• A photograph of the South Carolina State House.
    Life,  Photography

    Columbia Trip

    Natural curiosity had us traverse the bustling streets of Columbia, South Carolina, on a serendipitous Tuesday. This was not just a pleasure trip; it masked a significant purpose, deeply personal and life-adapting. As my vision dims and the world blurs, Deana and I ventured forth to the Commission for the Blind. The aim? To understand the beacons of technology that might light the way in my everyday life now altered by encroaching blindness.

    The Commission presented an ocean of possibilities, devices, and applications as potential guides in this darkening world. Among them, a digital magnifier came into focus. More than a mere amplifying lens, this marvel promises the restoration of the written word to my fingertips or, more impressively, to my ears with its ability to read out loud. Another assistive light in the dark is JAWS, a screen reader that narrates the digital tapestry spread across my computer screen, a herald of inclusivity in the digital age.

    These technological lifelines, while ingenious, do come at a price. The South Carolina Commission for the Blind stands as a sentinel, providing support with the backing of both public generosity and private benevolence. The assistance I receive is not merely institutional—it is human compassion crystallized into action, a shared triumph over adversity. Only time will tell as to how long this process of receiving these assistive technologies takes.

    The evaluation culminated against the historic backdrop of the State House, a place saturated with the echoes of the past. Immortal stories are etched within its domain, awaiting a voice to bring them to life. Dominating the landscape, the statue of George Washington stands tall, with its broken cane bearing witness to the passage of time. In the year 1865, it was not the thundering cannons or gunfire that struck a blow, but rather a simple brick hurled at the bronze figure of Washington by federal soldiers, an act leaving a permanent scar that recalls Sherman’s occupation and the lasting impacts of his military campaign.

    Our pilgrimage through these monuments spoke of the delicate balance between the transient present and the immutable past. The grandeur of museums, the silent watch of monuments, the intricacies of architectural marvels—all whispered histories long etched into the city’s soul. And as historians in our own right, we engaged with this dialogue.

    Armed with but one roll of film and my cherished Pentax Spotmatic F, I endeavored to capture the essence of Columbia within its crisp frames. The anticipation of revealing those moments, suspended in the chemicals of development, fills the gap left by short hours and unvisited mysteries.

    Columbia—the very name evokes images of power, law, education. Here, the hum of activity is punctuated by the youthful zest of students, the calculated gravitas of legislators, and the astute discourse of the bar. To be amidst this whirlwind and yet find solace in its eye is the dance of city life, thrilling in its pace, comforting in its labyrinth quietude. It leaves one exhilarated, weary, and in perpetual chase of the balance between the pulsing heart of urbania and the restorative calm of an Upstate retreat.

    Returning home, the experience lingers like vivid afterimages—between the hopeful promise of aiding technology and the echoing footsteps across historical grounds, Columbia stands both as witness and participant in the march of time and the unfolding narrative of my life’s evolving chapter.

    A color picture of the South Carolina State House
  • Captured with the Zeiss Ikon Contessa 35 on Arista Edu Ultra 400at ASA 200
    Uncategorized

    Zeiss Ikon Contessa 35

    After World War II, Hubert Nerwin of Zeiss Ikon in West Germany created a line of folding cameras to help rebuild the company after the war. He relocated to the United States in 1948 through the government program Operation Paperclip, according to sources. Project Paperclip was an interesting program, but that’s a topic for another post.

    The 533/24, Contessa 24, is futuristic in its design and function. It’s a true conversation starter. I recently took it out for a film test to write this article and was bombarded with questions about it. People asked me what type of camera it was. One person even thought it was some kind of Geiger counter. Considering its background, that’s not too far off.

    As cool and unique as it is, the camera is not the easiest to use. As is expected with folding cameras, you have to cock the shutter on the lens. There’s no way to do that on the camera body. Personally, I’m used to shooting with folding medium format cameras, so this wasn’t a deal-breaker for me. However, for most people, the placement of the shutter button right above the lens will be a challenge. I tried reading the manual again to hold the camera as depicted, but it still feels awkward.

    Depressing the shutter button can be difficult, resulting in some blurring at slower shutter speeds. Anything under 1/100th of a second tends to be blurred. The only way to alleviate this is to mount the camera on a tripod and use a remote release. It’s an amazing camera that looks magnificent from afar or up close and it’s definitely interesting to carry around.

    I’ve owned this camera for a year and a half and have only used it two or three times during that period. Normally, I rotate my cameras and they get more use, but due to the awkward shutter button, this one has been neglected. It’s a shining example of engineering from the early 50s, although perhaps a bit over-engineered. The lens is incredibly sharp and the shutter never misses a beat or feels sluggish. It’s absolutely superb.

    I am selling my early model 533/24 on Ebay. The price is right!