The Mississippi Delta 36: Highway MS 12 and Hollandale

After you have enjoyed the "big city" of Belzoni, Mississippi Route 12 heads almost due west across the flat delta farm fields towards Hollandale. At first, the scene was a bit dull, consisting of corn and cotton fields. But the industrial-looking silos caught my eye and became more and more interesting.

Silos, MS 12 west of Belzoni (Kodak Panatomic-X film, Fuji GW690II camera, yellow filter)

Silos, MS 12 west of Belzoni (Panatomic-X film)

The light was harsh, but it rewarded with shadows and patterns on the corrugated siding.

Unused elevator/silo, Sunflower River Road at MS 12, Isola (Panatomic-X film, orange filter)

Poison ivy farm, unused silo complex

This tall unused agglomeration of machinery, concrete, and rusted steel was close to the Sunflower River bridge on Sunflower River Road. While I had my tripod set up, a farmer pulled up in his pickup truck and asked me if I was buying the structure. Hmmm....

Silo, MS 12 east of Hollandale (Fuji Acros film, Leica IIIC, 5cm ƒ/2 Summitar lens, yellow-green filter; note light leak in shutter curtain)

Hollandale is a small town on US 61, the "Blues Highway." I wrote about Hollandale before in The Mississippi Delta 14. By the time I reached town, I did not have much time to explore before heading home. I had forgotten that I had photographed in Hollandale before but then recognized the buildings in the main commercial strip.

Lounge on East Ave., Hollandale (Fuji Acros film, Leica IIIC, 5cm ƒ/2 Summitar lens, yellow filter, 1/200 ƒ/8)

Former gas station and child care center (?), East Ave., Hollandale

East Avenue runs north-south and eventually connect with US 61 south of town. These two buildings caught my eye, and I took a few quick photographs with my Leica IIIC. It was beastly hot and there was no one about outside.

Dead tree in corn fields off US 61, Anguilla (Fuji Acros film, 5 cm ƒ/2 Summitar lens, yellow filter)

This poor old tree near Anguilla had stood proud and tall for who knows how many years, but finally succumbed (I am sure) to lightning. 

This was a rewarding day of exploring despite the heat. It was a nice way to get out and photograph during the semi-shutdown caused by the Covid virus. Standby for future articles on the Mississippi Delta. 

If you like photographs of grain elevators, look at the superb large format film work by the Canadian photographer, Jan Normandale, titled "Wooden Elevators."

From the Archives: Moscow, Soviet Union, in 1978 (Plus-X film)

Kremlin walls from the Moscow River in 1978, Kodak Plus-X film, Leica IIIC, 5cm ƒ/2.0 Summitar lens

Kremlin walls from Bol'shoy Kamennyy Most (bridge)

Vodovzvodnaya Tower, Moscow

A few weeks ago, I had coffee with my karate friend Tatyana. She remembered her childhood in the Soviet Union. When I told her I had visited Moscow and Leningrad in 1978, she immediately asked if she could see my pictures. Well, that led to retrieving my negatives and scanning them. They were on Kodak Plus-X film exposed with the same Leica IIIC that I still presently use. The negatives were scratched and muddy in the low exposure areas. Maybe muddy low tones were a characteristic of Plus-X, but I am not sure. Back then, my technique was haphazard, and I can't recall who developed this roll. The scratches may be my doing. I do not see much grain, and in those days I sometimes used Microdol-X, which was a fine-grain film developer (i.e., it was designed to reduce the visual appearance of grain). But I was staying in Athens in those days, so maybe a Greek lab developed them. Regardless, they required some serious cleaning with the heal tool in Adobe Photoshop CS3 and some adjustment with the curve to improve tonality.

Red Square from the GUM department store

This is the view of Red Square and the Kremlin walls taken from the GUM store. The GUM department store was a giant arcade built during the czarist era. It was reasonably well-stocked when we visited in October of 1978. Tatyana said Moscow and Leningrad were quite cosmopolitan in those days, but small towns in the hinterland had stores with empty shelves. We bought something in the GUM, but I do not remember what. The purchase process was multi-step. First you pointed out what you wanted to a clerk, and she wrote out a ticket for you. Then you took the ticket to the cashier's counter. The cashier took your tickets and added the total amount on an abacus. She accepted your Rubles (definitely no credit cards in the Soviet Union, and regardless, I did not have any cards in those days). Then the lady gave you a receipt in multiple copies, which you took back to the original counter. Upon close examination of the receipt, the lady gave you your merchandise. They were reasonably friendly and did not seem too surprised to see foreigners. That was the era of Perestroika, when the Soviet Union was semi-opening and increasing interaction with the outside world. Tourists were encouraged to come, stay in hotels, and spend foreign currency.

