Monday, November 10, 2025

Cat and Her Early Morning Surprise

Close-up photograph of a cat lying on a windowsill, peeking out from behind a curtain and looking directly into the camera
Cat in the Window — ©2025 Patrick T. Power.

When my former wife, Penny, and I were still rather early in our relationship—I'm guessing sometime in 1980—we went out to her mother's adoptive parents' home on Woodbury Road in Laingsburg, Michigan to get a cat. Actually, I don't recall now if we went out there specifically to get a cat, but while we were there, we made the decision to bring one home to her place. The cat that lived on the Criders' farm had recently given birth to six or seven kittens, and with little deliberation, we brought home the runt of the litter. We had a tough time deciding upon a name, though. I recall that I thought Tuck was worthy of consideration. Ultimately, we settled on Cat, a name that later morphed into Big Fat Cat or BFC.

Like a lot of cats, Cat wasn't much into being held. She would lie on our laps if we had an afghan draped over us, but didn't generally care to show much affection for us. When she was hungry, especially in the wee hours of the morning, she would chew on whatever she knew would wake us up, whether books or record album covers. Somehow, she knew it was annoying to the point to get action. And it was more than just the sound of paper tearing, it was clack-clack sound of her gums (or whatever) coming together and then separating time after time after time.

Photograph of the chewed up binding of a book
Cat's handywork (mouthy-work?)

One very early morning years later, after we'd married and moved to Lansing from Toledo, where we'd lived for about two years (and where Cat's decision to pee on a carpet cost us a rental deposit), the sound of Cat gnawing on something woke us. The sound was coming from beneath and behind Penny's drawing table which was on the opposite side of the room from the bed. We discussed what it was she was chewing at when all of a sudden, she let out a "yaoow" amongst a flurry of paper, work that Penny had tucked between the table and the wall.

We quickly surmised that she'd chewed through the electrical wire leading from the wall to the desk lamp and got shocked. After a few seconds of silence, and breaking the tension of the moment, Penny asked, "Do you think she's dead?" At which I think we both burst out laughing.

I got out of bed and went into the living room to check on her. Cat was panting heavily but she otherwise seemed fine.

*       *       *

If you're interested in commenting, please sign up at Blogger to do so. The spammers have yet again found a way to ruin something, so I've configured this blog to accept only comments I've read first.

Tuesday, November 04, 2025

The Artist Project

ALT TEXT OF IMAGE HERE
Carol Wansley (outtake, crop) ©2025 Patrick T. Power

I've been on a negative scanning jag of late, gearing up to complete a project that I should have taken care of years ago, so I thought I'd write about this little project of mine back in the mid-1990s.

In late 1994, after I'd left my job at Michigan State University, I tried to make a go of freelancing as a photographer. I got hired by the Lansing Art Gallery to photograph an exhibition by Brian Whitfield in November of that year, and again to photograph items in the gallery for their upcoming Holiday Art Market. I had a conversation with the gallery director at the time, Karen Stock, and I asked about the possibility of having a show of portraits at the gallery sometime, which, as I think back on it now, I had no business suggesting such a thing as my portrait experience up until that time had been fairly limited to whatever I would have done while at MSU, along with an internship I'd done for school in the summer of 1980. But I had an idea. I don't recall now when the specifics of the idea had hatched in my mind but the plan was to photograph a number of Lansing-area visual artists in a studio setting. I had purchased a used Mamiya RB67 a few years earlier, along with a lighting kit, a softbox, and background gear, and I was champing at the bit to use it for purposes other than taking pictures of the kids and the occasional group photograph for hire.

Because my then-wife Penny was an artist, I'd become acquainted with quite a few other artists through her, so after getting the go-ahead from Karen, I made up a wish list and began making phone calls and scheduling people. At the same time, I managed to procure in-kind support from Kodak (film), John Manning at Photo Connexion (photographic paper), and Larry Carr at Photo Mart (darkroom facilities). Since I didn't have a studio per se, I had to wrangle up space somewhere. Penny had graciously (I think) agreed to let me use her ArtSpace studio/classroom when it was free of activity, but with as many classes as she was conducting, I had to work around her schedule. I also had to find an alternative for when it wasn't free.

I had volunteered a bit around that time for the Ten Pound Fiddle Coffeehouse, a local folk music and dance organization, mostly helping to set up and tear down sound equipment or re-arrange seats for their concerts, but also on several occasions to photograph the Residents Night performers. Residents Night was a concert made up of local musicians donating their time to raise funds for the organization. (For a spell, I also served as Residents Night Co-ordinator.)

Residents Night
Residents Night, 20 October 1993 ©2025 Patrick T. Power

Most of the Fiddle's concerts were held at the Unitarian Universalist Church in East Lansing for a more-than-reasonable fee of one dollar, if memory serves, so I checked with the church's caretaker, Regina Fry, to see if I might also be able to rent the room off the main room of the church. I got the OK, so my first bunch of photo sessions were set up, with the first one to be held at ArtSpace on 19 December 1994. Barb Morris, owner of Otherwise Gallery, which was right next door to ArtSpace on Turner Street in Lansing's Old Town area, was the first; Jill Lareaux was the second. For Barb, I had an idea of what I wanted to do and had sketched it out on paper, but with Jill, I just winged it. She appeared in a beautiful white blouse that I felt had be photographed against a dark backdrop as it seemed to shimmer.

Barbara MorrisJill Lareaux

The next twelve would be done at the church on three separate days:

20 December 1994 — Dennis Preston and Brian Whitfield

Dennis PrestonBrian Whitfield

26 January 1995 — Jim McKenzie, Jane Rosemont, Carol Wansley, Paul Thornton, and Regina Fry

Jim McKenzieJane Rosemont

Carol WansleyPaul Thornton

1 February 1995 — James Adley, Kate Darnell, Clif and Jane McChesney, Liz Wylegala, and Bruce Thayer

James AdleyKate Darnell

Clif and Jane McChesneyLiz Wylegala

Bruce Thayer

I did the the next five at ArtSpace on the 9th of February:

Robert Busby, Mark Beard, Jean Rooney, Mark Mahaffey, and Kelly Boyle

Robert BusbyMark Beard

Jean RooneyKelly Boyle

Larry Carr at Photo Mart provided a darkroom for me to print the 11-inch by 14-inch prints, and I pumped out two of each portrait—one for the show and one to give to each artist. I was certain that I'd properly exposed the film for everything so I decided to not use polycontrast paper (I think I used Ilford paper) for the prints. Without bogging you down with technical details, I'll just say that while that choice worked out for me for the most part, there was one portrait, Jane Rosemont's, for which I wish I'd had just a little bit more control over the final print's contrast.

Then came the second week of February, and Penny informed me she wanted out of our marriage.

I don't recall now how it came about, but in early March, I took some time off from everything and took a train to Washington, D.C., where I stayed with a friend I'd met at a biomedical photo conference in Rochester, New York about ten years earlier. So much about that trip is a blur to me now. I don't know why I chose D.C.

Distance, I guess. And time.

