Sunday, December 28, 2025

Dad Show and Tell

A collage of 27 Polaroid photographs. Twenty-five are self-portraits taken by twenty-five students; one is a self-portrait taken by the teacher, Mrs. Madeliene Shanahan, and the last is a black-and-white Polaroid test photograph of the class as a group.

In March of 1991, I visited my son's First Grade class at Gier Park Elementary in Lansing, Michigan, to do a show and tell of sorts. As I recall, it was supposed to be job related, but as I was supervising a photographic services unit at the time, that job would have been a bit difficult to explain, much less demonstrate, especially since so much of what we did wasn't quite in keeping with what five- and six-year-olds understood about photography, if they understood much about it at all. So I went as a photographer. Cameras and pictures, they probably could understand.

I brought in my Mamiya RB67 medium-format camera, with both my Polaroid back and a film back, along with one of my studio flash units with its umbrella. I also brought in an air shutter release bulb with twenty-foot-long tube so that the kids, along with their teacher, Mrs. Madeleine Shanahan, could each take a self-portrait using Polaroid 669 instant film.

tight crop of the above photograph to illustrate the air shutter release the kids used to take their self-portraits

The kids seemed to really enjoy the magic of it all. When everyone was done taking turns, I did a group photograph of the class and Mrs. Shanahan.

class portrait of Mrs. Madeliene Shanahan's First Grade class at Gier Park Elementary, Lansing, Michigan, March of 1991

It might have dissapointed them slightly, but I took all the Polaroids home with me so that I could create the above assemblage, but I gave them all to Zachary (in the red striped shirt at the back) the next day so that he could distribute them to everyone. (All these years later, I wish I'd taken the picture from directly above the assemblage.) I recently got in touch with the mother of one of Zachary's classmates and she told me that her daughter still has her Polaroid. You can't believe how happy that made me.

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Friday, December 26, 2025

did we almost kiss

you'd think
we would have

we were married
after all

but no
you turned away

i wish
i could recall
which film we had just seen
at that theatre
that no longer exists

something tells me
it was
the war of the roses
which was all too
predictive
of our lives to come

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Unless otherwise noted, all writings on this blog are copyright Patrick T. Power. All rights reserved.

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Thursday, December 25, 2025

Sandy

Polaroid photograph of kitten Sandy sitting on the back of a leather-y chair looking directly into the camera
Sandy — ©2025 Patrick T. Power

As I was going through my piles of negatives, deciding which ones to start scanning, I came across this one, which was the first frame of a series of photographs I'd taken of dried flowers, none of which are really any good.

Sandy, so named by my daughter, I believe, was a kitten we'd agreed to take in from our babysitter, whose cat had recently had a litter. We already had an eleven-year old cat at the time, but she was a bit on the ornery side most of the time. Sandy was playful and seemed to like our company.

I'm guessing that this photo was taken in August or so of 1990. I had recently purchased a used medium format camera, a Mamiya RB67 (which I still have), with the notion of doing some freelance work with it on the side. I also had purchased a lighting kit, and set up a makeshift studio in our basement, if for no other reason than to practice. Several times, the kids modeled for me, but in this case, as I noted, I was photographing a dried bouquet of roses, which might have been from Penny's and my recent wedding anniversary, when Sandy decided to check things out.

Anyway, had I chosen some other day to scan the negatives, it probably wouldn't have hit me as hard, but as the image of Sandy came up on my screen during the preview scan, it occurred to me that it was Christmas Eve of that year that Sandy took to the back of our bedroom closet and died. It's certainly not the happiest of Christmas memories, but this picture brought it all back.

Polaroid photograph of an older Sandy sitting on an armchair in front of a backdrop
Older Sandy — ©2025 Patrick T. Power

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Saturday, December 20, 2025

The Artist Project, Part II

Photograph of my book The Artist Project: Portraits by Patrick T. Power

So, I did a thing.

This is something I should have done a long time ago, back when digital online publishing became a thing, but I'd never forced myself to design it much less go through with the preparation of the files necessary to produce it. Another factor has been that I didn't care for Blurb's templates, and instead of figuring out a workaround at the time, I put it on the back burner. The back back burner!