As tourists, we were herded into one of the Beryozka shops. These only accepted foreign currency and catered to tourists, diplomats, government officials, and special people (athletes? ballerinas?). The Beryozka shops sold goods that were hard to get in normal shops, but most local people were forbidden to enter the premises, plus they usually did not have any foreign currency. We saw the normal offerings of liquor, cans of caviar, and some jewelry. I almost bought a Kiev camera but passed.

In the photograph through the arch, the people in the distance are waiting to see Lenin's body. If we tourists wanted to enter the mausoleum, the guards would have put us in front of all those people, but that seemed rude and we did not want to flaunt privilege. So we never did see Lenin's body. Stalin  and other notables are buried at the base of the walls. Notice the gents hanging around in "plain" clothes? We assumed were being tracked, but who knows? Maybe our grumpy Intourist guide was the only official watching our group. In our hotel room, we occasionally said "Hi!" and "How are you today?" to the telephone receiver.

Soviet tourists, bronze Czar Cannon (cast in 1586)

The premier tourist site was the Kremlin, the ancient seat of power of the Russian Empire and the Soviet Union. We were surprised how open it was. You could not enter the government buildings, but could pretty freely walk around and take pictures. I occasionally looked for First Secretary Brezhnev, but of course, he was nowhere to be seen.

Church of the Nativity, Kremlin 

Several ancient cathedrals and churches are inside the walls of the Kremlin. Although religion was officially discouraged in the communist era, some churches were maintained and, I think, held services. The government preserved others as museums.

St. Basil's Cathedral, Red Square, Moscow

St. Basil's Cathedral, Red Square

St. Basil's Cathedral, (from Wikipedia: The Cathedral of Vasily the Blessed (Russian: собо́р Васи́лия Блаже́нного, Sobor Vasiliya Blazhennovo)) is an architectural wonder. This, too, was a museum. I recall the inside being rather dark and claustrophobic. The ornate chambers were much more confined than the soaring spaces in Gothic cathedrals in France or Germany.

Smolensk Cathedral

The bell tower of the 1690 Smolensk Cathedral dominates the walls and passages in the ancient Novodevichy Convent. This is now a museum.

Bolchoi, Moscow

We saw the Barber of Seville (Il barbiere di Siviglia, ossia L'inutile precauzione) at the Bolshoi. I recall a superb performance, but cannot remember if it was sung in Italian or Russian. Also, I cannot recall if we went with our tour group or just bought tickets and attended by ourselves.

We stayed in an old hotel called the Berlin. It was on Pushechnaya Street and and within walking distance of Red Square and most tourist sites. It dated back to the Czarist era and looked like it had not received much maintenance or cleaning since the 1917 revolution. Sturdy babushka ladies sat at a desk on each floor and gave you your room key while they glared at you. I am not sure if they worked for the KGB, but they certainly had been instructed to report any suspicious happenings.

This was a quick tourist look at Moscow. I am sorry I did not take more pictures of ordinary life. There are some slides in my boxes, but scanning will wait for "some day" (like so many other mythological projects). These black and white frames were from Kodak Plus-X film, exposed with my dad's Leica IIIC camera and 5cm ƒ/2.0 Summitar lens, which I am still using many decades later.

1960s Excellence: the Canon 50mm ƒ/1.4 Leica Thread Mount (ltm) lens

Leica IIIC camera with 1960s-vintage Canon 50mm ƒ/1.4 ltm lens

Background

Long-term readers recall that I have used my dad's Leica IIIC rangefinder camera for decades. He bought it at the Post Exchange in Guam in 1949 and used it for family photos in Asia and Europe. It was equipped with a Leitz Summitar 5 cm ƒ/2.0 collapsible-barrel lens. The Summitar was a remarkable 7-element optic of pre-WWII design. My sample has noticeable field curvature and displays a lot of aberrations at ƒ/2.0 and ƒ/2.8. That can be used creatively for certain types of work. By ƒ/4.0 or smaller, the aberrations are barely noticeable.

But I often take pictures of architecture and wanted a lens that was more uniform over the entire field and maybe offered better resolution. But which lens to choose? Tens or hundreds of Leica thread-mount (ltm) lenses were made in the 20th century by German, Russian, and Japanese optical companies.