Upon my return, and with less than a month to take the remaining portraits, print them, and get them framed, I dove back in, scheduling the remaining nine artists, including Penny, all of which took place at ArtSpace:

18 March 1995 — Teresa Petersen and Regina Fry (re-takes)

Teresa PetersenRegina Fry

19 March 1995 — Margaret Meade-Turnbull and Barbara Hodge Borbas

Margaret Meade-TurnbullBarbara Hodge Borbas

25 March 1995 — Penny Krebiehl-Power

Penny Krebiehl-Power

31 March 1995 — Mark Mahaffey (re-takes)

Mark Mahaffey

As for the two retakes, I'd made the mistake of showing Regina Fry the proofs from her session, something I hadn't done with anyone else. She didn't like them. My feeling was (and still is) that it was my project—I wasn't Olan Mills—and therefore had the right to choose the content of my show. She would refuse to participate in the project if I used them. I didn't want to be a dick about it so I relented and did a second session. Ultimately, I'm glad I did, as I do like my final choice, but I was perfectly happy with the first set. I was not at all happy with Mark Mahaffey's, however, so I sheepishly asked him to come back for another session.

I can't recall why, but I had to find another place to print my enlargements once all the portraits had been taken. Enter Bill Harrison at Custom Photographic. Unlike Photo Mart, where I hand processed the prints in trays, I ran them through a machine at Custom, which turned out to be a blessing as it cut down considerably on the time needed to get everything printed. My preference was hand-developing as I believed it to be a more archival process, but time was of the essence. With the printing finished, it was off to see Bill Hankins at Prints, Ancient & Modern to have everything framed for the show, which had to be hung on Monday the 3rd of April. The show would open the next day, and there would be an opening reception on the Sunday the 9th, coinciding with the 14th annual Botanical Images Competition. I'd informed Bill in advance as to the number of frames and their size (they were all something like 16-inch by 20-inch) so that once all the prints were done, his team could go at it.

During one of my trips to Prints, Ancient & Modern, Judith Taran, East Lansing's communications director, and wife of Irv Taran, a professor of art at Michigan State University, informed me that my portraits should have been taken in the artists' studios or in some way with their work. I stood there rather aghast that the wife of an artist would question another artist's choices. I can't recall how I responded, but I wondered if she similarly told her husband how to paint.

Everything went off as planned. There was a pretty good turnout of friends and family (my mom and sister-in-law even made it up from Toledo), along with a number of the artists and their friends. Nothing sold, although I didn't really expect any would. It wasn't intended a money-making venture.

An interesting thing happened once the show came down. My interest in photography took a nose dive. For a good five years leading up to the show, I had immersed myself in photography books and magazines. I'd spent a lot of time working on lighting techniques at work and at home. I had the kids pose for me, and occasionally got Penny to. I thoroughly enjoyed working with the artists and getting to know them a little bit as I completed this project, but all of a sudden, my interest fell flat, thanks mostly to what was going on at home. It wouldn't rekindle for almost ten years when I discovered Flickr.

As I look back on the experience, and as I look again at the contact proofs from all the portraits, I've come to have second and third thoughts about some of the choices I made for the show. I know that at least one other person other than Regina—Liz Wyegala—wasn't pleased with my selection, but in my defense, to know Liz is to know she's an emphatic way of speaking and often uses her hands when she does. I really felt it was representative. As is clear with many of the portraits, looking at the camera wasn't a requirement.

Also in retrospect, I was a fish out of water, so to speak. I didn't know the first thing about the etiquette of art exhibitions, and I know I didn't thank Karen Stock enough, or, I suspect, in a more appropriate fashion. As I alluded to above, I did give the participating artists who attended the show a copy of their portrait. Not all attended so I still have a handful stashed in a box with the negatives. As I was preparing to move to San Francisco in January of 2010, I contacted as many of the artists as I could and gave them the framed versions of their portraits. A few went unclaimed.

And sadly, in the thirty years since this project took place, seven of the artists have died: Mark Beard, Barb Morris, James Adley, Jim McKenzie, Clif and Jane McChesney, and Robert Busby. Mark Beard and Robert Busby were the biggest shocks as Mark died because he'd accidentally been given the wrong medication while in the hospital for a minor issue; Robert was murdered by someone he had given assistance to.

*       *       *

If you're interested in commenting, please sign up at Blogger to do so. The spammers have yet again found a way to ruin something, so I've configured this blog to accept only comments I've read first.

Wednesday, October 29, 2025

Nick

Photograph of a collie-spitz or something mix dog lying in the grass behind a house. He is chained to the back porch post.
Nick — ©2025 Patrick T. Power

If you look closely at the photograph, you can see that Nick is chained to the back porch post. That's because our back yard wasn't secured by a fence with a gate. We were renting a house on Mosley Avenue (I always thought it was Mosley Street) at the time, and while there were fences dividing our property from our neighbours, there wasn't one which totally enclosed the back yard.

Nick came into our lives in a rather odd fashion. I came home from work one day to find that a woman had stopped her car in front of our house and asked our kids, who were playing in the yard, if they would watch her dog for a while while she went to the store. Since I wasn't there, I don't really know how it all went down, but they agreed, I guess, and the woman never returned.

Nick was a sweet creature. He was good with our kids and the neighbourhood kids. He didn't seem to have a mean bone in his body. He did, however, have a serious problem with strangers who approached the house. He would go completely nuts. Of course, it didn't help that—in order to keep him from running around the neighbourhood, and possibly getting run over by a car—we had kept him chained up. At first to the porch, and later to a stake in the ground and with a longer chain. It no doubt made him even more territorial.

Once, he nipped at a boy delivering the advertiser newspaper, and another time, he pulled himself free from the stake and went after the woman delivering mail. She advised us that she wouldn't deliver our mail if she saw that our front door was open or that Nick was in the yard. Naturally, we complied, but not long after that, we got a letter from the Post Office telling us that we had to get rid of Nick (I believe the actual word was "destroy") or face a lawsuit. Feeling as though we had no real option, I took Nick to the veterinarian to have him put down.

I don't recall that we considered taking him to a shelter or if one even existed. I do recall that we considered taking him far out into the country and letting him go, but also feared what that might mean—both for him and anyone who might confront him. There had to have been options we didn't consider at the time, and it remains one of the greatest regrets of my life that I couldn't save his.

According to my notation, I wrote the following lines on 16 May 1992 (with more planned that never came to be), but my memory tells me that it was earlier than that:

The neighbour's dog has come for you
she sniffs the backyard stair
and walks away without a clue
as I sweep away your hair.

*       *       *

Saturday, October 18, 2025

Diane Keaton + A Random Memory

Diane Keaton, Barry McGuire and Steve Curry in promotional photo for the Broadway musical Hair
Promotional photo for Hair by Kenn Duncan

I believe that Diane Keaton made her biggest impression on me in Woody Allen's Annie Hall. When I looked at her filmography today, I recognized that I would have seen her in the first installment of The Godfather (I didn't bother with the other two), and in three earlier Allen films, but it wasn't until Annie Hall that her name and face really took hold.

At that time, I was a Woody Allen fan, and as he had been in a relationship with Keaton for a number of years, she appeared in eight of his films, as best as I can tell: Play It Again, Sam (1972), Sleeper (1973), Love and Death (1975), Annie Hall (1977), Interiors (1978), Manhattan (1979), Radio Days (1987), and Manhattan Murder Mystery (1993). In fact, post-Annie Hall, she was as much a reason to see Allen's films as his involvement with them. Maybe it was her girl-next-door beauty and charm. Maybe it was because there often seemed to be little space between herself and the character she portrayed that lent authenticity to her performances.

While Annie Hall might have been pivotal as regards how Keaton came to be notable in my mind's memory (as I think about this now, her role in Play It Again, Sam, which I watched again last night, likely contributed as well), it was her role in Looking For Mr. Goodbar—or perhaps more accurately, the film itself—which had a significant impact on me. I don't recall now that I knew much about the film prior to going to see it. I might have seen a Siskel-Ebert review... I honestly can't say. That it starred Keaton was probably the biggest factor in my wanting to see it.

