The Colonial Heritage Byway, north central North Carolina (Abandoned films 08d)

Colonial Heritage Byway

In the previous article, I wrote about historic byways in North Carolina. This the second byway that I explored in October of 2021. 

From the North Carolina Department of Transportation:

Colonial Heritage Byway

This byway provides an impressive tour of 18th and 19th-century history in North Carolina. While traveling on NC 62, look for many older houses and barns dating back to the 1800s, especially in the town of Milton. The NC 86 portion of the byway provides a glimpse of the Piedmont’s dairy farms and rural life.

My goal was to photographic tobacco barns. I read that they were a traditional architectural feature of the Carolinas that were disappearing because tobacco is a less important agricultural commodity than in the past. I started my journey in Carrboro and headed northwest towards Hillsborough (a very nice town with an excellent coffee shop, Cup-a-Joe, on West King Street) and proceeded north on NC 86 towards Cedar Grove.  It was a cheerful sunny day but with rather harsh lighting.

Garage with residence above, 8906 Old NC 86

Fixer-upper, 7403 NC 86, Cedar Grove

Vine explosion, 7403 NC 86, Cedat Grove

Heading out of Hillsborough, I did not see many old barns but was pleased to see some of my favorite topics, country stores.

Shed behind 8318 NC 86

Ahah, the first tobacco shed. I stopped at a workshop on NC 86, and when I told the proprietor what I was looking for, he directed me to an overgrown path behind his shop. At one time, these sheds had gaps in the logs, but afterwards, farmers added concrete chinking to seal the interiors.

McDade Store, McDade Store Road

Finally, between Prospect Hill and Hightowers, old-fashioned tobacco barns became more common.

Restored historic barn, Prospect Hill

I spoke to a farmer who owned the barn and land. This one had been restored by the state. He said that if a historic barn was standing, the structure could not be demolished. But, some farmers let the barns deteriorate to the extent that they collapsed, and then they could sell the land to developers who built McMansions. This farmer and several others I met were bitter that some landowners were willing to sell out. I saw signs protesting proposed gravel pit somewhere in the county.

Barn, NC 86, Hightowers, North Carolina

Sheds, NC 86, Hightowers

Asphalt siding house, Hightowers

Asphalt siding, similar to roofing shingles, were popular in the mid-20th century because they were durable, repelled bugs, and did not need paint. Notice how in the siding on this house was made to look like bricks.

Barn on Hwy 119, Hightowers

Shed on Hwy 119, Hightowers

By 5:00 pm, the light was fading and it was time return to Chapel Hill. I could have easily spent more hours driving on rural roads and looking for old barns and sheds.

No gas here, US 158, Leasburg

Slightly closed store, New Hope Church Road, Leasburg

This ends our short tour of part of the Colonial Heritage Byway. Thank you for riding along.

I took these photographs on Kodak BW400CN film using my 1949 Leica IIIC camera and its 5cm ƒ/2 Summitar lens. This roll of film was grainy, and dark areas looked sooty. This was one of my last rolls of BW400CN, and I will not buy any more.

The Football Scenic Road, central North Carolina (Abandoned films 08c)

North  Carolina Scenic Byways (from NC Department of Transportation)

Introduction

The State of North Carolina has a network of scenic byways that cover many of the historic and scenic parts of the state. If you go to the Department of Transport web page, you can download a book of the byways and look at an interactive map. You can also request a printed copy of the book.

The screen capture above is the online map on the NC-DOT web page. The blue line in the west is the Blue Ridge Parkway. Long-term readers may remember that I have driven much of the Parkway in 2017 and 2018. I have also driven the Nantahala and Fontana (Rte. 28) Byways. It is beautiful terrain in the west. 

For the urban decay photographer, the state is a treasure trove of old farmhouses, mills, factories, and quiet little towns that look like time passed by. 