Alternate lenses

If money were no object (you know that fairy tale), Leica issued a limited production of their superb Type 5 50mm Summicron in 1999 with the 39mm thread mount rather than the bayonet M mount used in their current cameras. I checked eBay and saw copies being sold by Hong Kong companies for over $2000 (Hong Kong is the place to look for unusual collector items like this). The extra-rare Leica 50mm ƒ/1.4 Summilux Type V is $3400. OK, above my budget. (2024 Update: That $2000 now looks pretty reasonable.)

Leica also issued their Type 2 Summicron in thread mount from 1960-1963. But this is another rare collector (= expensive) item. I have a Type 2 Summicron-DR in M mount, but there is no way that an M-mount lens can be fitted to the older thread-mount camera bodies.

I wanted a vintage lens as opposed to one of the modern Voigtlander (= Cosina) or Konica ltm lenses, which meant a 1950s or 1960s optic. It surprised me that the 1950s and 1960s ltm lenses from Minolta (Rokkor), Fujinon, Topcor, Tanaka (Tanar), Yashica, and Konica Hexar sell for hundreds, I suppose because of their rarity.

Soviet ltm lenses physically fit the Leica bodies but often have focusing issues because of a difference in the standard used for the focal length. Many users claim no issues, but I decided to stick with a lens specifically made for the Leica standard. Also, Soviet lenses suffer from highly variable quality control and material selection.

The Canon Camera Company made excellent interchangeable lens rangefinder cameras from the mid-1940s through 1972. The V series were especially innovative, according to Cameraquest. By the late-1960s, the single lens reflex (SLR) camera was dominant in the marketplace and Canon ended production of their innovative Canon 7S rangefinder camera in 1972. Leica and some of the Eastern Block companies continued to make interchangeable lens rangefinder cameras after the late-1960s, but most used bayonet-mount lenses. I remember visiting a camera store in Providence, Rhode Island, in 1976 or 1977, and they still had some new Canon ltm lenses in stock.

Thankfully, Canon's 50mm lenses were designed for the exact same mount and focus design as the Leica thread cameras, so they would work correctly on my IIIC. Canon offered 50mm lenses in ƒ/3.5, 2.8, 2.2, 2.0, 1.9, 1.8, 1.5, 1.4, and 1.2 maximum apertures. A remarkable ƒ/0.95 version only fit on the Canon 7 bodies. The early post-war lenses were very heavy, with chrome-plated brass bodies. I wanted one of the later and lighter-weight versions, so that meant theType 2 ƒ/2.2, ƒ/1.8, or ƒ/1.4 models.

For more information about ltm lenses:

• Canonrangefinder.org
• Camerapedia
• Summary of ltm lenses from various companies on Cameraquest
• Summary of Canon ltm lenses on Cameraquest
• Summary of Canon's 50mm lenses from canonrangefinder.org

The ƒ/1.8 and ƒ/1.4 models were by far the most common, which directed my search. But I learned that a majority of the Type 2 ƒ/1.8 lenses suffer from haze on the glass element behind the aperture. No one has a solid answer why this develops, but the haze or scum etches the coating and even the glass. That left one choice: the gorgeous and well-regarded ƒ/1.4 lens. Japanese and Hong Kong eBay vendors offer these lenses in varying conditions.

After a bit of searching, I bought this beauty from a Japanese eBay seller. He claimed there were some scratches on the coating, but I cannot see them. The coating is single layer, not multi as in 1970s and newer lenses. Mine is a Type 2, but I do not know the exact date because I have been unable to find a chronology of older Canon lens serial numbers. The lens is a modified Gaussian design with six elements in four groups. The aperture ranges from ƒ/1.4 to f/22 with nice precise clicks. The filter size is 48mm. I ordered a vented hood from one of the Chinese eBay vendors (about $3) as well as some filters, and I was ready to take pictures.

Some other reviews of the Canon 50mm ƒ/1.4:

• A blogger, Jason Howe, wrote a detail description of this lens.
• Hamish Gill, the editor of the 35MMC blog, presented nice examples.
• A review by Kevin Shorter.
• Some portraits of Carlos Santana. 

It is difficult to tell what the 1.4 lens cost when it was current. A 1963 Modern Photography showed $210. But a 1968 Modern showed only $126.

Note: As of 2019, Leica is still making their superb M-A film rangefinder camera, and sales have increased with the revival of film. In 2023, Leica reintroduced their Leica M6 camera.  

Initial test film

Wow, new lens, so exciting. I loaded some Kodak BW400CN film in the IIIC and headed to the countryside south of Interstate 20 in central Mississippi.

