On the Waterfront at the Wishkah River - Aberdeen, Washington

Grays Harbor, map generated from https://graysharborwa.mapgeo.io/datasets

Geologic Setting

Aberdeen is a seaport at the east end of Grays Harbor, an estuary on the Pacific coast of the Olympic Peninsula. Grays Harbor is one of three major estuaries on Washington's Pacific coast. Willapa Bay, south of Grays Harbor, is the second, and the lower Columbia River is the third. Grays Harbor (with no apostrophe) was named after Captain Robert Gray, who entered the bay in 1792 during one of his  fur-trading voyages along the north Pacific coast of North America. 

An estuary is an embayment or river mouth that experiences mixing of salt and fresh water. Grays Harbor is an excellent example, because the tide enters the Pacific mouth of the bay and mixes with fresh water from the Chehalis, Wishkah, Hoquiam, and Humptulips Rivers. Sediments and flora reflect this mixing of waters. Marshes often form in brackish water.  

Puget Sound is a much larger geological feature in the Washington coast and is classified as a sound. Some of the river mouths and embayments that enter the sound, like Budd Inlet here in Olympia, can be considered small esturaries, but none of these are as extensive features as Grays Harbor, Willapa, or the Columbia River.   

Grays Harbor, Willapa Bay, and the Columbia River were dangerous entrances during the sailing era. Hundreds of vessels floundered in the waves and the treacherous sand banks, especially in winter. This is why Puget Sound was such an amazing resource. It provided calm water that did not freeze in winter. Sailing vessels could escape from the rough Pacific Ocean into relatively sheltered water. Seattle is one of the great natural harbors of the world (along with Victoria (Hong Kong), Sydney, New York, Busan, Rio de Janeiro, Halifax, and others).   

Aberdeen 2004 (Hasselblad Xpan Panoramic camera)

Aberdeen

Aberdeen was once one of the largest timber processing and shipping ports on the Pacific coast. Timber companies floated vast amounts of lumber down the Chehalis River to numerous mills along the waterfront.  The city expanded greatly in the 1920's when lumber exports grew in response to factors like the opening of the Panama Canal and the earthquake in Tokyo, which resulted in fires that burned much of the city. 

Aberdeen had a tumultuous history of union organizing, epic labor strife, criminal syndicates, violence, murder, and Communist organizing. This is fascinating stuff, but this history well beyond the scope here.

The photograph above is a 2004 aerial view of South Aberdeen in the foreground and downtown Aberdeen in the distance. The Chehalis River flows from left to right in the foreground and then curves left and flows towards the open water of Grays Harbor. I took this with a Hasselblad XPan panoramic camera from my friend's cloth airplane. 

Wishkah River

The Wishkah River is a tributary of the Chehalis. It drains a wooded and mountainous region of Grays Harbor country north of Aberdeen. It flows south through Aberdeen, with some old bridges and interesting infrastructure. The photos below are of the downtown area along the Wishkah.

East Wishkah Street lift bridge

This is the type of bridge that pivots up. You can see the counterweights hanging from the frame on the opposite side of the river. 

Wishkah River and the old Northern Pacific Railroad swing bridge

Pilings and debris, Wishkah River

South F Street

Northern Pacific swing bridge

I could not find much information about this bridge. It is unusual for swing bridges because the pivot is at the edge of the channel. Only one side projects over the water. The electric light is on, but I do not know if the bridge can swing. Freight trains cross it regularly. A sign said no trespassing, but plenty of homeless people cross. Someone may even live in the turret under the central pivot. 

Junction where swing bridge meets fixed track

I like these complicated pieces of early 20th century industrial infrastructure. This was massive construction, but I am sure it needs a lot of maintenance now.  

A homeless tent community occupies East River Street. While I was taking pictures, a few of them walked by and were very polite. Do they live here in winter? It would be pretty grim with the long wet nights and cold wind blowing in from Grays Harbor. 

I took these photographs on Kodak Tri-X 400 film with my "Texas Leica," the Fuji GW690II camera with a 90mm ƒ/3.5 Fujinon lens. Praus Productions in Rochester, New York, developed the film in Xtol.

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.......

Around Olympia with Kodak T400CN (Abandoned Films 13) (Oly 08)

Introduction

Dear Readers, it happened again. I intended to no longer use expired films because of the risks of blotches or other issues caused by old age and improper storage. But a few months ago, an eBay seller included a complimentary roll of Kodak T400CN film in an order. I loaded it in my Leica IIIC camera and tried it around town. 

T400CN was a 1990s C-41 black and white film. It could be processed in common C-41 chemistry almost anywhere on earth (such as by any 1-hour processing kiosk) and yield black and white prints. I used it a few times in the past. When fresh, it was very fine grain and high resolution for a 400 speed film. Other companies also marketed C-41 black and white films, but today, only Ilford XP2 is left. 

