Mid-state Mississippi Road Trip Part 1: Raleigh, Mize, Magee, Mendenhall, and Florence

Introduction

Central Mississippi is out of my usual exploration area. I suppose I do not get out enough. Therefore, in conjunction with driving my wife to the airport, I have made an effort in the last couple of years to explore south of Interstate 20 and south of Jackson. This is an area of gentle rolling hills, farmland, forest, and small towns. We will take a gentle swing heading south from Jackson, then west, and then back to Vicksburg. There is a wealth of photographic subject matter. I will break up this impromptu tour into three blog articles. Also, the tour is a conglomerate of two years exploring, so it is not exactly one big circle route.

Florence

3011 Hwy 49, Florence, (April 14, 2019, Panatomic-X film, Fuji GW690II camera, 90mm lens, ½ sec ƒ/11)

In 2019, I drove south on Hwy 49. Usually, I just rush through Florence in a hurry en route to Hattiesburg or somewhere else. Seen from 49, it consists of fast food shops and gas stations - totally dull and horrifying in an American strip-mall way. Ah ha, an interesting shop. A gent was cleaning and we chatted. He said it was once a mechanic shop, but it now sells antiques. (Click the photograph to see detail at 2400 pixels wide).

Brandon

Unused cottage, Brandon, Mississippi (Leica M2, 50mm Summicron-DR lens, green filter, Kodak BW400CN film)

On my 2018 trip, I drove south on Rte 18 from Brandon, which is now largely a suburb of Jackson. Heading south on Rte 18, I saw an abandoned cottage in the woods. Otherwise, not much caught my eye.

Raleigh

Gasoline pumps, Raleigh Food Center, Hwy 35, Raleigh

Raleigh is at the south end of the Bienville National Forest. I assume the town was once heavily involved with forest products. I did not see much that was photogenic.

Mize

Faithway MB Church, Maple Street, Mize (50mm ƒ/2.0 Summicron-DR, green filter)

Mize is a pretty little town with a couple of handsome churches. The railroad went right through town, as it did for almost all small towns in the early 1900s.

Magee

1st Ave. NE, Magee (50mm, polarizer)

Hotel site, Hwy 49 north of Magee (50mm ƒ/2.0 Summicron-DR, green filter)

Magee looked reasonably prosperous, and several blocks of turn of the century commercial buildings attest to its being an important commercial center decades (or a century) ago. Somewhere between Magee and D'Lo, I found an old drive-in theater almost engulfed by the woods. Unfortunately, there was no way to photograph the screen, and I think the projection booth hut was gone. A trucking company may have owned the land.

Mendenhall

Big Smitty's, Hwy 149, Mendenhall

Main Street, Mendenhall (Leica M2, 50mm Summicron-DR lens, polarizing filter to emphasize sky) 

Mendenhall tracks, view west from Main Street crossing (50mm ƒ/2.0 Summicron-DR, polarizer) 

Mendenhall Grocary & grain, Main Street, Mendenhall

Maain Street, Mendenhall (50mm ƒ/2.0 Summicron-DR, polarizer)

Mendenhall, about 25 miles south of Jackson, is the seat of Simpson County. The handsome courthouse dates from 1908 and occupies a prominent spot on a hill at the top of Main Street. It is a nice little town, but the stores on Main Street are now largely empty.

Many years ago, the Mendenhall Hotel was famous for its southern cuisine served via lazy Susan turntables. It was featured in the 1977 edition of Roadfood by Jane and Michael Stern. We had the book and meant to try out the Mendenhall Hotel but never passed through the area at the right time of day.

Star Theater, Main Street, Mendenhall in 1990 (no longer extant). (Kodachrome slide, 35mm ƒ/2.8 Olympus Zuiko Shift lens.)

I was lucky to photograph the Star Theater (opened in 1938) on Main Street in 1990. But when I looked for it on my 2019 trip, it was gone. According to Wikipdia:

"During the late 1960s, the Star Theatre had problems with vandalism and growing racial tensions among its young patrons who objected to maintaining segregation. Under Jim Crow customs, black customers were required to sit in the segregated balcony and wanted this changed after national legislation to end such practices.

In October 1979, a newly remodeled and fully integrated Star Theatre reopened under the ownership of Danny Collins, a young local entrepreneur. Its first movie was the Chuck Norris film A Force of One. The theatre enjoyed revived popularity until competition from video arcades and cable TV forced Collins to close some three years later. 