Front porch, April 14, 2019, Sontag, Mississippi (hand-held, approx. ƒ/8)

Abandoned mid-century cottage, Sontag-Nola Road, Mississippi

Truck and farm yard, Sontag-Nola Road, Mississippi

Former filling station, Beauregard, Mississippi

Closed gasoline station on Hwy 27 near Utica (ƒ/11 or ƒ/16); note detail foreground and back

Apartment complex with unusual architecture between Clay Street and Baldwin Ferry Road, Vicksburg (medium yellow filter)

Detail (original size) of sign on left center of the previous photograph.

Holly Beach, Louisiana. I hope that truck has large enough tires to impress the ladies.

Old Country Store, Lorman, Mississippi (Fuji Acros 100 film, long exposure braced on ledge)

Historic cottage at 706 Harris Street, Vicksburg, Mississippi (with med. yellow filter)

Minister on Washington Street, Vicksburg (Fuji Acros film)

Summary

This is a beautiful optic with nice rendering, even on BW400CN film. This was a top-grade lens in the 1960s, an example of Japanese optical and mechanical excellence. I will test it with fine-grain film; if I can find some 135 size Panatomic-X, that would give a genuine old-school appearance to my negatives. This lens is large enough to block some of the viewfinder, and I need to compose carefully. One solution is to use a 50 mm auxiliary finder. I just bought a Canon version.  

Final conclusion: if you want a classic lens for a Leica ltm rangefinder camera, definitely consider the Canon thread-mount lenses.

Wandering around east Jackson, Mississippi (B&W film)

South Commerce Street, Jackson, view south. The tracks are no longer in service

When in Jackson, I often go to Jackson Ice, at the corner of South Jefferson and East South Streets, to fill up with 100% ethanol-free gasoline. The area near South Jefferson is semi-industrial, with warehouses and various businesses. I have never been able to do much photographically there, but one early morning in December, the weather was suitably gloomy to lend a certain air to the scenery.

Several ice companies were clustered near or along South Commerce Street because they had access to the railroad. Jackson Ice, where I buy the 100% gasoline, is still in business. The Morris Ice Company on South Commerce closed in 1988.

High Street runs east-west from the Pearl River levee past the fairgrounds and then ascends a hill to State Street and downtown Jackson proper. A modern but unused building sits at the very east end of High Street, just below the levee and just beyond the driveway that leads into the Herrin-Gear automobile dealer complex. I had never paid any attention to the empty building and drove in one morning. It was the abandoned Junior Achievement of Mississippi building. According to the Mississippi Business Journal, Achievement closed in November of 2009:

JACKSON — The recession has claimed one of Mississippi’s most respected charities. After nearly a half-century of bringing work readiness, entrepreneurship and financial literacy programs to the state’s school children, Junior Achievement of Mississippi Inc. is shutting the doors. 

“This decision is not one with which anyone associated with Junior Achievement of Mississippi was happy to make,” said David Barrentine, chairman of the board of directors, Junior Achievement of Mississippi. “This organization has a 40-year history of educating young people about economics and the marketplace. Accordingly, it is with sincere regret, but with a prudent view of its financial condition and prospects, that this decision was made.”

This was a nice-looking modern building. No one could use it? This type of inability to recycle a structure always baffles me.

The 1927-vintage Hinds County Armory sits unused and only minimally repaired at the State Fairgrounds. In 2009, I took pictures inside, but now there is plywood over the door. In 2013, I photographed workers doing some stabilization and repair. This time, I was able to place my Leica on a small opening on a side door and take a 1-second exposure of the interior.

I have never been able to do much of interest photographically with South State Street. But this time, the old fire trucks caught my eye.

East Rankin Street is pretty dumpy, too (OK, it is horrifying). But at least there is a car shop that repairs old Volvos! What nice and practical cars compared to the lookalike bloated SUVs that pollute our highways now. Blaine's Upholstery Shop does excellent work. (These sepia frames are from a Moto G5 mobile phone.) Please see my 2020 article on East Rankin Street.

We will continue our exploration of Jackson in future articles.

Most of these photographs are from Kodak BW400CN film exposed with my dad's 1949 Leica IIIC camera and a 5cm ƒ/2.0 Summitar lens. This is a C-41 film (sadly, now discontinued), meaning it can be processed with the same chemicals as any color print film. I scanned the negatives with a Plustek 7600i film scanner using Silverfast Ai software.

UPDATE July 2022:  The tracks running in the center strip of South Commerce Street have been removed and it looks like the City will install sewer pipes under  the right-of-way. 

