Photographing the Cotton Compress of Vicksburg with the Texas Leica (Panatomic-X B&W film)

Background

Dear Readers, for many years, I have used a splendid bear of a camera, the Fuji GW690II rangefinder, also known as the Texas Leica. It has a similar morphology to a Leica rangefinder, except it is, well, really big. The name is most appropriate. As you know, everything in Texas is larger: the vast open spaces across which you must drive, the enormous pickup trucks with dual rear wheels, the oil pumped from the  Permian Basin, the out-sized personalities like President Lyndon Johnson, the magnificent mansions in the River Oaks section of Houston, and the credit card bills of the ladies who occupy said mansions.

Notes on the Fuji Rangefinders

Fuji's original medium format cameras using 120/220 film were the Fujica G690 and GL690 from the late 1960s and mid-1970s. These had interchangeable lenses, and examples in good condition are highly coveted now. They provided a generous 6×9 negative area (actually, about 55×82mm). The GW690 Professional followed in 1978. This differed from the earlier models by having a fixed 90mm f/3.5 lens. The GSW690 Professional had the same body but was equipped with a wide-angle 65mm f/5.6 lens.

In 1985, Fuji made minor revisions and introduced the GW690II, GSW690II, and GW670II. My Texas Leica is the GW690II, which I bought new in 1991.

In 1992, Fuji introduced version III in sizes 6×7, 6×8, and 6×9. It is confusing to keep them all straight, but all are excellent picture machines; choose the negative size you want and look for an example in good condition. The leaf shutter is in the lens, and all controls are on the lens. On mine, filter size is 67mm.

The GW690II camera is a handful. The rangefinder is not as contrasty as one in a Leica, but the Fuji one works well. The body does not have the über-precise meticulous craftsmanship feel of a Rolleiflex or a Hasselblad, but the optical results from the 90mm f/3.5 EBC Fujinon lens are stunning. It is a five-element design with  four groups, all multi-coated. The film moves flat across the film gate and may lie flatter than in the Rolleiflex or Hasselblad. With the 690, you get 8 exposures on a roll of 120 film. When 220 film was in production, a roll would yield 16 exposures.

The main feature I miss in the GW690II is a self-timer. Because I often take pictures in old factories or buildings, I like to place the camera on a shelf or platform for a long exposure. But the lack of a timer means I need a cable release to avoid vibrating the camera. The older Rolleiflex is more handy in this respect.

The classic Panatomic-X Film

My favorite black and white film is the long-discontinued Panatomic-X. Eastman Kodak Company introduced Panatomic-X in 1933 and discontinued it in 1987. The film had been reformulated during its five-decade existence, so my late production was different than the original. It was designed to be an extremely fine grain film, which meant it could be enlarged for large prints and still retain details. This was of value to architectural, fine-art, and aerial photographers. Some 9-inch aerial photography film was a version of Panatomic-X. The version I have in 120 size was rated at ISO 32, but I shoot it at 20 and develop it in Rodinal at 1:50 dilution. Agfa’s Rodinal was a developer that retained the grain structure and therefore looks “sharp” (i.e., it does not have solvent action to partly dissolve the edges of the grain clumps). Used with good lenses and careful technique (that means a tripod), the detail in a Panatomic-X negative is astonishing, even in this age of 36-megapixel digital cameras.

My stock of Panatomic-X expired in 1989, but the rolls have been in the freezer and seem to be perfect. Unfortunately, only 15 rolls are left. Eventually, all good things come to an end. And honestly, Kodak TMax 100 or Ilford Delta 100 seem almost a fine grain and will be a suitable replacement.

The Vicksburg Cotton Compress

A cotton compress was a facility that compressed raw cotton into dense bales. Early compress facilities were steam-powered and were active in Autumn, when the cotton was being harvested. Decades ago, compresses were found throughout the US South when cotton was king. The cotton bales were transported away by rail or by steamboat. When I visited Łódź, Poland, a major textile and industrial center in the 1800s and early 1900s, I was surprised to learn that much of their raw cotton had once come from the USA South. I assume cotton bales from towns like Vicksburg were shipped down the Mississippi River and then transferred to ocean-going vessels in Baton Rouge or New Orleans.

In recent years, cotton production in Mississippi has greatly reduced and has been replaced with corn (for ethanol) or soybeans (export to China). The Vicksburg compress at 2400 Levee Street was in business through the late 1990s or early 2000s. I wish I had asked the operators if I could take photographs when it was in action. 