The theatre was repainted when used as a location for the film My Dog Skip. Heavy rains caused the roof to collapse in April 2008. The theatre burned down in 2016."

This ends Part 1 of our informal tour of mid-Mississippi. In the next installment, we will proceed west to Pinola and other small towns.

For the Florence photograph of the old store, I used Panatomic-X film in my Fuji GW690II, the "Texas Leica."  Some good news: I bought 6 more rolls of the 120-size film from the same eBay seller who sold me my present stock in 2003. In effect, I have paid him to store the film in his freezer for a decade and a half. Fortunately, slow speed black and white film, when kept cold, is usable decades after its official expiration date. But color films do not last as well, as my experience with expired Ektar 25 demonstrated.

The other photographs are from Kodak BW400CN film taken with my Leica M2 camera with 50mm and 35mm Summicron lenses.

From the archives: Country Stores, Roosters, and other Oddities

Dear Readers, I recently found in my too-many boxes a plastic slide holder with some slides that I sent as a submission to Leica Fotografie International. They never published my essay and returned my slides, but I never got around to filing them away. I decided to scan them first and show you some samples. Store fronts and home-made signs have always interested me. They demonstrate merchants advertising their wares and trying to attract customers, a form of folk-art. So here we go, in chronological order, but no specific geographical order.

Front Street, Morgan City, Louisiana (Leica IIIC, 5cm f/2.0 Summitar lens)

Front Street, Morgan City, Louisiana (Leica IIIC, 5cm ƒ/2 Summitar lens)

In the early 1980s, I worked for a marine geotechnical company. We had steamed (dieseled) in to Morgan City after a couple of weeks offshore in the Gulf of Mexico. I had never been to Morgan City before and found the floodwall a convenient viewpoint of the old downtown.

Jerry's, Corpus Christi, Texas (Rollei 35S, 40mm ƒ/2.8 Sonnar lens)

A relative lived in Corpus Christi, and this pottery company offered a wealth of garden art. I should have bought that pink donkey, or maybe the leopard.

Galveston, Texas (Leica M3, 50mm ƒ/2.8 Elmar-M lens)

Hurricane Alicia was a powerful hurricane that caused major damage in coastal Texas in August of 1983. We drove to Galveston to see what had happened. Many cottages on the beaches had been damaged, but others, like this beach shop, were intact.

Bremond, Texas (Rollei 35S, 40mm ƒ/2.8 Sonnar lens)

Bremond was a typical agricultural/cattle town northwest of Houston. Even in the 1980s, many of these small towns were quiet, with closed stores along the main strips. That is when I first became interested in photographing urban decay. Bremond looked like it was doing a bit better than many other Texas towns, but I have no idea of its status now.

Mendenhall, Mississippi (Olympus OM1 camera, 35mm ƒ/2.8 shift lens)

In 1990, on my way to Mobile, I decided to stop in Mendenhall and look around. There was an old theater/cinema in reasonably sound condition near the courthouse. Do any readers know if the theater is still existent? (Update: the building burned down)

Rooster-mobile, Mary Esther, Florida (Olympus OM1, 35mm ƒ/2.8 shift lens)

Mary Esther, Florida, had a rooster car, as well as some pig- and cow-mobiles. And the rooster was built onto an old Chevrolet El Camino. Maybe I should have offered to buy it and drive it home to Vicksburg. El Caminos now fetch serious prices (and a rooster may enhance the value).

Crossroads store, Reganton, Mississippi (Leica, 50mm ƒ/2.8 Elmar-M lens)

The venerable Crossroads store is on Old Port Gibson Road in Reganton, near the Big Black River, about 20 miles south of Vicksburg. I have visited on an off over the years, most recently in 2018.

Biloxi, Mississippi (Leica M3, 50mm lens)

Before Hurricane Katrina, US 90 along the shore featured many beachy shops, including this pink palace. But I prefer the gorilla on Alberti's Italian Restaurant. I wonder if he swam to safety in Katrina?

Snuffy Smith's, Wilmer, Alabama (Leica M3, 50mm lens)

Snuffy Smith's antiques and gasoline was a famous landmark on Moffett Road in Wilmer, Alabama. Classic folk art - I stopped several times to photograph. But the last time I drove through Wilmer, I did not see Snuffy's. Is it gone, or did I just drive by too quickly?

