The Test
While visiting an event at a local comic store, I spotted artist Michael Alexi in the distance. He was busy drawing in his sketchbook, and I thought, “he looks like a sketch that Leonardo Davinci might have created.” His bone structure, wavy mop of hair, and long, bushy beard looked like something straight out of the Renaissance period. I took a big gulp and proposed a session. Thankfully, Michael readily agreed.
We agreed to meet the following Friday to take care of his model release, and I had the good sense to take my camera with me. The afternoon sunlight was intense but beautiful that day. As an experiment, I asked Michael if he would be willing to go behind the building and let me take a couple of reference shots - the idea being if I completely blew the next day’s shoot, I’d at least have something to show for my efforts. This unplanned event proved to be an incredibly useful tool for me, and I’ll use this technique to research and plan my lighting scenarios moving forward.
There wasn’t room inside the comic book store for my strobes, so Michael and I built a makeshift tent in the back parking lot. It blew over once, but I finally figured out how to anchor everything properly using sandbags and gaffer tape.
I used two Profoto D2 heads - one with a 24” beauty dish, the other with a zoom reflector. Flags provided the necessary shade from the font of our little studio box. “Fred the Head” from CFX, was my rigid foam stand-in while we set up. Once the prelight was complete, Michael stepped up to the plate.
This project would be my attempt at shooting a portrait with my camera gear. My idea was to test a standard out-of-the-box configuration on the GFX100 II with an 80mm f/1.7 attached. Then, remove the lens and mount the GFX100 II camera body to my treasured Linhof Technika III, with a rehoused French Petzval portrait lens attached to the front of the 4 x 5 press camera body.
I told everyone at the store that I was searching for a name for the camera - “It really needs a name.” The owner, David, instantaneously blurted out, “It’s the Time Machine!” Wow, great name! An 1860 lens on a 1946 camera body with a 2023 digital camera body attached! The Time Machine it is. (And it actually stops time!!)
Michael gave me a lot to work with. He was the perfect subject; I believe the shots speak for themselves. I grabbed 45-50 frames, adjusting his poses and eye contact with the camera, and was thrilled. But it was finally time to test this crazy camera rig I had been working on for over six months. I held my breath - failure seemed very possible, if not probable.
The Petzval lens was used wide open, at the equivalent of f/4.5, with no focal plane movement. The focus falloff you see in these shots is due to the character of the antique lens itself. There isn’t one point in the second series of portraits that is in focus - and yet it renders in a very painterly fashion. Think about it - this lens was used exclusively for taking portraits in the age of the Daguerreotype.
I attempted a diptych concept to finish the day and shot his hand, holding treasured pencils and paintbrushes. I don’t know about you, but I like these two photos as a pair. They contain the “This is Michael” and the “This is what he does”- valuable information to me as a viewer.
While packing, I noticed a classic car under a protective cover behind our little photo set. On it was Michael’s fantastic lettering - all freehand - awaiting enamel paint. Beautiful work.
Thank you, Michael!