At the time, I was seeing a woman I had met at school, Robin, and during the Christmas-New Year break that year, after being "a couple" for a few months, I drove from Toledo to her family's home near Pittsburgh to meet her parents. Robin was cute and sweet and kind and smart. Bubbly. Also... religious. Her grandfather had been a minister, as would her father, I think, later in life. That said, I don't recall now that our time together was the constant push and pull you might expect between a Bible thumper and an atheist. We enjoyed each other's company and spent a great deal of our time out of class together.

The film was released in October of 1977, so only a couple of months before my trip to Beaver Falls (home town of Joe Namath and Papa John Creach, by the way). I stayed with Robin's family for probably a couple of nights, and one evening, we drove into Pittsburgh to the Showcase Cinemas to see the film. As I try to recall the evening, I can only imagine that she cringed through the whole thing, as Keaton's character was a school teacher by day and a barhopper by night who came home with a variety of men to fulfill either her sexual desires or to paint over her loneliness. Ultimately, she is murdered by a young man who had issues of his own, particularly as regards his sexuality. The scene is quite shocking, and the swift viciousness of the attack was almost as unexpected for me as it might have been for the victim.

Robin and I left the theatre stunned. Considering her rather Pollyanna life until then, it had to have been a brutal assault on her senses. I doubt she had ever seen such an emotionally charged, graphic film, much less one that depicted a world so different than the one she'd known up until then. I recall that she cried, but I don't recall that we talked much—if at all—about it on the way back to the house. As I think about it these many years later, I wonder if she thought I was depraved to have exposed her to such a shocking film, or that I had intended on dragging her into that kind of world.

We've been in touch sporadically over the years, and I think she managed to find some sort of forgiveness for my transgression, but she and Diane Keaton remain inexorably tied in my mind because of the film.

The random memory I had regarding Diane Keaton actually doesn't involve her, but seeing the above promotional photograph for the Broadway production of Hair in the 1970s spurred the memory I have of being in New York at the time the musical was running. My mom's father lived in Manhattan, and we stayed in Staten Island with Mom's best friend, Gladys, and her family. Making the trip to Manhattan meant riding the Staten Island Ferry. Since Hair was currently running, there were posters advertising it at the ferry terminal. I seem to recall that the posters were of a larger—mostly nude—group, which added a little more controversy to an already controversial play, but it might very well have been the above photo or one of several from that same session taken by Kenn Duncan. That's it. That's my memory.

Since beginning this post, I've re-watched Play It Again, Sam, Love and Death, and Annie Hall, and have watched a few clips of her appearances with Johnny Carson and David Letterman, and it's just so hard to grasp that her vibrance is gone from this world.

*       *       *

If you're interested in commenting, please sign up at Blogger to do so. The spammers have yet again found a way to ruin something, so I've configured this blog to accept only comments I've read first.

Thursday, August 07, 2025

Anniversary

ALT TEXT OF IMAGE HERE
Wedding Day, 7 August 1982

Is there a name for an anniversary that is no longer celebrated?

Today, while tending to my routine of posting deck logs to a Facebook group dedicated to the history of the USS Zircon (PY-16), one of the two ships my dad served on during World War II, I naturally had to look at the date on the log sheet. While the year was 1942, the day was the 7th of August, the date on which I would get married forty years later.

When I recall that day, my mind often refers back to the photographs that my then-bride Penny's sister Paula took using my Nikkormat FTN 35mm camera. The above photo is one that often sticks in my memory as it's one that years later—at the time we were going through our split up—Penny would point to (literally or figuratively, I can't recall) as proof that I didn't want to be married, or words to that effect. And because I am nothing if not a rehasher of the past, I've often thought about those remarks, picture or no picture.

Of course, those words, on their face, are not true. I did want to be married to her. But I just didn't know what that meant. At just over three years, our relationship had been my longest to date, and for most of that time we lived a little over two hours apart—I in Bowling Green, Ohio, and she in Lansing, Michigan. I lived with her for about three weeks while I commuted back and forth to Jackson, Michigan for a job I had as part of an internship, but by and large, we didn't spend a whole lot of time together until after I'd graduated. I recall living with her for a spell in which I took a piddly job with some kind of mail-order operation that didn't last long, but I eventually went back to Toledo to work with Lane Drug, a pharmacy-convenience chain which had stores throughout northwestern Ohio, and owned an East Coast company, Peoples Drug, which was fairly massive.

While the relationship seemed to be heading toward marriage, we didn't talk about it much. As best as I can recall, we didn't talk about our aspirations as regards children or career goals, but we seemed compatible in so many ways. Penny's folks approved of me, and I got along well with her siblings. Her mom had been adopted as a young girl, and Penny had a pretty close relationship with her mom's adoptive parents, especially her grandmother, Laverne. If memory serves, sometime in 1981 Laverne took a fall or two and—as seems to be typical in such cases—developed pneumonia and/or other complications. During this time, Penny brought up marriage; she wanted to tell Laverne that we were getting married. It wasn't a proposal per se, it was more like a strong suggestion, but of course, I agreed. Laverne would die in September of that year.

We agreed that the wedding would be a simple one, and the plan was to hold it on the front lawn at her parents house just outside Laingsburg, Michigan proper. Penny had great affection for the large tree just outside the front door of the house, and that's where she wanted the ceremony to take place. We agreed to invite a very limited number of guests, which would bend the noses of a few of her life-long friends, but neither of us were big-time partiers, so something low-key was best served by inviting fewer than seventy people.

As I was in Ohio for most of the year leading up to the event, Penny took care of most of the details. She designed the invitations and had them printed, she made her own dress, she had the rings of silver made by a local artist. I think her dad took care of procuring a canopy or two to cover the food. My biggest contribution besides saying "OK" a lot was probably putting together the mix tape (which kicked off with this), and—on the day of the wedding—running speaker wire from her parents' living room to the outdoors and mounting speakers on the house's exterior. I also brought the camera and film for the pictures.

The pictures.

I'm going to go out on a limb and say that most marriages are a first time occasion for the couples involved. Getting married was absolutely new to me, but also, I have to admit, was making public displays of affection. On this particular day, I had no clue about what to do with my hands or my body. Why didn't I take Penny's hand? you might ask. Yeah, I wonder about that, too. Why didn't I stand closer to her? I have no answer, really, other than that maybe... MAYbe it had something to do with the fact that in all the weddings I'd ever seen, the couples actually only unite once the vows are spoken. I'm kind of grasping at straws, because I was totally enamoured with Penny and thrilled that I was the lucky one to be standing so awkwardly to her right.

Ultimately, though, the marriage didn't work out. I honestly feel as though Penny was ready to call it quits not long after our son Zachary was born in February of 1985. I was so ill-prepared to be a good husband or partner. For one, I spent more time at work than I did at home. Not because the job meant more to me than she did—far from it—I was just not good at what I was supposed to be doing, and I lived in constant fear of losing the job and the relatively good income that supported us. It was something that I kept to myself when I came home, as I wanted neither to burden her with my crap nor to admit to my weakness. A guy thing, I guess. This went on year after year after year until it came to a head ten years later and I felt compelled to resign. Whatever fine, scintilla of a thread that might have been holding the marriage together snapped that day. Yes, there was so much more to it than that, but that was a huge factor, and one which I think led to everything else.

