Down in the Alley* (in Olympia) (Oly 11)

View east from Colombia St. NW (40mm ƒ/4 Distagon Lens)

Some streets in downtown Olympia have alleys that run behind the commercial buildings. The alley gives access to loading doors, dumpsters, maybe the sewer. Some of the older housing neighborhoods, like Bigelow and South Capital, also have alleys. The latter are handy for utilities, trash cans, and, sometimes, access to garages. They are a bit boring, so I will concentrate on the city.

Between 4th and State Avenues, an alley runs east-west for about one km. The west end is pretty interesting with art works and some graffiti. This was too good to resist, and on an overcast April day, I took a walk with my Hasselblad and Fuji NPS 160 film. This was also a chance to use my new/old 40mm Distagon wide angle lens in tight quarters. 

Something is fishy at the rear door of Old School Pizza, 108 Franklin Street (40mm Distagon lens)

Walk east for a block, and there is more good stuff.

Loading dock of 312 4th Avenue (40mm Distagon lens). There was probably a hoist once in the apex of the overhang.

Turn 180º, and a carpentry shop has a door that leads to the alley.

Carpenter shop door with shiny new paint - already decorated (40mm Distagon lens)

Rear of 308 4th Avenue (100 mm ƒ/3.5 Planar lens)

Parking lot off State Avenue

Empty lots like this once had industrial or commercial buildings. Maybe a local reader can remember what once stood here. Some lots are empty because pollutet soil has been capped, but I do not know if that is the issue here.

View north to Billy Frank Jr. Place (318 State Avenue) (40mm Distagon lens)

I will show more alley pictures soon. 

215 Thurston Avenue (100mm ƒ/3.5 Planar lens, 1/30 ƒ/8.0)

Two blocks north is this interesting door. Some of you readers may remember it from a 35mm frame that I took with T400CN film.  

7th Avenue tunnel (100mm ƒ/3.5 Planar lens)

This is not quite an alley, but rather the grungy 7th Avenue railroad tunnel. An occasional train with petroleum tank cars trundles through here heading for an industrial area in west Tumwater. 

I took these photographs with my Hasselblad 501 CM camera using Fuji NPS 160 film. This was my last roll, and it is no longer available. Photoland at The Evergreen State College developed the film. 

* With apologies to Elvis Presley, who recorded Down in the Alley on May 25, 1966 on Spinout Records. The lyrics are not pertinent to my article, just the title. 

Danger: GAS and a Review of the Zeiss 40mm ƒ/4 Distagon CF FLE lens for Hasselblad (Oly 10)

Zeiss 40mm ƒ/4 lens with filter holder and 93mm UV filter in place

40mm Distagon ƒ/4 lens without filter holder

40mm Distagon lens mount. The slotted circle with a red arrow is the shutter cocking screw. The contacts were for the 200 series cameras (not used by my 501CM body)

The GAS Attack

Yes, yes, I know, I utterly lack discipline. I suffered an explosive bout of GAS (Gear Acquisition Syndrome) and bought an ultra-wide lens for my Hasselblad 501CM camera. I already owned a 50mm ƒ/4 Distagon lens, but sometimes I wanted to be closer or be right inside the scene and capture it. 

My 50mm lens provides a diagonal view similar to a 27mm in the 35mm format. This new 40 provides a 22mm view (note, the frame proportions are not the same, square versus rectangle, so these are approximations only). I have already learned that this 40 is hard to use and need to take advantage of its unusually wide view. 

Zeiss made four generations of 40mm lenses to fit Hasselblad V bodies. These are the mid-20th century mechanical bodies that use 120 film, usually for the 6×6 format. It is difficult to find production years, but this is an approximate summary of the 40mm lenses: 

Distagon 40mm ƒ/4 C with Bayonet 104 filter. This is a huge optic, computed in the 1960s. It was a pioneering retrofocus lens at the time. Single coat 1967-1973, multi-coated T* 1974-1982. These C lenses are said to be front heavy and hard to focus. Zeiss also made versions of this 40 for Rollei SL66 and Rollei SLX/6006.

Distagon ƒ/4 40 mm CF (FLE). Newly computer smaller lens with floating element, 93mm drop-in filters, 1982-1998.

