Greenwood Cemetery, Jackson, Mississippi

Dear Readers,

Let us return to the South with a series of Jackson and Vicksburg articles. Then we will jump back west to the Pacific Northwest and take a few stops further afield. Afterwards, I want to go through some of the family archives from various locations.

Jackson, Mississippi

Central Jackson, Mississippi, from Google Maps. Greenwood Cemetery is at the red marker.

Greenwood Cemetery is a peaceful and restful green space in downtown Jackson, Mississippi. According to the Greenwood Cemetery Association,

The members of the Greenwood Cemetery Association welcome you to historic Greenwood Cemetery. This cemetery was established by an act of the Mississippi State Legislature which was approved January 1, 1823. It has grown from the original six acres to its present twenty-two acres.

Greenwood Cemetery is downtown Jackson's largest green space. Towering oaks, magnolias, crepe myrtles, and cedars shade portions of the grounds and the sunny areas boast large collections of antique bulbs and ever blooming, own-root roses. Camellia bushes are scattered throughout the cemetery, and the wisteria is breathtaking in early May. There is something blooming every month of the year. The natural landscape and the beautiful monuments make it a calm and serene spot adjacent to the bustle of downtown.

Until the end of the 19th century, all residents of Jackson could be buried in Greenwood Cemetery and many were. The early records are incomplete and work continues on identifying those buried. 

I had driven by the cemetery many times but never stopped to walk inside. In early 2023, I finally looked around. 

Northeast part of Greenwood (Kodak Plus-X film, Leica IIIC camera, 50mm ƒ/1.8 Canon lens)

The cemetery was a bit overgrown. I recall a call for volunteers to clean brush and grass. All in all, it was not as interesting as cemeteries in south Louisiana, where many of the monuments are ornate and almost Baroque.

Just west of the cemetery is the historic Farish Street neighborhood. During the post-World War II economic boom, this was a thriving cultural and business hub for the African American community. After the 1970s, the neighborhood decayed severely. I remember 1990s attempts to encourage a comeback, but those efforts did not generate much (or any) reinvestment. This Mississippi Today article outlines the decades of disappointment, political infighting, and missteps in the attempts to revive the district. Preservation in Mississippi also posted some articles on Farish Street. 

I have posted pictures from the Farish Street area before. Here are more photographs from my archives from Lamar, Cohea, and Monument Streets, all immediately west of Greenwood Cemetery.

998 North Lamar Street (TMax 100 film, Olympus Trip 35 camera)

1107 North Lamar Street

Lamar Street runs north-south just west of the cemetery. Some (much) of the housing stock is seriously deteriorated. 

East Cohea Street view west

Empty lots in this area mean that deteriorated or abandoned houses have been razed. This is a significant cost for the city. It also means that the property no longer generates tax revenue. 

Cohea view east from near North Mill Street (Panatomic-X film, Fuji GW690II camera) 

Duplex at 146 Cohea Street

Duplex 147-149 Cohea Street

Duplex 153 Cohea Street

These modest duplexes likely once were homes for families who shopped and worked at the stores, restaurants, and jazz clubs on Farish Street. Now they are silent; the happy children are gone. 

Cottage, 155 Cohea Street

Cottage, 328 East Monument Street (no longer extant)

I took these photographs on Kodak Plus-X (2023 frames), TMax 100 (2018), and Panatomic-X (2012) films. 

This has been a quick look at central Jackson near Greenwood Cemetery. For other articles on Jackson, please see:

Jan 2010: Mississippi Basin Model
Jan 2010: Hawkins Field
Jan 2010: Naval reserve Center
Feb 2010: Hinds County Armory
Nov 2010: Jackson Municipal Library
Apr 2013: Hinds County Armory update
May 2013: Oil Mill
May 2013: Mill Street corner store
Apr 2015: Lock business, Pascagoula St.
May 2015: Mill Street
Jun 2015: West Capital Street
Jun 2015: Masonic Temple
Nov 2015: Mississippi Basin Model continuing decline
Dec 2015: West Porter Street
Jan 2016: Near the State Capital
Sep 2016: North Mill Street
Jul 2017: Grayson Court
Dec 2017: Old House Depot
Feb 2018: Basin Model update
May 2018: Fortification Street
April 2019: Woodrow Wilson Ave.
Aug 2019: Bailey Avenue restaurant