We've now been divorced for over twice as long as we were married. It took a while but for several years now, the 7th of August has passed without notice (as has 22 June, the date we met), but as I still have four years worth of deck logs to post at Facebook, it'll probably be at least that long before the date doesn't bring back the best of the memories from that day and those times.

Penny and Me
Penny and Me

*       *       *

If you're interested in commenting, please sign up at Blogger to do so. The spammers have yet again found a way to ruin something, so I've configured this blog to accept only comments I've read first.

Monday, July 21, 2025

Exploitive A.I. Slop

I got blocked by a Facebook page called Historic Voices last night because I called it out for its exploitive use of A.I.-generated images to evoke emotional responses and hence create engagement (read: monetization).

I had come across this image—complete with fake dust artifacts—on a friend's Facebook page via my feed...

Historic Voices Bullshit AI-generated black-and-white image of a man holding bread in his hands while kneeling behind barbed wire, ostensibly in a World War II German concentration camp. His eyes are closed and he appears to be crying. Behind him at the image's left side is an American soldier looking on.
Exploitive A.I. Slop from Facebook page Historic Voices

...which is accompanied by this text:

The Bread Was Still Warm — Mauthausen, Austria, 1945

As American troops stormed the gates of Mauthausen concentration camp in May 1945, they were met with silence—followed by the slow, trembling steps of starving prisoners emerging from the shadows. Among the supplies brought in was freshly baked bread. One survivor, skeletal and barely able to stand, took a piece into his hands and began to cry. Not because he was starving—though he was—but because the bread was still warm. "I forgot what warmth felt like," he whispered, "in hands or food."

That single moment—one man holding bread like it was life itself—was captured in a haunting photograph and sent home. It became a symbol of both suffering and survival, a reminder that sometimes, hope returns in the smallest of gestures. For many, that warm loaf wasn’t just food—it was the first sign that the nightmare was ending.

The page, of course, is full of these bullshit narratives, many of which—like the example above—suggest that the image is an actual photograph. The intent, of course, is to pull on the heart strings of people for the purpose of engagement, and it is remarkable how many people fall for this exploitive bullshit because... I don't know... they want to show that they're sensitive to Nazi war crimes? As of this writing, the image has over 46,000 reactions, 3800 comments, and 10,000 shares. One such comment:

Thank you for sharing such an incredible story and photo. My husband bakes bread and has found that fresh bread is one of the most emotionally intense experiences.

Another image, albeit this time without dust artifact...

Historic Voices bullshit AI-generated black-and-white image (with a greenish tint) of an emaciated man in the center of the frame, sitting on a bunk bed in pants and no shirt, hands folded in his lap, appearing to be singing, ostensibly in a World War II German concentration camp. There appear to be three other people in bunks behind him, all with blankets over their heads.
Exploitive A.I. Slop from Facebook page Historic Voices

Note how there are no other human beings in the "photo" which ostensibly was "taken" while "American troops stormed the gates" to liberate the place. It looks like there's a whole lot of storming going on!

The bullshit text:

He Hugged the Fence Goodbye — Dachau, Germany, 1945

A young American soldier named Thomas Ray entered Dachau during its liberation and saw an emaciated man crawling toward the electrified fence. Thinking he was trying to die, Thomas ran to stop him—but the man simply embraced the cold wire and kissed it.

He turned and said, "I waited three years to say goodbye to this cage. Now I leave with my soul." Thomas wrote home that night, "I’ve seen freedom reborn through tears."

Comments:

  • Probably lost his entire family 💔
  • God bless his soul
  • God Bless you 🙏 Both
  • I pray he lived a long healthy happy life!

A second Facebook post—with basically the same narrative, but with a different image, and one in which the supposed American soldier, Thomas Ray, looks like a completely different person—popped up on the page as I was writing this.

Historic Voices bullshit AI-generated black-and-white image (with a greenish tint) of an emaciated man, ostensibly in a World War II German concentration camp, kneeling at a barbed wire fence post in pants and no shirt, his head resting on the post. An American soldier, a rifle slung over his right shoulder, is on the opposite side of the fence, supposedly observing the man, but whose eyes appear to be looking toward the imaginary camera.
Exploitive A.I. Slop from Facebook page Historic Voices

The text, modified a bit:

He Hugged the Fence Goodbye — Dachau, Germany, 1945

When American troops entered Dachau, young soldier Thomas Ray saw an emaciated prisoner crawl toward the electrified fence. Fearing the man meant to end his life, Thomas rushed forward—but instead watched him gently embrace the cold wire and kiss it. The man turned and said, "I waited three years to say goodbye to this cage. Now I leave with my soul."

That moment seared itself into Thomas’s memory. He wrote home that night: "I've never seen someone freer than him." In a place built to crush human dignity, a simple farewell to the fence became an act of spiritual liberation—proof that even after unspeakable suffering, the soul could still stand up and walk out.

One more, also with fake dust artifact...

Historic Voices bullshit AI-generated black-and-white image (with a greenish tint) of an emaciated man at lower left in pants and no shirt, kneeling between lines of barbed wire, hands fisted in prayer and held to his head as he hunches over. The image is ostensibly of a World War II German concentration camp. To the right is an American soldier looking on, his left hand holding his helmet to his side.
Exploitive A.I. Slop from Facebook page Historic Voices

The bullshit text:

Dachau, Germany, 1945 – The Singing Man

In the last days before liberation, prisoners at Dachau described an older man who sang quietly every night.

He had no family left, no voice left, but still hummed old Yiddish lullabies. One survivor later said, "He sang so the silence wouldn't win."

His name was never known. But survivors say they still remember the tune — and still hum it, softly, when they need to feel human.

Comments:

  • A truly wonderful human being! All so tragic!
  • Your a hero
  • Rest in peace you were certainly a gift from God
  • Kept him sane enough each day

I found something interesting when I took a look at the page's About section (click to enlarge).

Screenshot of the Historic Voices About page, which indicates that the page was originally called Floral Fantasies
About page for Facebook's Historic Voices

The page used to be called Floral Fantasies, which is rather curious. I wonder if the page got hacked and was taken over by someone who knew they could boondoggle people with fake historical narratives, or if the Floral Fantasies thing wasn't getting the traffic or engagement originally hoped for or expected.

I honestly don't know how people can be so fucking gullible and malleable. First of all, and I suppose it's because I'm a photographer that I notice such things, but photographs taken in 1945 on the films available at that time, would be grainy as hell, especially if they had been taken with a 35mm camera, which in all likelihood, is what a World War II soldier would have been carrying, if he had a camera at all.

This is not the only group that this person or persons has created to spread the A.I. slop. Another is called Historical Life, and I'm pretty certain I've seen another one out there, one which I might have blocked myself already. I've also seen a number of pages dedicated to spreading false stories about athletes donating millions of dollars to individuals or causes. The posts often feature images of the athletes hugging people who are shedding tears of happiness.

There is no doubt that A.I. is here to stay. I'm certain that I unwittingly use it regularly each day when I open Photoshop. There are so many features within Photoshop that are probably built around the technology that I can't help but use it. That said, I have been avoiding it whenever I can. When I do web searches, for example, I include "-ai" along with the search terms. I'm not positive that that is a cure, but when I've done it, the A.I.-generated summaries disappear, so I assume that the function is skirted. I just searched ways to turn off A.I. in searches, and found this site, which has all kinds of suggestions, many of which are browser-specific.