The Football Road (west of Chapel Hill)

The DOT calls the route between Chapel Hill and the outskirts of Greensboro the Football Road. I do not know why it has this name. But it goes through nice farm country and avoids the boring Interstate 40. Part of it is Old Greensboro Road and then becomes the Old Greensboro-Chapel Hill Road.

Barn on Old Greensboro Road, near Chapel Hill

Farm house, Dawson Road near Chapel Hill

Farm, Old Greensboro Road near Chapel Hill

Barn, Greensboro-Chapel Hill Road near Snow Camp

Farm, Greensboro-Chapel Hill Road near Snow Camp (Jupiter-8 lens, yellow filter)

Happy cows, Greensboro-Chapel Hill Road near Eli Whitney

The Greensboro-Chapel Hill Road winds its way past farms and woods. An occasional car or tractor passes by. I was surprised that many of the silos consist of concrete tubes reinforced with exterior steel bands. It is a cylindrical version of a barrel. 

Fixer-upper house, Greensboro-Chapel Hill Road, near Snow Camp

Snow Camp

Historic school, Snow Camp Outdoor Theatre, Snow Camp

Restaurant next to Snow Camp Outdoor Theatre

The Snow Camp Outdoor Theatre is at 301 Drama Rd. (great name!) in Snow Camp. The site was empty when I visited in October, but in-season, the semi-professional company has been presenting plays for over 40 years. The restaurant next door will not be providing any meals for a long time..... 

Unoccupied farm, Holman Mill Road, Snow Camp

This ends our short excursion on the Football Road in central North Carolina. The time was late and I had to return to Chapel Hill.

These photographs are all on Kodak BW400CN film from my little Leica IIIC camera. I used my 5cm ƒ/2 Summitar and 50mm ƒ/2 Jupiter-8 lenses, often with a yellow filter to enhance clouds.

Huge architecture: Mills of New Bedford, Massachusetts (Abandoned films 08b)

Introduction

New Bedford is a historic seaport, whaling town, and industrial city facing Buzzards Bay on the south coast of Massachusetts. 

According to Wikipedia, New Bedford was once known as "The Whaling City" because it was one of the world's most important whaling ports in the late-eighteenth and nineteenth centuries. Whaling declined after the 1860s when petroleum was discovered in Pennsylvania and as overfishing almost eradicated whale populations around the world's oceans. 

Textile manufacturing replaced the whale trade (from Wikipedia):

In the midst of this decline, greater New Bedford's economy became more dependent on the textile industry, which began to eclipse the whaling industry in the late 19th century. The mills grew and expanded constantly, eventually comprising multiple sites along the Acushnet River. In 1875 alone, the Wamsutta Mills processed 19,000 bales of cotton into 20 million yards of cloth, which had a wholesale value comparable to that of the entire whaling catch, and continued to produce over 20 million yards of cloth yearly after 1883. The Wamsutta Mills remained the world's largest weaving plant until 1892.

My wife and I briefly visited New Bedford in late 2021 and looked at some of the monumental mill buildings. Many are empty now, but some have new uses, including residential. The New Bedford Economic Development Council prepared a City of New Bedford Historic Mill Inventory in 2008. You need to walk around some of the structures to see what huge businesses these must have once housed and image how many thousands of workers once toiled inside. We have seen similar huge brick mill buildings in Lewiston, Maine, in 2003 and Łódź, Poland, in 2016 (in a pre-Covid life).

New Bedford Harbor

Harbor Street, New Bedford. Note mill worker houses in the distance

Former power plant, Harbor Street (5cm ƒ/2 Summitar lens, orange filter)

Mill view from Gifford Street (taken from US Army Corps of Engineers hurricane surge barrier)

Clarks Cove

Clark's Cove is on the west side of the city, with Rodney French Boulevard running along the shore. We stopped at a driveway leading into a mill complex at 89 Rodney French. The gate was open and no one was around. I could not find a name of the complex or the name of the former milling company. The 2008 inventory does not list the original companies that operated these mills.