Kodak discontinued T400CN in 2004. The Professional Portra 400BW film was similar (or the same?) and was discontinued about the same time. Kodak replaced them with BW400CN, which I have used in my Abandoned Films series. The last few rolls were more grainy than when they were fresh, so possibly the BW400CN changes chemically when old. Of course, other factors, like the brand of C-41 chemistry, may affect the appearance of the film. Has this T400CN aged more gracefully? 

Because of the age, I decided to expose it at EI=120 rather than the original specified 400. I took the film to Photoland at The Evergreen State College. They called me after 3 hours to report that it was ready! I scanned it on my Nikon Coolscan 5000 scanner. The advantage of a C-41 film, either color or B&W, is that the infrared ISRD function can identify scratches and correct them. It is a convenience because you do not need to touch up as many flaws on the film with a heal tool. Unfortunately, this does not work for traditional black and white film. 

This was also a test of my Leica IIIC camera and its 5cm ƒ/2 Summitar lens. In the past, the IIIC suffered from a zone that was out of focus on the far right. I suspected that the film was buckling or not lying straight in the rails. I added another nylon washer on the post that pushes the film canister up into the body. The reloadable Leitz film canisters, which were common in the 1940s, may be marginally taller than modern commercial 35mm film canisters. Even if the film lay perfectly flat (which never happens in any 35mm camera), the Summitar has field curvature, so the best focus curves towards you at the sides of the frame. 

Yes, I know, this experiment had too many variables. There were too many degrees of freedom to be able to isolate contributing factors. But you readers can decide if it all worked out. Here are some random scenes around Olympia, Washington. Click any photo to see it at 1600 pixels wide.

Olympia

Impending storm, East Bay, March 2, 2024. The Capitol is in the distance. 

Farmers Market, Olympia, March 2, 2024

Where did all the hail come from? Olympia certainly has interesting weather. What happened to spring?

Unused tracks off Olympia Avenue in the drizzle - where did spring go?

Former Golden Gavel Motor Inn, mid-century architecture at its finest. The unit is being renovated. (5cm Summitar with light yellow filter.)

Traditional wooden houses, view from Legion Way (with medium yellow filter)

Gas meters, Olympia Avenue

Gas meters scanned in full color RGB

I scanned most of this roll using 16-bit grey scale. But my Nikon Coolscan 5000 occasionally shifts to the default setting of full-color RGB (meaning 3×16-bit). I like the effect. It resembles selenium or one of the red toners. I may use this more with this T400CN film, but it would only be effective for certain subjects (artsy-fartsy stuff). 

This is a crop of the scanned file. It shows how much detail this film can capture. And this is from a lens designed before World War II! Note how this film does not have grain in the same way as a traditional black and white film. This, and all C-41 films, have dye clouds, instead.  

Door at 215 Thurston Avenue

Emerging from the 7th Avenue tunnel

Nature

How does this film work with nature topics?

Spurgeon Creek from the Chehalis Western bicycle trail south of Olympia

Olympia Avenue tree (with light yellow filter)

Industry

Foss Waterway, Tacoma

Tacoma is full of interesting topics. I will be returning!

Summary

T400CN film: I am pleased. This long-expired film was fine-grained and recorded a large exposure range. It does not look like traditional black and white film, and it may be less contrasty than Fuji Acros. But T400CN is more convenient to get processed if you have access to a photo lab nearby. Next time, I will expose at EI=100, so two stops more than the original 400. (A few years ago, I tried Ilford XP2, the only current C-41 B&W film, but did not like the results.)

The Nikon Coolscan 5000 film scanner: It is higher resolution than my Plustek 7600i. And the Coolscan has a higher dynamic range, meaning it extracts more data from the film. Also, the Coolscan does a focus adjustment with each frame. But the Nikon Scan software is clunky in a 1990s manner and needs a computer running WIN XP or 7. I will test Silverfast 9 on my Mac for future use, or may try a Windows emulator and load the NikonScan on my Mac. The native Mac versions of NikonScan would not run on the Intel chips. 

My 1949 Leica IIIC:  The extra washer on the bottom post may have solved the problem of the buckling or curved film. It is nice to keep this old family friend in operation. The 5cm Summitar is an impressive lens, especially considering that it was designed in the 1930s.

Athens in 1964 with an Instamatic 500 Camera

2024 New Year Note

Dear Readers, welcome to 2024. Thank you all for your support. In the upcoming year, look for a mixture of new material and more treasures (garbage?) from my archives. I also want to scan more of my father's negatives. My New Year's resolution is to sort through much of this old material and purge. 

Resolution 2: Don't buy more cameras. But a friend said he would send me his Mamiya RB67..... 

Resolution 3: Use some of the film in my freezer before buying any more new film. The 120 Panatomic-X is 35 years old. It responds perfectly so far, but its life is finite. 

The Kodak Instamatic 500

Kodak Instamatic 500 camera (photo source unknown)

My dad always took pictures. So when I was in elementary school, I wanted a camera, too. My childhood friend had an Instamatic 100 and, later, the 104 (the 4 meant it could accept flashcubes). 