Mouldering Unused: Vicksburg's former Post Office and Federal Court House

Former Post Office and Federal Court House, undated post card

Former court house from Monroe Street (135mm ƒ/3.5 SMC Takumar lens)

The former U.S. Post Office and Courthouse is an imposing limestone edifice at 820 Crawford Street in Vicksburg. The Mississippi Department of Archives and History's Historic Resources Inventory describes it as a Classical Revival building begun in 1935 and completed in 1937. It was designed by architect Claude Lindsley under the administration of of Louis A. Simon, Supervising Architect of the Treasury from 1933 to 1939. 

A five-story, stuccoed, Classical Revival office building, facing north, with a flat roof. The first floor facade is scored to look like stone and has three sets of double bronze doors with fanlights and elaborate bronze entablatures and eight casement windows with transoms. The three entrances are recessed behind large arches. The second, third and fourth floors are separated from the fifth floor by a heavy cornice and from the first floor by a heavy belt course on which is inscribed "United States Post Office and Court House". The facade of these floors is broken by two recesses dominated by three-story Ionic columns and pilasters. The original lobby is intact.

In 2003, the federal government planned to transfer the Post Office to the City of Vicksburg, but the plan fell through and the City never took possession. The Environmental Protection Agency reported that the building contained asbestos throughout that had not been removed. Possibly this or other potential maintenance issues convinced the city to not accept the property. The federal government sold the building to private owners around 2007.

Vicksburg's new post office is a functional but totally uninteresting (OK, ugly) building on Pemberton Boulevard. Because of reduced need for space, the United States District Court for the Southern District of Mississippi relocated to the city of Natchez. 

In the 1980s and 1990s, my friends in the Cam-Arts camera club and I met in a conference room on an upper floor in the building. At that time, the US Army Corps of Engineers Lower Mississippi Valley Division occupied offices on the upper floors. It was a comfortable room with reclining, sleep-inducing plush chairs and a 1970s color scheme.

At one time, there was a well-equipped photographic darkroom somewhere in the building. Via a convoluted path, I ended up with a giant stainless steel sink that had once been in this darkroom. In 2003, I donated it to Vicksburg High School when the art teacher taught a photography class. The City plumbers plumbed the sink, which I hope it is still in place.  

Several times, I asked Shirley Waring, who represents a company that owns the building, if I could take some photographs inside. She agreed but subsequently never responded when I sent emails or called. Nancy Bell, director of the Vicksburg Foundation for Historic Preservation, told me that one photographer offered serious money to photograph inside, but to no avail. 

This handsome old building sits, leaks, and moulders, year after year. Fate: unknown. 

Handsome entrance with arched doorways (28mm ƒ/3.5 SMC Takumar lens.

Ramp added long after original construction (24mm ƒ/3.5 SMC Takumar)

Arched doorway with heavy bronze doors (24mm lens).

Detail of facade above arch (24mm lens)

A now-rare fallout shelter sign has survived

The rear of the building was distinctly more utilitarian, with a loading dock and fire escape stairs.

Original steel frame windows (30mm ƒ/10 Kodak lens adapted to Leica thread mount).

Loading dock stair (30mm ƒ/10 lens).

As I wrote above, this fine old building sits unoccupied and unmaintained. Eventually, decay, leaks, and plumbing issues will render it uneconomical for anyone to reuse it (this may be already happening). Too much time has passed. Who will pay to demolish it? 

I took the 2023 photographs on Kodak Plus-X film with a Pentax Spotmatic F camera. The last two photographs are on Fuji Acros film. 