The Globe Furniture Company occupies part of the ground floor facing Rodney French. But most of the hulking complex appeared to be empty. The doors were secured and I could not go inside, but did not have enough time to look everywhere. 

The patterns of light and shadow were especially interesting in the harsh sunlight. I hope I can return with a 4×5" camera some day.

Details, patters, shapes, textures - no end to interesting photographic topics.

Workers' homes, Thatcher Street (digital image)

Another topic for a future visit is the worker housing that the cotton companies erected near the factories. The morning steam whistle would blow, and the factory workers walked to work.

I took the 2021 photographs on Kodak BW400CN film with my Leica IIIC rangefinder camera and the 5cm ƒ/2 Summitar lens. 

Vinny the Voigtländer Vito BL does Jackson (Abandoned Films 08a)

Introduction

Mr. Vinny, my little Voigtländer Vito BL camera, shares shelf space with a bunch of other cameras. He does not get out nearly often enough. Although well over 60, Vinnie is still a sturdy, well-built little fellow (I wish I could say the same for me). He has a rigid body and a 50mm ƒ/3.5 Color-Skopar lens. This is a unit-focus 4-element lens, Voigtländer’s masterful 1949 revision of the classic Tessar formula. This may be one of the best of these post-war 4-element lenses, and, of course, it was was fully-coated. The refined lens and the precision of the entire system contributes to Vinnie’s excellent optical output.

Last October (2021), I heard Vinny say, "Come on, take me to the big city." I loaded a roll of Kodak BW400CN film and took Vinnie to Jackson. 

BW400CN Film

BW400CN was a C-41 monochrome film. It was designed for photographers who wanted convenient black and white prints from any store or photo shop with a C-41 processing machine. Kodak discontinued it in 2014.

I have mixed feelings about the BW. Sometimes, the tonality was very pleasing and the results looked good; other times, the dark areas were muddy and nasty. Even though Kodak claimed that it was extra fine grain, I found it to be surprisingly grainy and it often looked gritty. But that sometimes worked for me because I frequent gritty places. Regardless, I had three rolls left to use. I exposed them at EI=320 but probably should have given more exposure. This group of Jackson pictures is from the first roll, which may have degraded with time. It was X-rayed at least once during a trip to Asia, which may account for some loss of sensitivity and fog.

If you want a current film that can be processed in C-41 chemicals, Ilford still sells its XP-2 in 135 and 120 sizes.

East Jackson

Junior Achievement of Mississippi, High Street, Jackson

This is the abandoned Junior Achievement building at the very east end of High Street, just below the Pearl River levee. The organization educated young people in business and economic issues, taught them financial literacy, and prepared them for work and careers. However, Junior Achievement of Mississippi failed in the 2009 recession and left its building behind.

Bayou at High Street, Jackson (1/300 ƒ/11, green filter)

This is a typical bayou, or stream. This one separates Junior Achievement beyond the thicket to the left from the BMW automobile dealer off to the right. This bayou may be too small to support any alligators, but I avoid wandering down in the brush and muck.

Morris Ice Company, 652 S. Commerce Street, Jackson (yellow filter)

Morris Ice Company, 652 S. Commerce Street, Jackson

The former Morris Ice Company is an interesting time capsule of early 20th century industry. Ice was critical in the hot southern summers for hospitals, food preservation, brewing, food shipment, and keeping your martini chilled. Mr. Pickering, who was planning to redevelop the old factory, let me photograph inside in 2019. The Covid must have disrupted his plans because I have not seen any changes there since 2019. But a company that builds wood canoes still rents part of the space.

South State Street, view north (1/300 ƒ/11, yellow filter)

Dot Com Motors, 1011 S. State Street, Jackson (1/300 ƒ/11, yellow filter)

State Street is a major north-south street running through the heart of Jackson, The southern part of State is pretty grungy, with closed car dealers, tire shops, and warehouses. The Corvette in the first photograph has been perched on its post for at least three decades. A former fast food restaurant once hosted Dot Com Motors. I supposed it wanted to be modern.