Getting back to the impetus for this post, though, A.I. is turning Facebook into an even worse hellsite than it was just a couple of years ago, with unnecessary A.I.-generated garbage proliferating faster than I can block the sources. And since the crap is getting shared thousands and thousands of times each day, it's getting harder and harder to not have it sully my feed. How did a site ostensibly designed for people to stay in touch become such a hellscape of bullshit? That's rhetorical, by the way. The answer is that it's run by an evil, malicious prick.

*       *       *

If you're interested in commenting, please sign up at Blogger to do so. The spammers have yet again found a way to ruin something, so I've configured this blog to accept only comments I've read first.

Thursday, June 26, 2025

A Farewell to Bill Moyers

Portrait of Bill Moyers
Bill Moyers by Robin Holland

When I think of the development of my political ideologies, I pretty much tie it to having grown up during the liberal presidencies of Dwight D. Eisenhower, John F. Kennedy, and Lyndon B. Johnson, the Civil Rights movement led by Martin Luther King, Jr., and the Presidential candidacies of Bobby Kennedy and George McGovern. But little would I have known back then that behind the scenes were the likes of Ted Sorenson, advisor and speechwriter to JFK, and Bill Moyers, who pulled the same duty for LBJ.

Bill Moyers died today, and I feel as though we've lost a giant. When he left politics as a full-time job, he took a bit of a sideways step into journalism, which is how I learned of him. While he would regularly give reports during the news, I primarily knew of him by way of his commentary which was a regular segment of the CBS Evening News.

On 8 December 1982, I was living in a tiny house on the corner of West Northgate Parkway and Bennett Road in Toledo, Ohio with my then-wife, Penny, and our cat, Cat. That day, Norman Mayer drove a utility van up a sidewalk leading to the Washington Monument and—claiming it was full of explosives—threatened to blow it up. He was protesting the nuclear arms build-up the only way he apparently knew how to, and maintained a standoff with law enforcement for the better part of the day. It got him killed. His threat, of course, was as empty as the the van was later found to be.

Black-and-white photograph Norman Mayer at the Washington Monument on 8 December 1982

The following night, Moyers' segment was introduced by Dan Rather and he proceeded to deliver one of the most brilliant and memorable essays I've ever heard, one which has been etched in my brain ever since.

Maybe Norman Mayer never had a chance to be heard, given his criminal record: his arrests for drug dealing, assault and battery. Maybe he became a criminal because he couldn't be heard. We'll never know, and it doesn't really matter. What matters is that he wanted to tell us that humanity is drifting toward nuclear war. Perhaps this is a cry only lunatics and outlaws can hear. It would not be the first time truth had failed to get the establishment to listen, or the foolish had been chosen to confound the wise.

The wise yesterday were rattling their sabers in Moscow, or putting the finishing touches in the House of Representatives on a military budget of $231 billion for the coming year—$231 billion, including over $2 billion to continue research on the MX missile they had symbolically voted against the day before.

This is the wisdom of the world which proved too much for Norman Mayer, who wanted only to stop the arms race. Once you realize the futility of your cause, you can choose to live as a zombie, a martyr, a cynic or a saint—or today, a video terrorist. Norman Mayer chose to go out that way. It doesn't appear he really had the stomach for it. Those detonators had nothing to detonate. So he played Atari on the monument grounds and died when the game was over. Lunacy? Yes, but it is the lunacy of nations today who hold the world hostage, as he did Washington, with the threat of violence for the sake of peace. This sad little man had the superpowers for a role model. He died unheeded by them, but the star of his own television special. Such was the final lunacy. His pathetic charade received far more time from the media than we'll give the dialogue on nuclear issues which he was crazy enough to think we might honor.

Not much has really changed with this world in the last forty-three years as our military spending continues to rise with no compulsion on the part of our legislators to rein it in and put the money to better use than dropping billions of dollars of ultimately ineffective bombs on Iran. Day by day we step further and further away from anything even resembling sanity. And as shitty a place as this world is right now, it just got a little bit shittier.

*       *       *

If you're interested in commenting, please sign up at Blogger to do so. The spammers have yet again found a way to ruin something, so I've configured this blog to accept only comments I've read first.

Wednesday, June 04, 2025

Worlds Colliding

These days, I spend most of my time on four research projects. I bounce from one to the next without much rhyme or reason, although I have to admit that for the last year or so, I've forsaken a couple of them. Three of the projects (two of which intermingle somewhat) are related to my dad's naval service during World War II, while the fourth is about the sixty-eight people with whom my mom graduated 8th Grade in the Bronx in 1940.

One of the projects, and probably the most massive of the bunch, involves researching all the men who served aboard the USS Zircon (PY-16). The initial scope of that project was very narrow, but the more I learned about the ship and its men, my interests fanned out into something way bigger. Probably too big. Nonetheless, I persist.

Out of the blue recently, I received an email from someone inquiring about one of the sailors of the Zircon, Stanley David Simon, who was the Medical Officer aboard the ship when my dad was one of its crew. Along with Dad, he was one of the key figures during the USS YF-415 disaster, treating the men rescued during that ordeal. In the initial days of my research ten years or so ago, I got in touch by email with Simon's children, and they shared some stories, but since then, I've not spent much time working on his story, so this inquiry nudged me to get back to him.

Simon went to Cornell University in Ithaca, New York, and graduated in 1937. There is a 1937 Cornellian, the school's student yearbook, available at Ancestry to peruse, and as I was flipping through the pages to find Simon's Senior portrait, another portrait and profile caught my eye, that of Henry Arnold Page, Jr., who just so happened to be from my hometown of Toledo, Ohio.

Because I am nothing if not curious, I did a newspaper search in the Toledo newspaper (The Blade) to see what might have become of him, and I found this mention of his impending degree at Cornell.

And what caught my eye about the article was that it included yet another Toledoan who was graduating from Cornell—Franklin Smith Macomber.

If you lived for any length of time in Toledo between 1938 and 1991, you would have heard the name Macomber. It was the name of the vocational high school in the city, its proper name being Irving E. Macomber Vocational Technical High School, and named for Irving Emerson Macomber, who died in June of 1935. According to Wikipedia, Macomber helped develop Toledo's schools and parks, and once lived on the property upon which the school was built. And... he was Franklin Smith Macomber's father. Also of note, one of Macomber's pallbearers was Wayne M. Canaday, President and Chairman of Willy-Overland Motors, Inc., which developed and produced the military jeep during World War II.

Beyond having friends who went to Macomber, I'd never given the place—much less its namesake—much thought. And because this post is about worlds colliding, my dad briefly attended Macomber before joining the Merchant Marines.

*       *       *

Monday, May 26, 2025

Retouched

ALT TEXT: A black-and-white triptych of one photo of my dad in three phases of retouching. The first, at left, is the unretouched original scanned image; the middle is a screenshot of the photo in Photoshop with all of the cloning circles showing (there are a LOT), and the third is the final, retouched image. The photo likely was taken sometime in the  late-1940s in Staten Island, New York, after he'd met and married my mom. In the photo, he is in the lower left corner (taking up a little over a quarter of the frame) sitting on the front edge of a chair looking to his left (photo's right), his elbows resting on his knees, his left hand holding his right hand (sort of) which has a cigarette between the index and middle fingers. He has black, short-ish cropped hair and is wearing a white shirt and dark pants.
Retouching Dad ©2024 Patrick T. Power

NOTE: I've decided to abandon my Substack account because of that platform's decision to create a partnership with right-winger Bari Weiss's organization. I will migrate what few posts I've published there to this site. This post was originally published on 27 May 2024. I've since done some minor editing

Today we in the United States observe Memorial Day. It is also the thirty-second anniversary of my dad's death, so I'm veering a bit from writing about my own photographs.