Distagon ƒ/4 40 mm CFE (FLE). Newer style body (see the pictures above), 1998-2003.

Distagon ƒ/4 40 mm CFE (IF FLE). Internal focus, final 40mm model (rare and expensive), designed for use with digital backs, 2003-?

Hasselblad also offered a 38mm Biogon type of lens permanently mounted in a special body, the SWC. This is said to be the least distortion super wide lens. I was tempted but wanted a lens that would mount on my 501CM body and let me frame through the viewfinder. 

My 40mm CFE model accepts 93mm unthreaded filters, which are held in place by a retaining ring. These are the same concept as traditional series filters. But the 93mm units are rare, rare, rare. My lens came with a clear UV filter. Amazingly, I saw an orange 93 for sale at KEH and grabbed it instantly. Yellow and green 93s are unobtanium. If you buy a used 40mm lens, make sure that it includes the retaining ring/shade, the items that hold a 93 filter in place. 

Upper ring adjusts the internal floating element

My lens has an internal floating element, meaning one that can be shifted separately from the other elements. A focus dial lets the user select the subject distance. This is designed to improve optical quality for close-ups. Most of my pictures are of mid- or far distance, so I have only needed to adjust this extra setting a few times. The procedure for close subjects:

1. Focus on the intended subject.
2. Adjust the floating element ring to see the best sharpness across the frame.
3. Readjust the main focus ring. But it may not need to be moved at all.

Focus with ultra wide lenses can be tricky with any reflex camera. But with my Acute Matte viewfinder screen, focus pops in and out precisely. I do not know how the view would be with the older, dimmer Hasselblad screens. Minolta developed the technology for these screens, and Minolta camera viewfinders were known for being easy to use. As far as I know, new Acute Matte screens are no longer available, and used screens in good condition sell for around $500 now. Other companies offered brighter screens for the Hasselblad, (e.g., Beattie IntenScreen, BrightScreen) but the consensus is the Acute Mattes are the best. 

Fuji NPS 160

Cylinder man, Olympia Avenue, Olympia

Carpentry shop, alley between State and 4th Avenues, Olympia, Washington

Unused locomotive permanently (?) parked next to Deschutes Parkway SW near Capitol Lake

Black and White

Former Georgia Pacific Building, Capital Way, Olympia

The Seattle architectural firm of Naramore, Bain, Brady & Johanson designed this mid-Century modern building in 1952 for the Georgia Pacific plywood company. The architects made extensive use of plywood in the furnishings and construction. The Washington Department of Fish and Wildlife now occupies the building. 

West Bay dock on a gloomy afternoon

Summary

Well, I am happy with my new/old 40mm Distagon. Optically, this 40 is amazing. I see minimal light falloff at the corners of the frame, and the resolution is fine center to edge. I can focus it without hunting back and forth with both the 501's fold-up finder or the prism finder. This lens is wonderful with color film (stand by for more examples soon). 

It takes practice to use a lens this wide well. It helps to be right inside your scene. In the same way, I had to learn how to get the best effects from the ultra-wide 30mm lens on my friend's Hasselblad XPan panoramic camera. I also recently bought a 21mm Zeiss Biogon lens for the 35mm Leica - this will require a learning curve, too.

But this 40mm Hasselblad lens is a heavy chunk in my camera bag. I bought a small LowePro backpack to experiment carrying all this stuff. And I have yet to find 93mm yellow or green filters. 

More examples to follow. But no more equipment GAS. I promise.......

Dinosaurs and Toilets of Olympia (Oly 09)

Welcome to my Jaws (100 mm ƒ/3.5 Planar lens)

There are dinosaurs in Olympia! They live (and eat?) at Eastside Big Tom. Tom is a fried food emporium of the healthiest, most calorific treats one could imagine. According to Experience Olympia & Beyond,

Hungry dinosaurs, milkshakes featuring deep-fried bacon and maple, and a mouthwatering smashed burger dripping with goop sauce - Eastside Big Tom is a direct ticket straight back to the best parts of your childhood.