Test of the Leica Monochrom versus the 69-year-old Leica IIIC film camera

Leica IIIC rangefinder body and 5 cm ƒ/2.0 Leitz Summitar thread-mount lens

Dear Readers, a business trip brought me to Washington, DC, in late October (2018). I arrived early on a Saturday and decided to check out the Leica Store on 977 F Street NW. The store is in a strategic location: the Imperial Capital, seat of power and unbridled (and corrupt and uncontrolled) spending, half way between the White House and the US Capital, and near tourist sites like the Mall. The staff at the Leica Store are very nice and were glad to see me using my 1949-vintage Leica IIIC with its 5 cm ƒ/2.0 Summitar lens. I have written about this IIIC before and used it for a month in Nepal during my 2017 trip. Similar to the Leica Store in Hong Kong that I visited in 2014, this one had shelves covered with fantastic camera bodies and lenses, and superb photographs were on the walls.

Leica Monochrom Type 246 with 50mm f/2.0 Summicron-M lens (from US.Leica-Camera.com)

I had always wanted to try the Leica Monochrom, a digital rangefinder camera with a monochrome sensor. It has a body about the same size and shape as my 1967-vintage M2, but has a 24MP 24×36mm B&W CMOS sensor with no color array or low pass filter. Pseudo-photographers on popular photo web sites like Dpreview bash the idea of a monochrome camera, but serious workers around the world do some amazing work with it. Unfortunately, the Monochrom body alone costs about $8000. Hmmm.....

Regardless, Mr. Paul at the store let me do a quick test. We went outside to F street to find a suitable subject. A restaurant next door had white plates and cups that were glowing in the sun.

Leica Monochrom with 50mm ƒ/2.0 ASPH lens, DNG file opened with Photoshop Elements 11 and contrast reduced. Resized with ACDSee Pro to 1600 pixels wide. Click to enlarge.

Fujifilm Acros film, exposed at EI=80, developed in Xtol, Leica IIIC camera with 5 cm ƒ/2.0 Summitar lens.

The Monochrom DNG file has a tremendous tonal range. In the example above, I reduced the contrast to show details under the table, while not allowing the white dishes to become featureless glowing white blobs. But surprise: the Acros film also recorded all the data. I could probably increase the contrast to reasonably match the Monochrom scene. I scanned the 35mm negative at 3600 dpi with a Plustek 7600i scanner using Silverfast Ai's Tri-X 400 profile.

Full-size crop of the sugar packets in the Monochrom DNG file. Note the almost complete lack of grain. 

Full-size crop from Acros film negative.

With a crop of the file to look at the lettering on the sugar packets, you can see that the Monochrom file is essentially grainless. The resolution is amazing. The Acros film file is clearly grainier and has lower resolution. But remember, this is the "primitive" and "obsolete" chemical recording media exposed via a 69-year-old optical instrument. If I mounted the newest version of the 50 mm Summicron lens on my M2 camera, the resolution would be better, and an exposure on the now-discontinued Panatomic-X film might reduce the grain. Regardless, I am happy at how much detail film can record. It is not obsolete by any means (but the prejudice on the part of film-haters certainly is).

Leica SL (from US.Leica-Camera.com)

I also examined the Leica SL. It is a gorgeous piece of Teutonic engineering and solidity, like the film  Leicaflex SL of the 1970s. The viewfinder is superlative. But this thing is a monster and feels as heavy as my Nikon F3 with motor many years ago (and that was a big machine).

Comparison of Leica SL and 1960s M2 (from Camerasize.com)

Sorry SL, I just will not carry you around when I travel, and if I am going somewhere by car, I may as well take my medium format cameras. Also, the minor issue of the cost - $11,300 for body and 50mm lens - is problematic.

In summary, I really like the Monochrom but do not need it now. It is a bit (OK, very) expensive. Black and white film suits my needs presently, and I prefer the way it depicts the scenes that I typically photograph. The Leica SL is just too big and heavy to interest me. Its lenses are as big as Hasselblad lenses. I want to thank the gents at the Leica Store in Washington for the test run.

Here are a few touristy film photographs from the venerable Leica IIIC.

Room with a view: 17th Street NW. Fuji Acros film, Leica IIIC

Sunset at the WWII Memorial, Washington, DC

Checking the scene at the Mall, Washington, DC

Pennsylvania Avenue at the FBI building. I used a Leitz GGr (yellow/green) filter over the Summitar lens

Venerable tree on 17th Street, late afternoon