Original Oyster House, Gulf Shores, Alabama (Leica 50mm lens)

The Original Oyster House, as I recall, had excellent seafood (and alligator, if you were interested), along with condiments from Greece. I assume the owners were Greek, which usually bodes well for a restaurant. Is this still existent?

Santa in Seminary (Nikon F3, 50mm ƒ/1.8 Nikkor lens)

Finally, the well-traveled Santa Claus comes to Seminary via tractor. Good choice in a farming community.

Madison St. (Old Hwy 80), Bolton, Mississippi (Leica M3, Kodachrome film)

Well, Santa can relax with a brew or a Bud at Mack's Cafe in Bolton.

This is the end of our short random tour of southern stores, rooster-mobiles, and other oddities. All photographs were from Kodachrome film, mostly K25. Using Kodachrome was a bit clumsy because you needed to mail the exposed film to one of the few processing laboratories in the United States that could handle the highly specialized processing and dye chemicals. The ISO 25 emulsion was unsurpassed in grain size and resolution. Also, Kodachrome had excellent archival properties when stored in the dark in reasonable climate control. As you can see, the examples above scanned well and the colors are still vibrant.

Sadly, Kodachrome manufacture ended in 2009, after 7 (seven) decades of production. The last processing was in December of 2010 at Dwayne's Photo in Parsons, Kansas. The movie, "Kodachrome," is about this last processing and a road trip to Parsons. In the poster, you can see that Ed Harris is wearing a Leica.

1950s Excellence: the Leitz 50mm ƒ/2.0 Type 2 Summicron-DR lens

Leitz 50mm ƒ/2.0 dual range Summicron lens in original box. 

Introduction 

Leica's 50mm Summicron lenses have been famous for optical and mechanical excellence for over 60 years. Leica's term Summicron means a lens with maximum aperture of ƒ/2.0. They have been improved over the decades and are still in production - how many other consumer products have lasted over a half century? Even more amazing, a new lens will fit on a 50-year-old Leica M body, or a 60-year-old lens will work on a brand new film or digital body. When you consider the longevity, Leica lenses are reasonable price, despite the hatred (= envy) from many modern digital users.

A convenient summary with photographs of the different versions is on Ken Rockwell's site.

5cm ƒ/2.0 Summitar lens in extended (ready to photograph) position

Summitar

Ernst Leitz produced the predecessor lens, the 5cm Summitar, from 1939 to 1953, with 170,761 units total. War-time lenses were uncoated, but from 1946 on, they were anti-reflection coated. Eastman Kodak and Zeiss had coated optics for military use during World War II, but coating all air-glass surfaces on general civilian optics became widespread only after the war. The Summitar had a complicated design of 7 elements in 4 groups. Human computers using mechanical calculators and trigonometry tables must have made a heroic effort to compute the ray paths. The Summitar's central sharpness is superb, but the edges fall off and there is field curvature. This can be used creatively, and regardless, "sharpness" is not normally the factor that makes a photograph successful. For examples, please look at some of my 2017 Nepal articles. In 1953, the Summitar lens cost $158 in USA.

Summicron Type 1

E. Leitz introduced the first Summicron, the Type 1, in 1952. It was an update of the Summitar, also mounted in a collapsible barrel. This lens was also manually computed, although surely the workers used electrical tabulating machines. The first electronic computers after World War II were used for ballistics analysis, atomic weapons research, rocket trajectories, and military optics. The 1953 USA cost for the Summicron was $183.

A note on collapsible lenses: When the E. Leitz company introduced its first camera in 1923, it used perforated cine film but doubled the frame size to 24×36 mm. All other cameras then used much larger roll film or individual sheet film. So the new small image surface became known as miniature format. The cameras were intended for travel or adventures like mountain climbing. Therefore, the manufacturers wanted to make the cameras compact and portable. One way to do that was to build a lens in a barrel that could collapse into the body. As the years went by, cameras grew larger and heavier (like automobiles or, most grotesquely, American SUVs). The Zeiss Contarex of 1960 had grown to 910 grams for just the body. The Nikon F with its metering head was a big package, as well. And today, the digital single lens reflex (DSLR) in "full frame" size is a bulbous thing graced with a protruding penile lens that points at its subject like a cannon. Just tell DSLR users that they really have the miniature format.