Eleven years ago, I scanned virtually all of the old photographs I somehow managed to wriggle away from my mom years before, and at the time, this one struck me as one I'd either not seen or—more likely—hadn't paid much attention to. My guess is that it was taken sometime in the late 1940s—before I was born—and almost certainly in Staten Island, New York, where my parents had met during World War II, married (in 1945), and lived for several years before moving to Toledo, Ohio, where Dad had grown up. The cigarette in his hand was likely a Lucky Strike.

I didn't have a particularly close relationship with Dad. He was of the authoritarian ilk when I was growing up, so I paid more respect to his temper than I did to him, but he mellowed quite a bit after his youngest son Jim (I was the third of four1) got into high school. Since his death, I have given a lot of thought to him, our relationship, and his life, which I honestly know so little about because he didn't talk all that much about it. Nor did my brothers and I prod him very much. I've written a lot about Dad over the course of the last twenty years, some of which has gotten people riled because despite that he was far and away a good person, he wasn't a saint, but it's worth remembering the bad stuff, too, in order to better appreciate the good stuff. I'm not going to rehash (much) my earlier writings, mostly just tell a few facts as I know them. I'll edit this if corrections or clarifications roll in.

Born in Chicago, Illinois on 29 January 1921 to Robert Elay Power and Olive Belle Cullison, Dad grew up in a fairly large family.

Photograph of my dad's mother and his siblings. Brother Rob is in the front, kneeling and wearing a Budweiser t-shirt; immediately behind him is his mother, with her hands on his shoulders; to Grandma's left in the photo is Georgetta; to Grandma's right is Virginia. In the back are Richard, Dad, Gertrude, Mary Belle, and Clara. Virginia died in 1987, so I place the photo as circa 1985.
Grandma and her children

He had three brothers2 and five sisters, with sixteen years separating them. Clara was the oldest, then came Georgetta, Dad, Rob, Virginia, Gertrude, Mary Belle, Lloyd, and Richard. His father—like my mom's mother—died before I was born. His mother had so many grandkids—sixteen—while I was growing up that I barely knew her nor she me.3 She lived with Mary Belle and her family, so most of our family gatherings would take place at their home, first on Pool Street in Toledo, and later "out in the country" on Curtice Road in Northwood. Grandma had grown up in Indiana and moved around a bit with her husband, who had been born either in Kentucky or Mount Vernon, Ohio depending upon which document you want to believe. Her kids were born in various locales in Indiana (Clara, Geor, Mary Belle, Lloyd), Illinois (Dad, Vir, Rob), Minnesota (Gert), and Toledo (Richard), where the family eventually settled. Just about the only thing I knew about Dad's dad was that he made candy.

What I know about my dad, though, was mostly learned from observation and experience. Although I don't believe he lived very long in Chicago, he was a White Sox fan his entire life going forward. There was little else I knew about his connection with the place, except that Rob, too, was born in or near Chicago. He played baseball and softball until he moved back to Toledo after getting married, and for a little while after that, but I never saw him play. He swung a bat left-handed while throwing right-handed (as did my younger brother Jim, whether by DNA or by emulation). We occasionally played catch in the backyard, but about the only advice I'd gotten from him that I recall was more of an admonishment for trying to throw curve balls.

A black-and-white group photograph of seven men taken on a baseball/softball field in Staten Island likely in 1947 when Dad played for the Victory Diner softball team. Three are crouched down in the front, three are standing behind them, and one is bent over at the waist and peeking through a small gap between the two men on the right in the back. My dad is in the back on the left, and he is the only one not looking at the camera. He's looking down in the direction of the person in the middle front, who us holding a cigarette between the index and middle fingers of his right hand. All three in the front are wearing ball caps, as is my dad and the fellow at back right. Tom Fahey, who married my mom's maid of honour, is the only person I recognize... he's at front left in the picture.
Dad and team, circa 1946 to 1950

He never told stories about playing ball, although Mom told one in which he was on second base in a game when Rob came to bat. Rob got a hit and as Dad was rounding third base he slipped and fell at the same time Rob slipped and fell rounding first base. I can imagine Mom laughing at it and him being pissed off that she found it funny. At a gathering at the funeral home the night before his funeral mass and burial, the priest asked if anyone wanted to speak up about Dad, and after a silence of about ten seconds, his brother and best friend Rob stood up and claimed, "I was the better ball player!" getting the last word in on what was no doubt a long-running light-hearted debate.

A colour photograph of my dad at lower left, sitting at our kitchen table with a Stroh's beer bottle in front of him. His arms are crossed and he appears to be listening to someone out of the picture to the left. His brother Rob is standing in the middle of the photograph, wearing a blue down winter coat. He's smiling at the camera, and has his hands somewhat in the position of pulling the jacket open. Over his right shoulder is a chalkboard that reads Daily Memo Board at the top and has various possible grocery items printed in three columns on it. In an open space at the bottom are two handwritten columns which read We and Them, and a score of 5 (We) to 1 (Them). The score is illustrated incorrectly with five vertical chalk lines and one strikethrough horizontal line, versus four vertical lines plus the horizontal to equal five. In addition to the chalkboard, there is a beige wall landline phone behind Rob's head, and a Coca-Cola day-by-day calendar on the back porch wall, which is about seven feet behind Rob and over his left shoulder.
Dad and Rob, circa 1973

Before enlisting in the Navy, and before meeting Mom, dad had joined the Merchant Marines, and he had to have been stationed on the east coast at the time as he enlisted in the Navy in New York. I have photos of him in his Navy blues that were taken on his wedding day—one of the few clues that he was in the Navy because, again, he never talked about his past. He occasionally mentioned little bits of biographical information, such as having attended Raymer Elementary School and, briefly, Macomber High School, but beyond that, not much—at least not to me.

He golfed. A lot. And, of course, he swung from the left side. He would golf nearly every Saturday and Sunday from early spring to late autumn, and I accompanied him but a couple of times to carry his bag. Only once did I golf with him, a day made even more memorable because one of our foursome, Rick Mitchell (Jim being the fourth), was hit on the head by a golf ball on the first green just as he missed a four- or five-foot putt. We all thought he was screwing around when he fell to the ground—an overly dramatic reaction to having missed the putt—only to find that he'd been knocked momentarily unconscious.

Dad worked as a refrigeration mechanic for Coca-Cola for twenty years of his life, and did a little freelance work at the same time (J. Power Service, Mom kept his books). Prior to that he'd worked on the railroad and at a Pure oil refinery, and possibly for a butcher before the Merchant Marines and the Navy. A butcher, Harry Gottesman, is listed as a reference on Dad's enlistment application but I doubt I'll ever know for sure if he worked for him. His work for Coke meant we drank a lot of Coke and Sprite (his preference) and Tab over the course of twenty years. It also meant frequent family trips to Inky's Italian restaurant not far from the Coke plant, as he provided service for their Coke machines and had developed a friendship with the proprietor, Frank Incorvaia, with whom he would become golf buddies. My first experience with tipping came at Inky's, when as we were getting up to leave one time, I noticed Dad had left money lying on the table. I grabbed it and gave it to him telling him he'd forgotten it.

