ASMP Seattle Blogging Panel – Thursday, June 14th


Just a quick post from the road… (Exotic location? Not. See if you can find Roslyn, WA on a map… although it is the location where Twin Peaks was shot – see my earlier post on why/how David Lynch is a genius.)

Anyhow, I’ll be speaking on a panel hosted by the Seattle Chapter of ASMP this coming Thursday, June 14th at 6:00pm on–ironically–the topic of blogging. If you happen to be in Seattle and are at all interested in this stuff, you should consider attending and participating in the discussion. As I understand the format, there are a number of pre-canned questions for us panelists, but there’s substantial time set aside for open forum Q & A.

The event is being held at Arcentia Studios Annex Gallery: 517 Aloha St, Seattle, WA 98109 (map). I’m told there is on street parking near the corner of 5th & Aloha, or cheap paid parking at Seattle Center lots, 2 blocks away on Roy Street. I think it’s 5 bucks for members. Students w/ID are FREE, and 15 bucks for non-members. More info here.

I’ll be joining some other seemingly nice folks on that panel that I don’t know but am looking forward to meeting: Patrick Bennett and Rachel Whalley. The event will be moderated by the chapter President and all around nice person, Kate Baldwin.

I’ll plan to suggest a watering hole nearby for a cocktails afterwards… perhaps a few blocks away at The Sitting Room.

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10 Responses to ASMP Seattle Blogging Panel – Thursday, June 14th

  1. Chase Jarvis June 13, 2007 at 10:27 pm #

    Okay, I totally blew it. It wasn’t Twin Peaks that was filmed here; it was Northern Exposure. Twin peaks was filmed a short distance up the road… My bad entirely – running on too little sleep at the moment. Thanks Alvin the stylist and Dartanyon for clearing that up for me!

  2. Anonymous June 15, 2007 at 1:54 am #

    Thank you Chase for a very fun and informative night.

  3. Scott Aumont June 15, 2007 at 2:07 am #

    Dang, I was just preparing to submit my first, and devastating, contribution and correct you on this. If only you didn’t have a retinue of beautician/research assistants. I will return to the shadows and bide my time for your next rare falsehood. These mysterious factoti – ‘Alvin’ and ‘Dartanyon’ (clearly aliases) – will not always salvage your blogging kudos nor bacon for that matter.

  4. Chase Jarvis June 18, 2007 at 9:11 am #

    Scotty!! Great to hear from you buddy! Hope you are well. Leave it to you to try to catch me on any Twin Peaks reference :) How are things down under?? – hit me off list and catch me up with things in Austrailia…

  5. Loren Callahan June 20, 2007 at 10:17 am #

    Hi Chase,

    It was good to meet you at the ASMP meeting the other day. I noticed that you have a lot of stop action flashed fashion photos of models jumping and I also noticed the sports shots also with flash. Could you enlighten us with your choice of lighting equipment in another blog?

    I have been wanting to try the Elinchrom Ranger RX Speed AS just because of the fast flash duration.

    Have you done any tests to see just how much is enough when looking at total stop action flash duration, wattage with range of distance.

    Thanks again, Loren Callahan

  6. Chase Jarvis June 21, 2007 at 10:27 pm #

    Hi Loren: I use Profoto 7B for location work that requires no plug in, etc. I LOVE them – they’re bullett proof. Flash duration, I think ranges from 1/1400 to 1/3000, so they’re quick.

    When I’m plugging into a wall, I like the Profoto D4 and the Profoto 7A.

    And remember: flash duration is commensurate with how much or little power you’re asking your strobes to kick out… more light = slower duration; less light = faster duration.

    Sweet!

  7. Loren Callahan June 23, 2007 at 12:46 pm #

    Hi Chase,

    Yea, I knew the output vs. the duration equation, but was just wondering how much was enough when it came to stop action ratio with strobe packs and monos. Now I have my answer of a minium of 1/1000.

    I shot Sonics games with over head strobes and even at the 800 wts speedotrons at ASA 800 f/2.8 at 1/500 didn’t really freeze the player as much as I wanted. This was for newspaper quality so it didn’t matter as much.

    Thanks for the info I will check a few different types of packs out. Any one wanted to buy a Speedotron strobe package. Ha Ha

  8. William Anthony June 25, 2007 at 4:41 pm #

    Loren,
    Just FYI, Seattle Times sports shooter Rod Mar discusses remote strobe photography at basketball games in depth here and here. I’ve never done it, but would imagine there’s probably a lot to consider when your strobe heads are that far away from the subject matter.

    Like this blog, Rod’s is pretty informative.

    wm.

  9. Chase Jarvis June 27, 2007 at 11:33 am #

    Cool William. Thanks. I’ve worked with strobes in arenas before. A great friend of mine, Kent Horner, whose been with SI, Utah Jazz, others… Set up most all the lights in arenas throughout the west for Sports Illustrated. It’s actually hard to set up, but once it’s dialed, it’s dialed… use the same settings on the cameras and blaze away. Computers sync shutter delays for all the remote cameras and the lights in the catwalks just pop away! (this is a simplification – probably should read Rod’s blog tooo!)

  10. Loren Callahan June 29, 2007 at 6:47 pm #

    William, Use to sit right next to Rod. Great guy and a great shooter. The Speedotrons I was using at the Key are owned by the P-I while on assignment. The strobes are pretty much permanently fixed to the ceiling and the Key has one guy that attends to all of them with exception of Si gear. We knew the exact exposure before we walk into the arena.

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