West Jackson

Tarrymore Motel, Hwy 80 west, Jackson

Former Coca Cola bottling plant, 1421 Hwy 80 west, Jackson (1/125 ƒ/16-22)

During the post World War II era, Highway US 80 west was a thriving industrial and commercial area. Old-timers recall sophisticated restaurants and motels, and major companies established factories there. 

Today, Hwy 80 is a wasteland of closed hotels, empty factories (like the Coca Cola bottling plant in the photograph above), low-end fast food restaurants, payday loan shops, used car dealers, and abandoned warehouses. Homeless people have occupied old hotels and stripped the fittings. I am baffled and have no explanation for the decay. But this is not unique to Jackson; many other American cities have experienced the same hollowing out and decay of their infrastructure. 

Long-term readers may remember that I have photographed on Hwy 80 before. It gets worse as the years pass. 

4986 Hwy 80 (west of Metrocenter Mall)

Summary

Vinny enjoyed his outing to the big city of Jackson. His Prontor shutter is accurate, and his little 4-element Color-Skopar lens is highly capable, sharp, and free from obvious flare. He demonstrates top quality German precision manufacturing and has aged well (better than I have!). Thank you for sharing his excursion.

The Kodak BW400CN film worked out well for these frames. It is grainy, but that is fine for some topics. The film has been discontinued, and I recommend you readers not bother trying to find any. Use Kodak Tri-X or Fuji Acros instead. I will post more photographs from this last group of BW400CN rolls in the future.

 

Appendix A, Filters

Voigtländer filters are confusing to buy because the company used a numerical code to describe their various types. The table below summarizes the filters available in the 1950s and 1960s. A label such as 301/32 meant type 301 filter (light yellow) in the 32mm size. Some of their lenses used filters that pushed on, but others were threaded in various sizes. For the smaller lenses on Vito cameras, an alternative is to buy a 32mm Series VI adapter and mount Series VI filters. These are inexpensive but somewhat inconvenient in the field. The genuine Voigtländer filters are elegant, coated, and compact. Focar filters were for magnification, i.e., diopters.

 

Voigtländer Filters
Name	Type	Factor	Code
G1	Light yellow	1.5	301/32
G2	Med. Yellow	2	302/32
Gr	Light green	4	306/32
Or	Orange	5	308/32
Uv	Haze		317/32
85C or A	Color correction		318/32
SF	Skylight		325/32
Focar 1			303/32
Focar 2			304/32
Focar 0	f = 2m		342
Focar A	f = 1m		343
Focar B	f = 0.5m		344
Focar C	f = 0.5m		345
Focar D	f = 0.15m		348
Hood			310/32
Note: /xx means lens diameter. 32 is push-on.

Optical Treasure: 1960s Jupiter-8 Lens from the Soviet Union

This will be a short review of my new/old Jupiter-8 50mm ƒ/2 lens from the Soviet Union. It was made for use on Soviet thread-mount cameras, like the FED, but uses almost the same 39mm thread as the original Leica bodies as well as most Japanese post-war rangefinder cameras.

Jupiter-8 lens mounted on my 1949-vintage Leica IIIC camera

Coated front element of Jupiter-8, probably 1962 construction (note: scratch-free and clear)

Many film photographers love the rendition from the classic Zeiss Sonnar 50mm ƒ/2 lens. Dr. Ludwig Bertele at Zeiss Ikon, the German optical giant, first formulated this lens in 1929. The name comes from the word “Sonne,” meaning Sun. Zeiss sold it with their magnificent Contax rangefinder camera in the 1930s and later. This competed with Ernst Leitz's popular Leica thread-mount cameras when equipped with their 5cm ƒ/2 Summar lens or the later 7-element ƒ/2 Summitar lens. 