As I was scanning old negatives last month, however, I came across the thirty-year-old negatives from this series of portraits, and went back to the scans I'd made of them probably three years ago, not long after having acquired a scanner that could handle medium format negatives. It was yet another of my false-starts to get this thing moving. This time, though, I'd made up my mind to bring this to completion, so I retouched all the images, which was a painstaking process in and of itself (see below), looked at Blurb's BookWright Online interface, and decided how I could avoid using the available templates.

screenshot of a file which has been retouched in Adobe Camera Raw, with all of the spotting markers intact

Feeling a bit of a breeze at my back, and with a determination to finally get it done, I trusted somewhat in my ability to work around the template limitations. I stuck to working on it for a solid week. I dropped pretty much everything else I've been working on, primarily my research/writing projects, and concentrated on creating something I believe has a place in this world.

As I alluded to last month, I've done this primarily with one person in mind, Karen Stock. At the time my exhibition went up at the Lansing Art Gallery (which I only recently discovered no longer exists), I was totally out of my league. I didn't know the first thing about having a show of this nature, much less the duties that came with it, so this book is more than just a thank you to Karen, it's an apology for my inexperienced mindlessness at the time.

But now, it's done, and the book should be in Karen's hands by now. While she and I are connected on Facebook, we don't interact very much, but I've been hesitant to let on that I've been doing this other than with a close friend who also knows Karen. I've planned on and hoped for the book to be total surprise to her. I also had a copy printed for Bill Harrison, who so graciously allowed me to use his darkroom at Custom Photographic all those years ago so that I could get a big chunk of the prints done in time for matting, framing, and mounting at the gallery. He should have his copy by now as well.

While I have zero expectations that anyone else would be interested in having a copy, especially since they're not exactly cheap, it's currently available both in hardcover and softcover at Blurb's base prices. It's also available as a PDF.

So, once I got that ball rolling, it turned out to not be very difficult to complete, and I'm quite pleased with the quality of the book. So, with that little bit of tailwind, I dove right into another book project, yet another one I've imagined for almost twenty years. In fact, I had actually gotten quite a ways into that project at one time, but I've since trashed that design for a new one, and have processed and re-processed gobs of photographs for it. Again, while it's not something I expect anyone to buy, I feel compelled to assemble the photographs in a non-online form as a kind of permanent record.

Side note: I selected the cover photograph—which is not amongst the photos that were included in the gallery show—because I felt that since hands were essential to all of the artists' work, I wanted something that highlighted that aspect.

A limited preview of the book here.

Part I

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Tuesday, November 18, 2025

Scan(t) Memories

Photograph of Penny smiling as reflected in a car's rear-view mirror
Penny Reflected, 1980 — ©2025 Patrick T. Power

I have been spending a lot of time scanning old negatives lately for archival purposes. A LOT of time. I'm not totally sure if ultimately it will be worth it to anyone, but if nothing else, it's a mostly nice walk down memory lane. I say mostly because there are quite a few photographs of the woman to whom I was once married, Penny, so it's inevitable that my mind goes back to those days when I thought the relationship was good; that it would last. What tends to hurt most about the fact that it didn't last is recalling—knowing—how completely in love I was with her. The problem, though, was that I did a shit job of showing it. I was pretty good at falling in love, I guess, but knew nada-zip-zilch about what to do after that. Which is not to say that I was entirely responsible for the breakdown of the marriage. Our inability to earnestly communicate with one another on a level that wasn't either scoldlike or defensive was probably the biggest factor, at least as I see it. Penny could no doubt lay out loads of reasons I screwed things up, and I wouldn't dare suggest she'd be wrong, but the real answers lie in the twisted and tangled nuance.

ALT TEXT OF IMAGE HERE
Elk Grove Village, Illinois, 1980 — ©2025 Patrick T. Power

That I have had a relatively satisfying life post-marriage hasn't kept me from constantly analyzing those years or my behaviour (and Penny's) over the course of our fifteen-plus year relationship. We'd met on 22 June 1980, married 7 August 1982, and the divorce was final on 29 November 1995, two days before I turned 40. Specific moments—good and bad—replay in my head almost on a daily basis, without need of prompts from old photographs.

Penny, wearing glasses, looking to her right (frame left); two men stand on the sidewalk about twenty feet being her and to her right
Illinois, 1984 — ©2025 Patrick T. Power

Regardless that I long ago resigned myself to the fact that the marriage was over and done and gone and never to be reconciled, I've pretty regularly thought about what might have saved it. I wonder what might have happened had Penny confronted me head on about my shortcomings; or that I had expressed myself about my own concerns much earlier than I did. I don't know, of course, if my concerns would have been heard and discussed in earnest or dismissed as they were later on, once the split occurred... who's to say?