Dad didn't read a lot, but I do recall he read the occasional Louis L'Amour novel and, I'm pretty sure, Bury My Heart At Wounded Knee, which seemed to sit on the bookshelf in our house for ages. He developed an affinity for the western United States, I think, after having worked either for the Civilian Conservation Corps or possibly the National Youth Administration before joining the Merchant Marines. But again, not having spoken to him about this stuff, I can only guess that happened when he was 18 or so. Jim says that he talked to him about it and that Dad and Rob were teens "14 15 or 16" but that seems pretty young to me. Dad was eighteen months older than Rob, so maybe Rob was 16.

I have photographs from trips Dad took to Idaho, Wyoming, Utah, Colorado, and Nevada, North Dakota… all with dates on them from 1986 to 1989 but I'm at a loss as to details. I recall clearly that he went with Rob once because they talked of driving with the windows up on hot days because open windows equaled lower gas mileage (that's what I recall anyway). This one I'm quite sure was taken right about here at Lake Lowell, just a little west of Boise, Idaho, but there's no date on the back of the print, so I don't know if it's from the trip with Rob or one (or more) that he took with my mom. One photo is of her sitting on this wall, but it's in black and white.

A colour photograph of Dad standing on the Deer Flat Embankment at Lake Lowell, near Nampa, Idaho. He is facing the camera, his right foot up on the stone wall, which is a little more than a foot high. The wall runs from the lower left of the photo towards the upper right corner, ending at the horizon line which is between a quarter and a third of the way from the top of the photo. A little bit of Lake Lowell can be seen to the right of Dad. The preponderance of the upper left of the photo behind Dad is a tree or several trees. Dad is wearing a horizontal-striped blue polo shirt, blue jeans (or dungarees as he would call them) and brown penny loafers. His right arm is resting on his right thigh, the thumb of his left hand is stuck ever-so-slightly in his pocket.
Dad at Lake Lowell

Whichever trip it was, that he made this detour from the main road suggests to me that he might have worked on the Deer Flat Embankments project. The date on the below cobblestone masonry corner post in a photo he took coincides with Dad being 18, so maybe.

A black-and-white photograph of a cobblestone masonry corner which is at Lake Lowell in Nampa, Idaho. The concrete and cobblestone piece takes the shape of a box that has been filled with concrete, and then additional concrete which tapers upwards. All around the tapered-shape concrete cobblestones were put in place before the concrete dried. On the left (visible) side of the box-shaped base 1939 is engraved; on the right (visible) side, CCC is engraved. This entire piece sits on the near corner of a stone wall which extends to the left out of the picture. Lowell Lake is probably fifty yards in the distance, with a dirt parking lot in between the masonry corner and the bank of the lake.
1939 | CCC

Several times when I was a kid, Dad would make cartoon-like sketches, typically on scrap paper or the backs of envelopes, and talk about once being a pretty good artist. For the longest time, a framed coloured sketch he'd created of a duckling hung on our bedroom wall just below a light stanchion. Maybe he'd done it around the time one of us was born? I'm pretty sure it preceded me. Of course, I never asked about it. I don't know if it survived after Mom's eventual sale of the house.

But just before he retired from Coke, and while my then-wife Penny and I were still living in Toledo, he took up painting. Penny is a fantastic artist, and I wouldn't be surprised if Dad had made similar remarks to her about his potential as an artist and she said, "Do it, John!" and encouraged him. With my departure from the house in 1982, my room (the back bedroom, as it was known… an addition to the house prior to my arrival) would be used as his painting studio. At first, Dad's life transition was a bit humourous… the whole idea of "his studio"… because… Dad.

It took a while for him to get the hang of things, but Penny gave him guidance whenever she had the opportunity. She bought him a subscription to a painting magazine, suggested and probably bought him supplies. What he lacked in skill at the beginning, he made up for in enthusiasm. He was determined, and when he retired from Coke in March of 1986, it became his full-time gig, and his technique got better with each painting, most of which were landscapes.

A colour picture of one of my dad's paintings. It's of a river scene, with water flowing from right to left and running over a small natural dam with a large tree trunk lying on its side. There are numerous birch trees with bright yellow leaves making an arc from left to right, with a few fir trees interspersed.
One of Dad's paintings

I either bought or recommended a camera (Pentax K-1000) for him for Christmas one year so that he could take photographs for reference. One weekend in 1990, I think, while I was working for Michigan State University, I borrowed my department's Fuji Pan 617 (6cm x 17cm) panoramic camera and brought it to Toledo, and Dad and I spent a day together taking pictures along the Maumee River from Toledo to Sidecut Park in Maumee, probably the only day we'd ever spent together alone.

When he died on Wednesday, 27 May 1992, it had come after a rollercoaster week of good days and bad days, with the doctors seeming to struggle with what was going on with him. It could go on for days or weeks, they said, or months. It turned out to be days.

When Mom and my brothers and I met with the priest the day before his funeral, Mom pulled out a letter from the Navy that none of us had seen before. It was a citation signed by the Commander-in-Chief of the North Atlantic Fleet for an incident that occurred on 11 May 1944 just outside Boston Harbor, an incident during which he helped to save the lives of fourteen men from a burning, exploding, and ultimately sinking yard freighter. I recall Mom years before having alluded once to Dad pulling men out of the water but she gave no details, no description of what Dad actually would have experienced. It wasn't until the 70th anniversary of that incident that I got serious about learning what happened that day.

Dad never talked about it. He had talked about it with Mom's brother Skip way back when, and only recently did I learn that he talked about it one day with Jim's wife, Chris, when she stopped at the house for lunch one day while delivering mail in the neighbourhood.

It pains me that I didn't know the man all that well. It pains me that our relationship was contentious enough for so many years (I was the long-haired, free-thinking hippy of the family… I still am, I guess, but with much shorter, thinning grey hair) that heart-to-heart discussions weren't possible. As I noted, he'd mellowed once Jim was in high school. He was and is Jim's hero. "The greatest man that ever lived."

I wouldn't, for the life of me, try to take that away from him. But the more that I have thought about Dad since his death, and the more I have thought about my family, it's clear to me that we live so many lives within our "one and only life." The father that I knew before Jim came along or came of age was a different man than he knew. He was a different man than my older brothers Bob and Mike knew. He changed in ways I wouldn't have expected: quitting cigarettes (and cigars and pipes), for example; attending church weekly and eventually getting baptized Catholic. His worst aspects, for the most part, melted away as his children began to have children.

As humble a man as I believe my dad to have been, I also know that the incident for which he received his citation and medal4 occurred eleven years before I was born. It would be another ten years before I would be anything approaching conversational, which meant twenty-one years would have passed—ancient history for Dad… why would he care to talk about something that happened so long ago?

I've gone on too long, yet not really enough, I suppose, and I know I've meandered a bit, but I started this with a picture—the triptych of a 1940s picture of my dad, remember?

Eleven years ago, as I worked away at that image file, slowly, patiently, meticulously getting rid of as many imperfections to the image as I could find, it occurred to me that that is what we often do when it comes to the memory of those we lose once we've grown old enough to realize that it's not easy being a human being. Our parents' flaws, which we experience in our pre-adult years, become less important to us. We might not totally forget, we might not totally forgive, but we touch up the rips and folds and stains and wrinkles, and gloss them over so that the picture looks at least less flawed.

I miss Dad, but sometimes I think I miss him more for the relationship we could have had or should have had rather than for the one that we did have.

