Rangefinder Magazine
December 2004

Click Here for printable version of this article.

Problems and Solutions by Bill Hurter

Please accompany your questions with a self-addressed stamped envelope if you wish an immediate reply. Alternatively, you can e-mail me at: bhurter@rfpublishing.com.

From: jerry@venzfinephoto.com
I have an album ready to send in to the WPPI Album competition, and I cannot find an entry form that accommodates albums online or in the magazine. Where do I find it on the web site, and if I am entering prints as well do they have to be entered at the same time? Thanks.

Prints will be handled differently from albums this year. Prints may be registered and entered online for competition. Go to the 16x20 Print Competition link under “Competitions” on the WPPI web site. Albums will not have online registration, but will use the familiar form, which you can download from the web site (and is available on page 75 of this issue). Albums will be submitted digitally this year. You will need to read up on them before submission. The album and print guidelines are on the web site. Go to page four of the downloadable PDF to read about the albums. Visit: www.wppinow.com/competition/16x20 for more information.

From: Herbert Schieman, herb5@sbcglobal.net
Is there any new information on older strobes (like the Vivitar 283/285), which have higher voltages, and whether they can be used on newer cameras like the Nikon D70? Is there any modification that can be made to allow the strobes to be used?

I did some digging on the Internet and there is quite a bit of information about the so-called high-voltage flash units like the Vivitar 283 and 285. Apparently, some electronic cameras offer features, such as off-the-film plane flash control and pre-flashing for red-eye reduction, that require low-level voltages (typically from 5–30 volts). Some electronic cameras can handle even higher voltage rates, depending on their design. However, very few electronic cameras can handle more than 250 volts, and some are even in danger over 30 volts. From what I read, there is a danger of disabling the TTL logic flash contacts, otherwise referred to as “frying the camera’s electronics.”

Older models of the Vivitar 283 used trigger voltages as high as 600 volts. Apparently, later-model 283s were modified to use a low-voltage triggering circuit, thus eliminating the problem. The problem, obviously, is not knowing which model strobe you have until a failure happens.
The obvious answer is: Don’t use these strobes unless they are specifically recommended by the camera manufacturer.

From: Dave Robbins, david_robbins@sbcglobal.net
Maria Piscopo’s Book, The Graphic Designer’s and Illustrator’s Guide to Marketing and Self-Promotion is reviewed in the November issue (page 49), but the article did not give information as to where to obtain it. Can you provide this data? Thanks.

So sorry about that. Maria’s book can be ordered from Allworth Press’ web site, http://www.allworth.com/Pages/PR_GD340.htm for the special Web price of $15.95. The normal cover price is $19.95.

From: Megan McCabec, Megan-McCabe@sbcglobal.net
I have my degree in Graphic Design, so naturally photography became a second language along with my design background. I really enjoy photography, but I don’t want to be just another photographer. I don’t know if anyone has any tips on where to go to help me get started on really figuring out where to go with my photography. Can you recommend any photography groups, organizations or classes to attend? I am currently living in the San Diego area but getting ready to move to Los Angeles. I use a Canon D60 for my wedding photography. I also shoot school portraits with a film camera.

With your design background and a strong base in photography, my advice would be to take up wedding photography full time. It can be financially rewarding, and it is the most challenging genre of photography I can think of. If I were you, I would join a professional organization such as WPPI and attend as many photographic classes and workshops as possible, including the WPPI Convention, where you can network with other photographers and attend educational programs all day and evening for three straight days. (See the ads elsewhere in this issue.) If you can afford it, you might consider working as an assistant for one or more established wedding photographers. You’d gain valuable experience and be able to absorb different styles of photography while getting paid for it. Many of the highly successful wedding photographers I know have backgrounds much like yours. Good luck!