We could stop now and it would be enough. The dinosaurs, the ambiance that takes you back to the best parts of your childhood, the smashed-burger dripping with sauce that runs down your chin and you don’t even care who sees it. But there are delights like the Bellicose Badger shake (featuring deep-fried bacon and maple) and the Birthday Cake soft-serve ice cream cone waiting in the wings. Customers wait with baited breath for Michael to share the monthly special shake, named after an animal (not the ingredients) in alphabetical order. Prior to the Bellicose Badger he featured the Aggravated Aardvark (peanut butter and pickle juice). These shakes may sound a bit odd, but for the life of me I can’t understand why everyone isn’t putting deep fried bacon in their shakes. It’s amazing.

Bacon milkshake?? I may need to try this one. 

Form two lines and order your treats. You can also sit behind the main building. (50mm Distagon lens)

Nice decorated potties (50mm Distagon ƒ/4 lens)

This is American folk art of the best type, hand painted with care and creativity. There is much more in and around Olympia, so I want to explore and record.

I took these photographs with my Hasselblad 501CM camera using Fuji NPS160 film, tripod-mounted. This was long-expired film, but it had been frozen for 20 years.

Vicksburg with a Hasselblad 100mm ƒ/3.5 CSi Lens and Fuji Pro 160 NS Film (Abandoned Films 10)

After successfully completing some medical treatments, I was overcome with a serious bout of GAS. That is Gear Acquisition Syndrome, although the other gas was also present. 

Hasselblad 501CM with 100mm ƒ/3.5 Planar CSi lens and correct hood

For over five years, I used an 80mm Planar lens on my Hasselblad. But sometimes, I wanted just a bit more reach. With 35mm cameras, I liked the 55mm ƒ/1.8 Super-Takumar lens on the Pentax Spotmatic. This was just marginally longer than the more common 50mm. Hasselblad's 100mm Planar lens would provide a diagonal coverage on 6×6 approximately equal to 55mm on 35mm, so I started looking at online vendors in USA. Soon, this gorgeous 100mm ƒ/3.5 Planar CSi lens came in a big padded box from Camera West. This is a 6-element Planar design and is reputed to be the highest resolution Hasselblad lens for distant subjects.

On a foggy and drizzly January day (my favorite light), I loaded a roll of Fuji Pro 160 NS film in the holder and headed out. This is a neutral color balanced film designed for wedding, fashion, and commercial product photography. Fuji did not distribute 160NS in the USA and discontinued it in the Japan market in October 2021.  

I posted these frames at 2400 pixels wide, so click any picture to see the details. Most were tripod-mounted.

Polk Street view east, January 7, 2023, 1/15 ƒ/11

Monroe Street looking south from China Street. The former Junius Ward YMCA is to the right.

Pearl Street near Fairground Street, 1/15 ƒ/16

2521 Pearl Street, still occupied (taken from railroad tracks)

501-509 Fairground Street (taken from railroad bridge), 1/15 ƒ/16

Floodwall and Bunge Corporation, Levee Street, view south (hand-held)

1109 Mulberry Street, view east, 1/30 ƒ/11

LD's Restaurant is in a building that formerly housed a club/bar (closed several times because of shootings) and a liquor store.

Railroad yard from Levee Street - 250mm ƒ/5.6 Sonnar lens, 1/4 ƒ/22

2427 Washington Street - 80mm ƒ/2.8 Planar-CB lens

I added two frames that I took with my 80mm and 250mm lenses. Hasselblad's 100mm lens is considered to be their "sharpest" (whatever that means in internet fantasy-land), but all the Zeiss lenses are superb performers. My Planar-CB is a 6-element design, in contrast to the more common 7-element models. My 250mm Sonnar is a 1960s silver barrel model with single coating, but it is just fine.

I found a very handy padded bag to hold my camera on the car seat next to me or on the floor. The rest of the kit stays in a larger camera bag. This is a Ruggard Onyx 35, only $17.95 from B&H. $17.95? That is the cost of a roll of film now. The original idea came from a WalMart lunch box that my wife suggested, but this Onyx is well-sewn and protective. Highly recommended.

Thank you all for joining me on this semi-random tour of Vicksburg.

Summer Days in Barmouth, Wales

In 2002, my daughter said she wanted to plan the family's summer vacation. We said fine, go ahead. She chose Barmouth, Wales. Where? The town is in the county of Gwynedd, northwestern Wales, facing the Bae of Ceredigion. Well, it proved to be a brilliant choice. It feels remote from the crowds and hustle of England. We loved the geology, terrain, rugged landscape, view of the sea, and, to a lesser extent, the food. 