After WWII, the Soviets packed up and moved remnants of the Zeiss factories, tools, machinery, glass, and technicians to the Soviet Union and painfully began to rebuild their home optical industry. They largely copied the Zeiss optical designs but made minor changes over the years and coated the glass surfaces to reduce flare. They renamed these new lenses Jupiter (ЮПИТЕР). The 50mm ƒ/2 version is the ЮПИТЕР-8. They produced these lenses from the early 1950s until about 1991, when the Soviet economy collapsed. The Jupiter-8 was the standard lens on many Zorki, FED, and Kiev cameras, which were made in the millions. The Soviet lenses had aluminum mounts instead of the superior brass/chrome mounts of the older German production. The Internet is full of detailed reviews of the Jupiter-8, so I will not repeat the same material. 

Recently, the Lomo company reintroduced the Jupiter-3, which is the 50mm ƒ/1.5 model. Note that Zeiss sells a modern ƒ/1.5 Sonnar lens, an amazing testament to a long-lasting design (but the current lens is different than the original, with improved coating and optical adjustments to reduce focus shift).

Eighty years after the original design, photographers still like the way the Sonnar reveals details on film. Original 1930s and 1940s German examples are seriously expensive. As an alternative, I decided to try a Jupiter-8 and found one from a seller from Arizona. He said he bought it decades ago along with a set of Soviet thread-mount cameras. Arizona - that suggests dry and no fungus. This one was a Version 2 (design PT3060) from 1962 production (earlier is better for Soviet optics). The lens was clean and the coating almost perfect, but it was need of re-lubricating, as do almost all of these old Soviet optics; after all, they are 50+ years old. 

This lens uses a filter mount thread of 40.5mm. This was common for German lenses in the post-war era. I already had a 40.5mm Series VI filter adapter, allowing me to use my Series VI filters. Note that some Japanese lens makers used a filter diameter of 40.0mm for their ƒ/2 or ƒ/2.8 rangefinder lenses. Why did they do that? Was it to sell brand new filters and accessories to buyers of Japanese lenses? Yes, of course!

Here are some Jupiter examples, both when mounted on a digital camera and when used with film on my Leica IIIC and Leica M2 cameras.

Fuji Digital

I attached the Jupiter-8 to my Fuji X-E1 digital camera using a Leica thread mount-Fuji-X adapter. On all of these scenes, I set the Jupiter at ƒ/5.6 and mounted the camera on a tripod to eliminate vibration. This digital camera has an APS-size sensor, so a 50mm lens provides a field of view similar to a 75mm lens on a 35mm camera. Click any frame to expand to 1600 pixels wide.

 

Approaching storm, Kansas City Southern rail yard, Levee Street, Vicksburg (ƒ/5.6)

After the storm, Levee Street, Vicksburg

Kansas City Southern rail yard from the Yazoo Canal levee, ƒ/5.6

Washington Street view north

Pine Street cottages photographed from Belmont Street

Shed on Yazoo Canal levee (no longer extent)

Panatomic-X Film 

I loaded Kodak Panatomic-X film in my Leica IIIC. I thought it appropriate to expose an old-fashioned film in an old camera body mounting an old lens. The package proved to be compact and convenient to use, but I do wish the Jupiter had click-stops on the aperture control. I exposed the Panatomic-X at EI=20, so most photographs required a tripod. I used a Gossen Luna Pro Digital light meter in incident mode for most measurements.