The historic brick buildings at the Vicksburg Cotton Compress at 2400 Levee Street are almost completely gone. Around 2010-2011, a company bought the buildings and removed the bricks for use somewhere else. Newer steel sheds are still standing but abandoned. There is no obvious action to reuse them.

I took the black and white film photographs in this article on a cold, gloomy day in late December of 2010. I also used a Sony DSC-R1 for digital photographs, which I have shown before (click the link). (Also click any photograph to enlarge it.)

I especially liked the textures and complexity of the tool benches and storage bins. These were old and well-used - from an era when we made things in the USA.

I think this was the machine that compressed cotton into mashed bales. I do not know how it all worked, and I wish I had asked to see the process when the compress was open in the 1980s and 1990s.

Cooper Postcard Collection, courtesy of Mississippi Department of Archives and History. Date not specified.

Vicksburg compress, from the Cooper Postcard Collection, courtesy Mississippi Department of  Archives and History.  Date not specified.

 I hope these massive old timbers were recycled. These were probably old-growth pine or cypress.

An interesting pedestal sink with a single metal support post. I could have a traditional sink like this at home.

Photographs technical:
Film: Kodak Panatomic-X film, which has been out of production since the late 1980s. I developed the film in Agfa Rodinal 1:50.
Camera: Fuji GW690II 6×9 rangefinder camera with a 90mm EBC Fujinon lens.
Exposures: I exposed at EI=20, so all frames were tripod-mounted, and many exposures were ½, 1, or more sec. long.
Scanning: Minolta Scan Multi medium-format film scanner, operated with Silverfast Ai software, film profile set at Tri-X 400 setting.
Clean-up: I used the heal tool in Photoshop CS5 to clean up lint and other marks.

Cotton Compress, Levee Street, Vicksburg, Mississippi

For many years, a complex of brick and steel sheds stood on the west side of Levee Street close to where the historic Fairground Street bridge crosses the Kansas City Southern railroad yard. This was the cotton compress, address 2400 Levee Street (see the circle on the map).
This post card, circa. 1911, is from the Ann Rayburn Paper Americana Collection, Special Collections, University of Mississippi Libraries (originally from the International Post Card Co., New York, N.Y.).
This is a glass negative from the George Grantham Bain Collection at the Library of Congress, with title, "Louisiana Flood 1912, Cotton Compress at Vicksburg as a refuge." I am not sure if any of these buildings still stand.
According to a December 17, 2010, article in The Vicksburg Post, the compress facility dates to 1903 and formerly housed a cotton gin and 13 warehouses and sheds with about 340,000 square feet of storage space. The view above was taken from the top of the levee looking east at about the same location as the 1912 flood photograph. Vicksburg is on the hill in the distance.
These two views show part of the complex from Levee Street. The Post did not specify how long the compress had been unused, but the buildings were in poor shape because of water damage and asbestos exposure following years of vacancy. Notice the sign on the ground with scripture.
This press was under the tower in the upper photograph. I do not know the mechanics of how it worked, but I remember seeing steam and activity in the 1980s, when this was still a going concern.
A developer told the city's Board of Architectural Review that the Vicksburg Compress company planned to use some of the buildings as a self-storage facility. Other buildings would be demolished, and the 1940s water tower would be removed because it was unsafe.
The interior had typically interesting industrial archaeology to examine (and I like exploring places like this). Notice the large wood timbers holding up the roof.
The grimy old workbenches still had tools, pipe, and cans of chemicals strewn about.
You could even wash up...maybe.
Someone had stored some old American muscle cars, but they were in no better condition than the buildings.
While I was exploring on a December day in 2010, a small team was cleaning up bricks and loading them on pallets.
As of December 2011, many of the brick walls are gone, and I assume the bricks have been sold. But the steel sheds are still unused, and the water tower is still standing. These projects tend to take a long time in Vicksburg.

An interesting article on cottonseed oil mills is in:  Wrenn, L. B. 1994. Cotton gins and cottonseed oil mills in the New South. Agricultural History, Vol. 68, No. 2, Eli Whitney's Cotton Gin, 1793-1993: A Symposium (Spring, 1994), pp. 232-242. (Published by: Agricultural History Society)

These are digital images from a 10 megapixel Sony R-1 digital camera, tripod-mounted. The interiors were multi-second exposures, good examples of how well-suited digital cameras are for low-light conditions. You no longer have to worry about reciprocity failure and color shifts as with film; just set the exposure and let the shutter stay open as long as needed. The R-1 has a superb Schneider lens.

Some black and white Panatomic-X film photographs of the compress are in my 2018 article (please click the link).