Kodak Plus-X, Another Expired Film Treasure (Abandoned Films 10)

 

Oh oh, trouble. I experimented with another famous discontinued film. I had not used Kodak Plus-X since the 1980s or maybe the 1990s. My photography friend, Jim Grey, sent me two rolls and said go forth and photograph. How could I resist! I loaded the first roll in my Pentax Spotmatic F and rated it at exposure index (EI) = 100. 

Kodak's Plus-X was a staple of black and white photography in the USA for decades during the mid-20th century (1954-2011). Kodak finally replaced it with TMax 100. Kodak claimed TMax 100 would do everything that Plus-X could and could also replace their famous Panatomic-X film. Well, maybe. But many old-time photographers mourned the loss of the traditional cubic grain films and turned to Ilford for its FP4 Plus and Pan F films. But let us drop that controversy for now.  

Here are some Plus-X examples from around Vicksburg, Mississippi. I used my new/old Pentax Spotmatic F camera (see my previous article).

Former gas station/store on Warrenton Road (28mm ƒ/3.5 SMC Takumar lens)

Monroe Street view south (135mm ƒ/3.5 lens)

Green Street (55mm ƒ/1.8 SMC lens, yellow filter)

Rough apartment on Bowmar Avenue (55mm ƒ/1.8 SMC lens, yellow filter)

Washington Street view south (55mm ƒ/1.8 SMC Takumar lens)

Furniture in the woods, Johnson Street

Unfortunately, this is a common disposal method for old furniture here. It's a shame, because River City Rescue will pick up old items and sell them at their store.

728 Johnson Street (no longer extant)

This was a basic 1950s or 1960s house clad with asbestos siding. I opened the door, and a homeless fellow was sleeping inside.

733 Johnson Street (no longer extant)

Many early 20th century houses in Vicksburg were built on steep hillsides. The roads ran along the top of the ridges, and cottages had their front doors at street level. The backs were perched over the slope, supported by wood posts. These lots can not be redeveloped once the house is condemned and torn down. This results in Vicksburg becoming less densely developed over time. But yet the city still needs to maintain roads and utilities. Therefore, maintenance remain high but is supported by fewer properties that generate property tax revenue. 

Delta, Louisiana, from the road on the main stem Mississippi River levee. 35mm ƒ/3.5 Super-Takumar lens, yellow filter.

Summary. Plus-X was a refined traditional cubic-grain film. Fuji Acros, my normal 100 film, looks different and is finer grain. But I would not hesitate to use Plus-X if I wanted a mid-speed emulsion. I wish it were still available fresh. Ilford's FP-4, which is current, is probably similar to Plus-X. I last used FP-4 in the 1980s and need to try it again.  

Appendix

This is a 1948 (I think) Kodak data chart for three of their popular 35mm black and white films. At that time, Kodak rated Plus-X with and exposure index of 50. Later (in the 1960s?), when the ASA standard became the normal method of rating film speeds, most films abruptly doubled their exposure index. This  looked convenient, but many old-time photographers continued to give their film extra exposure to ensure that there would be image information in deep shadows. 

Danger: GAS and a Review of the Pentax Spotmatic F

Good things come in a box

The Danger of GAS

Yes, I know, I have no discipline. I have enough cameras to last the rest of my days and swore that I would not buy any more hardware except for specific accessory items, like filters. But Jim Grey, my friend from Indiana, extolled the virtues of the Pentax Spotmatic F body. This was the last version of the famous 35mm camera line that accepted 42mm thread-mount lenses. The F featured open-aperture metering, meaning the viewfinder did not darken as you stopped down the lens. My older regular Spotmatic uses stop-down metering. This seldom posed any inconvenience, but the option of open aperture metering sounded tempting. Well, you know the story, GAS (Gear Acquisition Syndrome, not flatulence) overcame me. Soon, a handsome Spotmatic F along with the magnificent 50mm ƒ/1.4 SMC Takumar lens appeared in a box. Total cost was $49 including shipping. You can buy this level of craftsmanship and excellence for $49 in 2023?