1963 Type 2 Summicron lens with single focus range.

Summicron Type 2

E. Leitz introduced their Type 2 Summicron in 1956. It was in production until 1968. To improve the precision of the glass alignment, Leitz mounted Type 2 optics in a rigid barrel. It was a masterpiece of mechanical precision and elegance, but the construction of brushed chrome over brass made it heavy. This lens was also hand computed.

Leitz began computer-aided lens computations after about 1960 at their factory in Midland, Ontario, Canada, under the guidance of Dr. Walter Mandler (from Erwin Puts). It is an interesting history of international competition about this time. Japanese optical companies such as Canon, Nikon, and Topcon were also exploring new lens designs with the aide of early computers. They were able to market lenses with almost as refined optical characteristics as Leica but at lower price. The brilliance of the Japanese companies was to bring superb optics to a wide audience at reasonable price.

Leitz made two versions of the Type 2 lens. One had a single focus range covering 1m to infinity. The photograph above shows a 1963 lens that I bought from a friend in town. It was available in M-mount  (63,055 units) as well as the 39mm thread mount (1160 units; now a rare collector item).

1967 Dual range Summicron without goggles.

Dual range Summicron with goggles attached on the flat plate. The lens has been extended to its closest focus distance.

The second version had a dual focus range and is known as the DR. The normal range was 1.0 m to infinity. But if you wanted to focus on a closer object, you slid a spectacle viewfinder attachment onto a flat plate on the top of the lens. The goggles depressed a button, which let the lens focus from 0.48 to 0.88 m. The goggles correct the parallax of the rangefinder view. It was a clever way to let a rangefinder camera focus more closely than the normal 0.8 or 1.0 meter. A reflex camera does not have these limitations, but in the 1950s, most miniature camera photographers were still using rangefinders. Total production was 55,145 units.

Note: the goggle units varied slightly in design over the production period. You must have the correct unit for your lens for it to mount and focus correctly.

My stepdad bought the DR in the pictures above in 1966 or 1967. This lens and M2 camera took family pictures in Greece and traveled to Asia, Africa, the Indian Ocean, and North America. Now it photographs urban decay in Mississippi and Louisiana. This one has pristine coating.

I could not find a complete Leica price booklet from the 1960s, but I found a few prices in US $ for M2 body and lenses:

• M2 w/50mm ƒ/2 rigid Summicron 423.00
• M2 w/50mm ƒ/2 DR Summicron 465.00

Optical unit and focus mount of Summicon-DR lens. Serial numbers must match.

Special note: the optical unit can be unscrewed from the focus unit. If you buy a used DR lens, the serial numbers must match. Do not accept an unmatched lens. 

I also have a Type 4 50mm Summicron from 1984 or 1985 production. I will write about it in a future article. It is mounted in a lighter weight black alloy barrel as opposed to the gorgeous brushed chrome of my DR unit.

Examples with Kodak BW400CN film

On a recent day trip through rural Mississippi south of I-20, I grabbed a roll of Kodak BW400CN. I have had mixed results with this film in the past. Sometimes it looks muddy, but sometimes I like the tonality. Could there be differences in the C-41 chemistry? Regardless, here are a few samples from my Leica M2 and the 50mm Summicron-DR. I was surprised how the film renders green as quite light, but only for long exposures in settings such as dense underbrush. I do not recall seeing this before. The BW is pretty grainy, but I like the effect. (Click any picture to enlarge it.)

Abandoned farm house, Rte 18 in Brandon, Mississippi.

Remains of a gasoline station, Raleigh (with polarizer filter).

Big Smittys, MS Hwy 149, Mendenhall. This is a former Pan-Am filling station. 

Main Street, Mendenhall. Polarizer used to darken sky.

Shop on MS 28 east of Georgetown.

Historic Crossroads Store on Old Port Gibson Road, Reganton.

References

Laney, D. 1994. Leica Camera and Lens Pocket Book, 6th Edition revised and updated, Hove Collectors' Books, East Sussux, UK, 142 p.

Other

An interesting 2007 article about Leica cameras is in The New Yorker, September 24, 2007 issue, Candid Camera, The cult of Leica.

Update Dec. 2020: Here are silos in Delta, Louisiana, taken with long-expired GAF Versapan film. Click to enlarge.

Silos, Levee Road, Delta, Louisiana (GAF Versapan film, Summicron-DR lens, orange filter)