Sondheimer, Louisiana (1/10 ƒ/11.5, medium yellow filter, tripod-mounted)

1101 N. Chestnut Street, Tallulah, Louisiana (1/10 ƒ/8.0)

PoBoy Don's, LA 602 east of Tallulah, Louisiana (1/100 ƒ/4.0, hand-held)

Footbridge from Avenue B over Stouts Bayou, Vicksburg, Feb. 15, 2021 (1/10 ƒ/11.5)

Acadia Place, Vicksburg, Feb. 15, 2021

Kansas City Southern rail tracks at Maloney Circle, Vicksburg National Military Park (1 sec. ƒ/16)

Fairground Street Bridge (¼ sec ƒ8; click to see 2400 pixels)

Fuji Acros 100 Film

Old bus, Moseley Gap Road, Vicksburg (¼ sec. ƒ/16)

Ford Fairlane, Mt. Alban Road, Vicksburg (1/10 sec. ƒ/11.5)

I also finished a roll of Fuji's superb Acros 100 film with the Jupiter-8 lens. Being an ISO 100 film, it is easier to use out in the field than the slow Panatomic-X film (but the examples above are tripod-mounted). 

Kodak BW400CN Film

Tripp's Store, Mount Carmel Road, Chapel Hill, North Carolina

Barn off Greensboro-Chapel Hill Road, Snow Camp, North Carolina (1/100 ƒ/11.5, yellow filter)

Greensboro-Chapel Hill Road, near Snow Camp, North Carolina

I have mixed feelings about Kodak BW400CN film. For these scenes, it worked well. At other times, it looks grainy and gritty. Possibly it does not age well. Regardless, I have used up my last three rolls and will not search for any more.

Leica M2

Farm, FM665 near Alice, Texas (Acros film, 1/60 ƒ/8, medium yellow filter)

I mounted the Jupiter-8 on my Leica M2 using a genuine Leitz thread-mount to M adapter. The fit is perfect, and the rangefinder shows infinity exactly when the lens is set at ∞. The lens is light and convenient, and I can mount Series VI filters using a Tiffen 40.5-VI mount. I like the "look," and the background is smooth. This may be the "bokeh" about which so many internet warriors argue. I guess I have sufficient bokeh..... 

Karmann Ghia on Olympia Avenue NE, Olympia, Washington (Fuji Acros film, ƒ/4)

Alley parallel to 4th Avenue, Olympia, Washington 

Comments and Summary

 

This old Jupiter-8 is a nice lens, and I like the results on both a digital camera and on black and white film. I think it sings with film. I do not see any obvious barrel or pincushion distortion, and exposure is even across the frame. At apertures wider than ƒ/5.6, sharpness falls off at the corners. On the scale of web pictures, the falloff is barely visible. I do not see (or do not know what to look for) the unique Sonnar rendition in these examples, but my photography friend in the UK said the special magic is at ƒ/2. This Jupiter has less field curvature then my 1949 Leitz Summitar lens. 

The Jupiter has an aluminum body, which is conveniently light weight. The finish is not up to German or Japanese standards, but at least on my sample, the numbers are perfectly legible. No issues.

Many photographers have written about focus shift with Sonnar lenses. I have not seen it yet, but have not taken close-focus photographs at wide aperture. This lens and my Summitar both focus perfectly at infinity using the same Leica-Fuji X adapter on my Fuji X-E1. Therefore, I assume that the Jupiter-8 is correctly adjusted for infinity on a Leica thread-mount camera. Close-up, it may back focus a bit, but I will need to test some more (one day in my non-spare time). UPDATE: I sent it to Mr Brian Sweeney, a Soviet lens expert in the USA, for a cleaning and adjustment for correct focus on Leica cameras.

 

I have also used one of the superb 1960s Canon 50mm ƒ/1.4 lenses. The Canon was more uniform across the field and may have marginally better resolution. The mechanical construction was much better, typical Japanese excellence and precision from the 1960s. Its downside for me was the size of the overall unit. It blocked too much of my viewfinder of my little Leica, and the auxiliary 50mm finder was clumsy. 

 

In summary, the Jupiter-8 lens works well and has a nice rendition on film and digital. It is conveniently compact. When I use my little IIIC camera, I just may end up taking both the Jupiter and Summitar 50mm lenses in my camera kit.