After an initial test, I sent the camera to Eric Hendrickson, one of the best-known Pentax repair people in the USA. It and the 50mm lens came back clean and ready to go. He emphasized that the light meter will work correctly with 625A (alkaline) batteries. Internet "experts" churn back and forth about which batteries will and will not work, but I trust Mr. Hendrickson. The original specification was for 625 mercury cells, but these have not been available for at least 25 years. The 625S (silver) cells are also now gone. The 625A batteries do not last long in this camera, so possibly there is a minor current drain. But the cells are inexpensive, and I remove them when I am not using the camera. (General camera rule: ALWAYS remove batteries when you will not use a camera for weeks or longer.)

Spotmatic Cameras

Mike Johnston wrote about the Spotmatic in The Online Photographer in 2017 and explained why the Pentax 50mm ƒ/1.4 lens was one of the finest 50s in the film era. The table below lists the various Spotmatic models.

Asahi Pentax Screw-Mount Cameras 1
Model 2	Date	Features
Original	1957	Modern appearance, right side wind lever, instant return mirror. ≈ $199 with 55 mm f/2.2.
S	1957	Contemporary geometric sequence of shutter speeds. 9 lenses available.
K	1958	Semi-automatic diaphragm
Asahi S3 (identical to Honeywell H3)	1960	Fully automatic diaphragm.  $199 with 55 f/1.8 lens.
Honeywell H1	1961	≈ $150;  1/500 top speed.  World's first clip-on CdS meter available ($32).
Asahi S3v (Honeywell H3v)	1963 - 1969	Added self-timer and automatic frame counter.
Asahi S1a  (H1a)	1963 - 1969	Added auto frame counter.  14 lenses available.
Spotmatic	1964 - 1971	Through-the-lens CdS meter.  $299 with 50 f/1.4.  Very popular!  Most chrome, some black paint.  Motorized model made in 1970 (uncommon).  Rare 250-exposure model.
SL	1969	Same as Spotmatic but without CdS meter.
Spotmatic 500	1971	Lower cost, 1/500 top speed, supplied with 55 f/2.0 lens.
Spotmatic II	1971	Added accessory shoe; sold with multi-coated lenses with extra indexing levers.
Spotmatic IIa	1972	Sensor for automatic Honeywell flash.
ES	1972	First Pentax auto exposure camera with electronically-controlled shutter.
Spotmatic F	1974	Finest manual Spotmatic; open-aperture metering, $375 with 55mm f/1.8.
SP 1000	1974	No self-timer
ESII	1974?	Improved reliability over ES. End of the era for Pentax screw-mount bodies.
Notes: 1.  Sources: “A History of Pentax” articles by W. L. Fadner in Shutterbug (1988) 2.  U.S. cameras had the Honeywell name and logo on the prism.  International models were labeled with the Asahi name and logo.

M42 thread mount

M42 refers to the thread mount of 42×1 mm used to attach the lens to the camera body. This was a common size in the 1950s through the 1970s. European, Russian, and Japanese companies made hundreds of M42 lenses in various focal lengths. Many people consider the Asahi Optical Company's examples to be among the best optically and mechanically in the 1960s and 1970s. It is common to buy an old Takumar lens that will still operate perfectly, while a drastically more expensive Leica lens of similar age will often have haze or film on the inner elements and need professional cleaning and re-lubrication. Takumar lenses have a following among serious photographers today because they can be mounted on most mirrorless digital cameras. The M42 mount lost popularity in the 1970s because it was slow to exchange lenses, while companies like Nikon, Minolta, and Canon used faster bayonet mounts on their cameras. 

Simplicity and meticulous craftsmanship

Utter simplicity: rewind knob, flash shoe, shutter speed dial, shutter release, and wind lever. No baffling 400-page instruction manual needed.

Set the film speed in the window within the shutter speed dial. Note it is still shown as ASA.

SMC (Super Multi Coated) 50mm ƒ/1.4 lens, mid-1970s.