Penny with the vacuum cleaner trying to hide from the camera, standing tip-toed
Summer, 1986 — ©2025 Patrick T. Power

As I've mentioned before, I believe that a lot of my issues were work-related. It was only my second job out of university, and it was supervisory—my first job in that kind of position. I really had no clue about what lay ahead of me when I took the job, with a staff not much younger than I and a boss from whom I would learn the wrong way to supervise. My previous experience within the photographic industry was one of cooperation and dedication to a shared task, so I had a bit of a pie-in-the-sky attitude that my employees shared the same work ethic. I guess I hoped they would catch on. For the better part of my time in the job, I had employees—a few, not all—who seemed to take no pride in getting work done properly or on time. My problem was not being able to hold them accountable.

Portrait of my former wife wearing a red sweater, her body facing to the left of the camera, her face looking towards the camera, with a big smile.
Red Penny, 1988 — ©2025 Patrick T. Power

Feeling that it ultimately was my responsibility that the work got out on time or done correctly, I worked long hours to cover for others or to pick up the slack, whether by going in early or staying late; often, too, by going in after hours. While this never led to arguments that I can recall, it most certainly ate at whatever affection Penny had for me. I didn't communicate the pressure I felt to Penny until—I'm quite certain—long after she'd decided she was going to move on. I was so paralyzed by my fear of failure that I couldn't even talk to her about it when I did get around to bringing it up. I wrote what I was feeling in my notebook and shared that with her four years before the divorce.

Photograph of part of one of my writing notebooks.
Helpless, 1991 — ©2025 Patrick T. Power

Her response was decidedly and rather shockingly dispassionate. Nothing was likely to change her path, I guess. But weirdly, the topic of divorce never came up, nor do I recall that she complained to me about the depth of her unhappiness. Check that... divorce did come up one time, before we decided to buy a house a couple of streets up from the rental we'd lived in for a few years. With my ongoing stress over work, I wasn't feeling compelled to commit myself to the kind of debt a house would force upon us—me, really, since my income made up the overwhelming share of our income. Discussing it one night, she said that the house was one she felt she could afford in the event we got divorced. I guess an alarm should have gone off at the mention of it but it didn't. I guess, too, that I hadn't considered divorce even a remote possibility. I often think, though, that Penny had been considering divorce not long after our son Zachary had been born in February of 1985—maybe even before that—but had decided to soldier on. What wasn't spoken, though, showed up in her lack of affection. Of course, I was too foolish to realize that her coldness had anything to do with me. It didn't occur to me to ask what was wrong.

In August of 1994, A couple of years after we did buy the house, and about a week after our twelfth anniversary no less, the work situation came to a head, and without getting too deeply into the details of that, it was my inability to hold an employee accountable that put me in a situation in which I felt compelled to resign. Penny was with the kids visiting a friend in northern Michigan at the time. I don't recall much about the phone call now other than that she was furious. Weirdly, she didn't ask what had happened. Not then, not when she got home. Not since. The following February, just a few days before Zachary's tenth birthday, she informed me of her desire to split up.

Portrait of my former wife, Penny looking straight into the camera and motioning with her hands
March, 1995 — ©2025 Patrick T. Power

And now, as I think about and process everything for the umpteenth time, I also recall what Penny had told the minister who married us, John Carson, when we met with him about the marriage ceremony. I guess that at the time, I took it as sort of a joke and maybe it was, but 20/20 hindsight makes me wonder. She said, "None of that 'til death do us part stuff."

Occasionally, I'm asked if I would get back with Penny if I had the chance, and while years ago my answer would have been an emphatic "NO!," my heart these days is a bit softer. My head, on the other hand (hmmm... there's a phrase for you!), tells me, "You had your chance, dude." Of course, the urge is to want to make things right, to fix what I messed up the first time around, but the reality is that I'm only half of the equation... I can't imagine a scenario in which Penny would even consider such a thing.

I've long said that I miss the best parts of our time together. I suppose that to a degree, the photographs allow me to hang on to them.

I guess I never knew
What she was living without
People speak of love don't know what they're thinking of
Wait around for the one who fits just like a glove
Speak in terms of a life and the living
Try to find the word for forgiving
—Jackson Browne, "In The Shape Of A Heart"

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Unless otherwise noted, all writings on this blog are copyright Patrick T. Power. All rights reserved.

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