In the early 1960s, Instamatics and the associated type 126 film cartridge were Eastman Kodak's marketing marvel, an astonishing sales success worldwide. Kodak introduced the one-piece film cartridge in 1963. The cameras were easy to use. Many casual photographers had endless trouble loading 35mm film into a camera, but the one-piece 126 cassette solved that complexity. All a user needed to do was place the plastic film cassette into the camera and close the back. Most Instamatics were simple cameras with a fixed aperture, but some had early-vintage auto exposure. Some even has a hand-wind spring motor to advance the film. 

Kodak sold 126 film until the early 2000s. Their last Instamatic camera was the X-15F in 1988. Mike Eckman has written a detailed summary of the film and its history. He also summarized ways to load  35mm film into recycled or brand new 126 cartridges. 

I did not know anything about cameras, so an Instamatic seemed like the logical path. I saved my allowance and, with help from the parents, requested a Kodak Instamatic 500 camera. A relative bought one in Germany and brought it home to Greece.

From The Bulletin, August 14, 1965

Unlike most of the simple box versions, the 500 let you focus manually and had a built-in Gossen selenium light meter. The 45mm ƒ/2.8 Xenar lens was a modern and coated 4-element Tessar type. Mike Eckman wrote a detailed review of the Instamatic 500 and its history, so I will not try to repeat details here. On Instamatic standards, the 500 was capable of decent negatives or slides.

I did not know what I was doing, but the instruction manual said look at the distance scale and turn the aperture scale until the light meter needle pointer was in the middle of the bar in the viewfinder. Simple even for a youngster. Here are some 1964 examples from Greece. The film was probably Verichrome Pan (which I used and liked in 2021 in 120 format). 

Athens view west from Lycabettus Hill

In the 1960s, Athens was growing furiously. Elegant turn of the century townhouses were being torn down and replaced with rectangle concrete apartment buildings of no architectural merit. Now, some 60 years later, they look like tired nondescript apartment buildings with inadequate elevators, bathrooms, and electrical supply. My 1964 photograph shows the ugly constriction.

Athens view south from Lycabettus Hill

To the south, the scene is about the same. The stadium in the middle is the site of the 1896 Olympic Games revival. The suburb beyond is Nea Smyrni, an area settled by Greek refugees from Anatolia after the disasterous 1923 war and the subsequent exchange of populations between Greece and Turkey (i.e., forced ethnic cleansing).  

Athens view east

This is the view towards Mount Hymmetus. Today, the urban sprawl extends a lot further up the slopes.  The American Embassy is the modern white building with columns in the center just beyond the green slope. Bauhaus architect Walter Gropius designed the chancery building, which was completed in 1961. I recall when you could drive right up to the building and enter the basement garage. Now, it is surrounded by tall walls and the sidewalks have truck bomb concrete barriers. The concrete ramp in the foreground is part of the ramp for a funicular. 

S.S. Hanseatic in Piraeus

A trip to see ships in Piraeus was always a treat. This was the S.S. Hanseatic of the Hamburg-Atlantic Line. Built in 1930, this was formerly the Empress of Scotland steamship. The Hamburg-Atlantic Line bought it and extensively rebuilt it, replacing her three funnels with two modern style funnels. Note the open lifeboats, a deadly way to save passengers in case of an evacuation on the open Atlantic ocean. In 1964, passengers still crossed The Atlantic via ocean liner, but the Boeing 707 airliner was in the process of crushing the traditional cross-ocean passenger ship business. 

Unknown sports car near Mount Pendeli

Update: a reader from Germany wrote that this sports car is an Auto Union 1000 Sp roadster (3 cylinders, two-stroke, front wheel drive).

Picnic somewhere near Mount Pendeli

Family friends invited me to a picnic. The stove with all the smoke was a clever Israeli folding camp stove that burned crushed newspaper. I do not know if it could handle the heat of wood or charcoal. Sitting on the rocky soil on newspaper does not look too comfortable. 

My mom and two cousins somewhere near the sea

A typical Sunday outing was to go to a taverna by the sea and eat. The adults hung about and talked, while the children were bored and ran around. Note the poofy hair in classic 1964 style.

Sitting around at a taverna

Yes indeed, here are the adults sitting around at the taverna. The kid looks bored. Don't forget the high-heeled shoes for the Sunday casual outing.

This ends out short look back at 1964 through a Kodak Instamatic 500 camera. As you can see, for internet display, the quality is quite acceptable. I could not find any companies that sell new 126 film, but some adapter kits exist to reload perforated 135 film into 126 cartridges. The Film Photography Project may be trying to reintroduce 126, but I have not kept up with their progress. 

I used my 500 for about 5 years and then progressed to a Nikkormat FTn camera in December of 1968. This was a much more sophisticated camera and used the dreaded "complicated" 135 cartridges. The Instamatic stayed in a drawer until a friend borrowed it to use while rock climbing. It disappeared at some stage, but I did not plan to use it again. If you have an Instamatic at home, buy a reloaded 126 cassette and test it - have some 1960s fun.

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.