Examples with Kodak Plus-X Film

Jim Grey sent me two rolls of Kodak Plus-X film. He bought a brick and said the first two rolls performed correctly. I used Plus-X in the 1970s but rarely since then. Plus-X was a traditional cubic-grain film, not one of the more modern T-grain emulsions, like T-Max 100. I will write more about Plus-X in a later article. Here are some examples from Vicksburg, Mississippi, during March of 2023. On some of my walks, I even wore the camera in its handy leather camera case (also known as a never-ready case). 

Waiting for a ride, 2620 Washington Street (50mm ƒ/1.4 SMC Takumar lens)

Monroe Street view south (135mm ƒ/3.5 SMC Takumar, ƒ/5.6)

Minor trouble at the corner of Marshal and Harris Streets (35mm ƒ/3.5 Super-Takumar lens)

I really like this 35mm ƒ/3.5 Super-Takumar lens. This is one of the older versions that must be stopped down for the light meter measurement. The Spotmatic F is supposed to be capable of both open-aperture as well as stop-down metering. But mine gives the wrong exposure for the latter mode. I sent the body back to Mr. Hendrickson to check, but it still does not meter quite right. That is a minor inconvenience because I usually carry a hand-held meter. The newer Super-Multi-Coated and SMC Takumars all have the tab for open aperture metering on the F and ESII bodies. 

Garage on Polk Street in unoccupied but not abandoned house (50mm ƒ/1.4)

Cottage at 733 Johnson Street. It has been razed since I took this picture (50mm ƒ/1.4).

Silos, Hwy. 80, Delta, Louisiana (135mm ƒ/3.5 SMC Takumar, polarizing filter)

The meter in the Spotmatic F measures correctly with a polarizing filter mounted on the lens. This camera works perfectly well with a linear polarizer. Many novice photographers insist that they need a CPL or circular polarizer (after all, they saw it on YouTube). No, usually they do not. A CPL is required for cameras that use a beam-splitter for auto-focus function.

Examples with Fuji Acros 100 Film

House on Bethany Street, Shreveport, Louisiana (24mm ƒ/3.5 SMC Takumar lens, Fuji Acros film).

The Spotmatic F meter works correctly with a wide lens, in this case, 24mm. But this was not a severe test because the light was soft and overcast that day. Spotmatic meters are have a broad coverage area, so you need to point the camera slightly downward to avoid having the bright sky fool the meter. 

The Little Shanty art store, Line Avenue, Shreveport, Louisiana (28mm ƒ/3.5 SMC Takumar lens)

The road west in the rain, Tahoka, Texas (55mm ƒ/1.8 SMC Takumar lens)

Jefferson Street view north, Olympia, Washington (55mm ƒ/1.8 SMC Takumar)

Squaxin Park, Olympia, Washington (28mm ƒ/3.5 SMC Takumar)

Summary

I am very pleased with my Spotmatic F. The open aperture metering is certainly convenient, and the measurements closely match reflected light readings from my Gossen Luna Pro digital hand-held light meter. The camera feels good and fits my hands perfectly. It is compact and only slightly more bulky than a Leica M camera. It demonstrates meticulous 1970s craftsmanship and precision, the finest of Japanese production. What is not to like?

And I like the gritty feel of Plus-X film. It is grainy, but that is suitable for this type of subject matter. Fuji Acros 100 is finer grain. 

Appendix

Here is my wife's 1971 Spotmatic camera with its superb 55mm ƒ/1.8 Super-Takumar lens. As you can see, the camera looks very similar to the 1974 or 1975 Spotmatic F. This camera has been to USA, Europe, Iceland, the Middle East, and the Nile River and has always performed flawlessly. This body feels smoother when you wind film or release the shutter then my newer Spotmatic F. Possibly the gears were made of different metals or some internal details were different. 

This 55mm lens is single-coated and has at least one element with thorium salts. The lens had yellowed over the years, but treating it with a small LED table lamp from Ikea cleared the yellow tone. Many manufacturers added thorium salts to their glass mixtures in the 1940s through the 1970s. No studies have ever demonstrated any health effects from the minor amount of radiation. I think this particular 55 is higher resolution than my later SMC 55.