of my friends just out of school could not afford a photographer, and would not have had pictures. I didn't advertise, and didn't do people I didn't know. Once I had enough experience, I told the people I had already done work for that I was available, and told them what to tell their friends what I would charge. It takes a lot of experience to get past the snapshot stage. Until your friends can't tell the difference between a commercial job and your pictures, you are not yet ready for prime time.

I have 3 suggestions: 1) DON"T EVER be the primary photographer on family weddings. If you have a bad day, they are still family and never go away. Shoot for fun, give them the CD, but ask for a release so you can use the photos in a sample album or on line. (There are sample releases on line) 2) Charge $200-300 over your actual costs for friends; same contract release. 3) For strangers or referrals, I charged enough up front to cover my time & expenses, then had an al-la-carte contract for the finished product. I counted on my pictures being good enough so they ordered more than they planned. Prices for each size print, for different albums, for CD, parent brag books, etc, were all individual- make up your own package. Then pay 1/2 when ordered & 1/2 when delivered.
Never work without a contract unless you work for free. Undercut the studio competition by 20%. Price will vary with region. I work from home and have no business overhead.
One last thought. I did a family shoot (film) where the primary bragged he took 100 pictured & made every one count. He overexposed the entire wedding. Ansel Adams wasn't that good. I take 2-3x the promised number and pick the best during PP. If you are good, your reputation will spread, and you can raise your prices a bit. Good luck.

I have a Canon 3Ti because I had a Canon film camera, and too many lenses to afford to change. The 28-105 covers most situations, but I have 2 cameras. During the wedding, I have a 70mm-300mm on a tripod at the back of the church or in the balcony if available. After the ceremony, I change the 2nd camera to a 55mm-135mm for greeting line & reception.
On another issue, I have a battery operated noise maker on my camera bag. I put one from the D-ring to a chair, but have another inside, so if someone unauthorized opens my bag, I know it.

I have done a number of wedding, and had my share of screw-ups. Be prepared for anything, and carry backup equipment. Before I took my first job, I did about a dozen for family, but not as the contract photographer. I was just family with a camera, and handed the negatives and proofs to the couple. I would also look at friends albums and see what you like and what you don't. I agree you need a contract if you are doing it for pay. Look on line for samples. If you are doing friend & family as a guest, keep some of the best to build your own sample album. Clients go away after the event, friends or family don't. So they only get my best shots, which is about one out of 3 shots taken. I no longer do contract weddings- too stressful for the money, which is nice, but I don't need it. I still take family shots, but just as a guest, and the couple gets a CD with the pictures I am proud of. It is a gift, and I don't expect to get paid. Much better this way, unless you need the money. About lenses, I use a 28mm-105mm, and a 55m-250mm. That will cover most circumstances. Drink soda. You need to stay hydrated, but at one family wedding, the photographer was a friend of the bride and took advantage of the open bar. Pictures got progressively blurrier as the evening went on. And watch for every shot. The best are candid. My favorite phrase from the bride & groom was "I don't remember you taking that!" Except for group shots and the standard boilerplate pictures, the best are the ones that make the day unique to the couple. Good luck whatever you decide, but practice on anyone who will let you.

Agree, but it is like blindness: There are degrees of disability. Since it is so subjective, how should we determine what number qualifies and what doesn't? Next it gets into degrees of PTSD with returning vets- at what point does it represent a mental illness that disqualifies gun ownership. I suspect that there are enough mentally disadvantages people (to be PC) on both sides of the aisle to balance out. Not a door I care to open.

The problem with "common sense" is that is sometimes based on opinion rather than law. The law has to apply equally to everyone. It is common sense that the legislative bodies in each state or in DC address this concern, but judges are not permitted to make that call. In NJ, with all its onerous gun laws, they did this one right. The state purchase form asks if the buyer has any physical disease or disability. If yes, does this make it unsafe for you to handle a firearm? If not, explain here. I have worked with legally blind people who were perfectly capable of using a firearm. They understood the safety rules, and could recognize all barriers. Should they have a carry permit? That is a who different issue. The Supreme court has said that the right to own a gun is not absolute. States may impose reasonable restrictions. However, should Stevie Wonder be able to buy fully functional Civil War antiques for collection purposes? Not everything is as simple as "common sense" would tell you.