*       *       *

1Mom delivered a still born three years after I was born, a year before Jim came along. [back]

2Dad's mom's first child was a stillborn girl; his brother Lloyd died at little more than two months old. [back]

3Grandma babysat for me and Jim one time while Mom and Dad were in New York for Mom's brother's wedding. When they returned, Grandma told them, "Never again!" I have no clue as to why that was the case, unless Jim and I fought or argued a lot, which I don't recall. All I can recall of that occasion is that my older brother Mike got to stay with Dad's sister Mary Belle's family, with whom grandma lived, and I rode my bike there (a little under two miles) because I'd felt a little left out and wanted to hang out with my big brother. [back]

4In addition to the citation, Dad was awarded the Navy and Marine Corps Medal, the highest award a sailor could receive for valour in a non-combat situation. [back]

*       *       *

Tuesday, February 11, 2025

Tintype-y

panorama taken out my bathroom window using the panorama function of an iPhone 7 then processing the image with the Tin Type app
From My Window — ©2025 Patrick T. Power

Several years ago, I bought a refurbished iPhone 7 off eBay as I was a little disappointed in the image quality of the Samsung phone (Galaxy S III, I think?) I was using at the time. It didn't really turn out to be much—if at all—better, so I put it away, essentially not to be used except for doing Facetime with my granddaughter. Its battery life is extremely short, so it made little sense to make it my primary mobile picture taker anyway.

At some point, I got curious about whether or not the Hipstamatic app was still available as many of the images people posted back in the early days of Instagram were created with Hipstamatic. In fact, it was one of the major factors behind using Instagram in the first place—there were so many cool and funky looking photographs. Alas, Hipstamatic was not available for Android phones, so I downloaded Retro Camera, which sort of had some cool effects, but they didn't quite do it for me.

But I digress...

In searching for Hipstamatic in the Apple Store, I came across TinType, an app which gives photographs a vintage, tintype look. Not long after I moved to San Francisco, a photographic store and gallery, Photobooth, opened on Valencia Street in the Mission, and in the middle of the space, a tinype portrait studio was set up. I attended a few photo exhibitions there and saw portraits being taken as I milled about looking at the photographs. The set-up, as I recall, required pretty intense lighting (in this instance, I think the lights were strobes) due to the film's (actually, a light-sensitive emulsion-coated metal plate) low response to light. Also required was a wide-open (or near wide-open) lens aperture which reduced the recorded image's depth-of-field severely—mostly only to about an inch or two. It rendered very cool portraits. I was disappointed when the place closed.

Fast forward to a few weeks ago, when I recalled that I had the TinType app on the phone. Because historically, tinypes have been preponderantly used for portraits, I thought I could use this faux version of it for photographs around the city since I have little interest in doing self-portraits these days. That said...

self-portrait photograph converted with an iPhone's TinType app to resemble a vintage tintype image
Tintype-y Me — ©2025 Patrick T. Power

Thursday night, I had a job across the street from the Transamerica pyramid, and just before checking in with my client, I hopped across Montgomery Street to take some photos of the pyramid. Because I was so close to it, and because I wanted to include Montgomery Street and Clay Street in the final frame, I did a six-frame panorama in the light drizzle and grey of the early evening.

six-frame panoramic image of San Francisco's Transamerica pyramid
Transamerica — ©2025 Patrick T. Power

After the job, I headed home in a slightly heavier drizzle with a wind heavy enough I didn't bother to open my umbrella figuring it would be useless. As I crossed California Street; I saw a lone woman in the distance walking towards me with her umbrella up. She was sticking somewhat close to the pillared structure at 300 Montgomery, and I saw potential, so I lifted my phone and took a couple of frames, only to decide I wanted to get closer so that a street sign wasn't in the frame. As I waited for her to get closer, I heard a couple coming up from behind me and I absolutely did not want them to walk into the frame to ruin things, so I hurriedly took the photo. Thankfully, the TinType processing hides the blurriness.

A woman with an umbrella walking towards the camera against the backdrop of a multi-pillar bank building
Montgomery Street — ©2025 Patrick T. Power

I really would have preferred to wait another split-second for her to take one more step to get fully in front of that pillar, but that couple!

It was sunny on Saturday, so I took a bike ride to Fisherman's Wharf. I've imagined photographing a number of the more landmark-y aspects of the city and running through the application, but the SkyStar Ferris Wheel appealed to me as well. I did a semi-circular tour of the wheel to see what angle might work best, and I ended up on the opposite side of the wheel from the sun. Typically, I don't like pointing the cellphone (most often my camera of choice these days) into direct sunlight as it usually results in beaucoup flare, but I moved to where the sun was hidden by the frame and spokes of the wheel. I was particularly excited about the long shadows that splayed out towards me, so after taking a frame or two of about half the wheel plus the shadows, I took six frames to create a panoramic image when I got home. Of course, I had no clue as to whether or not the panorama would turn out, but I was delightfully surprised with the stitched image. I was lucky that the wheel was loading/unloading at the time I was doing this, so I was able to get the six frames clicked off without the wheel rotating at all. The TinType processing helped to make a lot of the details of the scene unrecognizable, giving the image the timeless, vintage look I was hoping for.

six-frame panoramic image of San Francisco's SkyStar Ferris Wheel at Fisherman's Wharf
SkyStar Wheel — ©2025 Patrick T. Power

I spent most of Sunday working on my photographs from the Thursday night job as I wanted to have them uploaded for the client by Monday morning. I also watched most of the Super Bowl game, so I wasn't able to get out to take any photographs until about 8:00 PM. Despite that I knew there'd be few people out and about, I decided to go to Union Square to get the Dewey Monument rising up into the darkness. I did that, but my favourite for the night came as I was headed back to Powell Station to catch the train home. I've long loved the Elkan Gunst Building at the southwest corner of Geary and Powell, so I paused to get that, waiting what seemed like an eternity for all traffic to clear. There is a heart sculture on each of the four corners of Union Square, so one is in the frame, and I got lucky that a person (actually two) walked into the center of the frame.

photograph taken at San Francisco's Union Square facing southwest. One of the Hearts of San Francisco sculpyures is at lower left and the eight-stpry Elkan Gunst Building, built in 1908, is slightly above dead-center. A woman waits on the near corner for the clight to change, while another person does the same on the opposite corner.
Geary — ©2025 Patrick T. Power

A friend back in Michigan has been doing actual tintype photography for a number of years. But as someone who basically has lived hand to mouth for thirty years, I'm OK with using a phone app, as I have neither the space nor the cash required for doing the real thing. Ultimately, though, it's the image that counts, and while I wish I had more control over certain aspects of the app, it's keeping my pursuit of at taking at least one photograph a day interesting for me. I have been posting them at Flickr in a set called Faux Tintypes (and another called Tintype San Francisco, which is mostly—but not entirely—redundant) so as not to try to fool anyone that they're the real thing. I've also tagged each of them with "faux tintype"—again... I want to be clear with what's going on.

photograph taken at the corner of San Francisco's Market Street and Steuart Street. A streetcar is turning the corner (coming from right to left) and about to head southwest on Market Street towards the Castro and its westerly terminus. Behind the streetcar by a couple hundred feet is tower of the Ferry Building
F Market — ©2025 Patrick T. Power

In my mind, it makes for a more interesting photograph—or digital image—whatever you want to call it. Especially for someone who has been walking around San Francisco for fifteen years and seeing many of the same things over and over again. This process allows me to see them in a different way.

*       *       *

*       *       *