We flew into Heathrow and rented a right hand drive Fiat. The shifter was on the column to the left of the driver. Hmmm, shift with left hand? At least the position of the gasoline, brake, and clutch pedals are in the familiar sequence! We took the motorways north and then west across the mountains and down to the coast. I drove slowly and the locals flashed by on narrow country lanes. They probably said "Yanks" under their breath - or maybe out loud.

Barmouth and the estuary of the Afon Mawddach and Cardigan Bay.

William Wordsworth visited Barmouth in the 1800s: "With a fine sea view in front, the mountains behind, the glorious estuary running eight miles [13 km] inland, and Cadair Idris within compass of a day's walk, Barmouth can always hold its own against any rival." (from Wikipedia)

Railroad causeway across Cardigan Bay.

Barmouth blossomed when the railroad built a causeway and brought city dwellers to the town for their summer vacations. The causeway is now a splendid walking or biking path.

Slate roofs with a few modern exceptions

Almost all the construction in Wales consists of sturdy stone walls and massive slate roofs. Wales is a land of slate and shale. Quarrymen have mined and cut slate from the rugged mountains for at least 1800 years. Wales produced slate for British homes during the building boom as cities exploded during the Industrial Age. 

In the sunshine, Porkington Terrace.

The waterfront in summer is cheerful and sunny. People sit at cafes and bars on the Quay, soaking in the sun in anticipation of the gloomy winter. 

Room with a view

Barmouth was fun. This is one of the many places I want to see again. But when? There are thousand destinations yet to see in my remaining years.

These photographs are on Fuji Reala colour negative film film from my Fuji GW690II medium format camera. It has a 5-element 90mm ƒ/3.5 lens.

Decaying Rapidly: Oil Mill of Port Gibson, Mississippi

Oil Mill, Anthony Street (4×5" Fuji Astia film, 135mm Schneider Xenar lens and too-small hood)

In late April (2022), a friend and I drove to Port Gibson, in Claiborne County, to look for interesting photo topics. We had both been to the unused oil mill on Anthony Street before and taken pictures there. But this visit, we were both amazed how the brush, poison ivy, and trees have overtaken the site and engulfed machines. Today, you can barely see through the fence, which supports luxuriant poison ivy growth. The jungle is taking over, as per many of the Life after People episodes. Here are some 2012 photographs from when the site was more visible. At that time, the gates were secure and I could not enter.

 Tachihara 4×5" camera, 135mm ƒ/3.5 Schneider Xenar lens, Fuji Astia film

Mill from corner of Anthony and Vanderhaven Streets (Fuji Astia film)

The Mississippi Cotton Oil mill may have been one of the first oil mills in the United States, with the original brick buildings dating to 1882. Preservation in Mississippi discussed the site in a short 2012 article. In the 1800s, cotton seed arrived by railroad. The rail line ran from the town of Grand Gulf to the depot in Port Gibson, but the tracks are now gone. I do not know when mill operations stopped. 

In February of 2012, I read an article in the Vicksburg Post about the mill, inspiring me to drive south to look at the site.

Disassembly of unit on Anthony Street

On that day, a crew of workers were disassembling machines on the north side of Anthony Street (the side nearest to Bayou Pierre. One of them said the machinery would be shipped to an oil company in Nigeria.

This is the view west along Anthony Street

Intact in 2012

Freshly collapsed approx. 2020 (Ilford Pan-F, Hasselblad 501CM, 50mm ƒ/4 Distagon lens, 1/8 ƒ/11.5)

The front part of this building has collapsed. The brick unit to the rear looks like it is still mostly intact.

Vandeventer Street is rough, just horrifying. Many of these shotgun houses have disappeared. 

Port Gibson has some interesting photographic topics:

• I explored town on a gloomy December day using Ilford Pan-F film. 
• In 2019, I took some general photographs around town. 
• Wintergreen Cemetery is a walk through history. 
• The Historic Trace Theater burned and is now just a shell. 

The digital photographs above are from my Panasonic G1 µ4/3 camera. This was a very capable 12-mpixel camera, which I used in USA, Europe, and Nepal. Standby for some Hasselblad XPan panoramas in the future.