Father Pitt’s site is dedicated to pictures of beautiful and interesting things in Greater Pittsburgh—“Greater,” of course, meaning whatever old Pa Pitt wants it to mean. Sometimes Father Pitt has things to say about photography itself. Instead of boring his readers here who have no interest in the subject, he has decided to gather his musings on the art of photography in one place:
—with a bit of a story about how the picture was made. It was stitched together from three separate photographs, but trying to do it automatically flummoxed the stitching software and, as Father Pitt said at the time, “produced a comical monstrosity reminiscent of Frank Gehry.”
In a comment, Von Hindenburg writes,
I think that I speak for many of your readers when I say that I’d like to see the Gehryesque nightmare as an example of the process that you go through to share these images.
How many of those readers do share that desire will never really be known, but old Pa Pitt is always happy to oblige even one of them.
These were the three original photographs:
KONICA MINOLTA DIGITAL CAMERAKONICA MINOLTA DIGITAL CAMERAKONICA MINOLTA DIGITAL CAMERA
This is what the Hugin software—which is normally very good at its job—did with them:
Father Pitt then tried the experiment of putting together only the left and center photographs, which worked perfectly. But trying to add that combined picture to the third one made a different but equally comical mess. The only thing to do was to put in the control points—points of identity between the pictures—by hand. Normally Father Pitt would just give up before doing that, but he was feeling stubborn, and he thought he might get a picture he liked.
Now you know a little about how old Pa Pitt normally does otherwise impossibly wide-angled pictures of buildings. Usually it is a matter of pressing a couple of buttons and letting the machine do the work, then tweaking the results. Once in a while, though, it involves what almost feels like honest labor, which is against our usual principles, but may be indulged in on rare occasions.
So the lens says, though the camera says “Sony.” Father Pitt happened to be in Beechview today, so here is a typical Beechview streetscape as seen by an old Soviet “Индустар” (“Industar”) lens, a copy of the Zeiss Tessar, mounted on a Sony Alpha 3000 camera.
Coffey Way in downtown Pittsburgh. This is not only the best picture of the year, but possibly the best one old Pa Pitt has ever published. He took a number of photographs from more or less this same angle, but when the barely visible figures in dark clothing wandered into the frame, he knew this would be the one.
If old Pa Pitt were at all concerned about his reputation as an artist, he would publish about one picture a week, if that many. Art is not his primary purpose here, however. His aim is to document the treasures that surround us, and he is willing to accept second-rate pictures if they show the object reasonably well. Sometimes, however, he does try to aim a little higher than that. These are some of his favorite pictures from the past year, not because of what they depict, but purely as photographic compositions.
The Childes-Callery-Casey-Falk House, now the Chancellor’s Residence for the University of Pittsburgh. It was designed by Peabody & Stearns and built in 1897. This was a perfect late-fall day, and in spite of the temptation to turn up the saturation to bring out the colors of the leaves, the picture seemed to work best when it was a little less colorful and just slightly melancholy.
St. Peter’s Church on the North Side. For this picture, Father Pitt actually hauled a tripod down to the North Side. He does not usually put that much effort into anything, so this one gets on the list just because it was extra work.
Dandelion seeds.
The onion domes on Holy Virgin Russian Orthodox Church in Carnegie, lightly dusted with snow. It took a fair amount of fiddling to get the domes and the crosses and the subtle clouds behind them all at the right shades.
The entrance to the Kinder Building in Allegheny West. At night the Beaux-Arts architecture takes on just the right air of mystery; we expect to see Humphrey Bogart emerge and be accosted by a shadowy figure in a trench coat.
Fall in the Union Dale Cemetery.
Bridges on the Monongahela. Taken from the south shore, this picture seems to tell the story of an urbanized river.
The Peoples Building, McKeesport. Sometimes Father Pitt must admit that the weather has more to do with making a good picture than the skill of the photographer. In this case, he can take some credit for using a red filter to bring out the contrast between sky and clouds, but otherwise it was just a perfect day.
Penstemon digitalis, the Foxglove Beardtongue. This is a good picture of a flower taken under unfavorable conditions: bright sunlight wipes out details and makes it hard to get good botanical pictures. One solution is the one adopted in this picture, which is to have the sun shining through rather than on the flowers.
The entrance to St. Francis Xavier Church in Brighton Heights, designed by William P. Hutchins. This picture is made from a stack of three photographs at different exposures.
The Trimont (designed by Lou Astorino), seen in silhouette. It is not old Pa Pitt’s favorite building in the city, but certain views have dramatic photographic possibilities.
A very patriotic streetcar picture from Beechview.
Winter branches against sunset clouds.
What’s at the end of the rainbow? A streetcar, of course.
Throughout the year 2022, old Pa Pitt managed to put up at least one new article every day. To celebrate the changing of the years, here are twelve of his favorite pictures from last year, one for each month:
January
A vase of witch hazel.
February
Church of the Ascension, Shadyside.
March
Crocuses in the rain.
April
Fox squirrel.
May
Interior of Heinz Chapel.
June
Mammatus clouds at sunset.
July
Spotted Lanternfly nymph.
August
Retreating storm clouds behind the spire of Third Presbyterian Church, Shadyside.
September
Atlas on the Kaufmann’s Clock.
October
Chimney pots on the South Side.
November
The skyline of downtown with November leaves.
December
The colossal columns of the Mellon Institute illuminated from within at twilight.
It was not really a black-and-white camera; it was old Pa Pitt’s nineteen-year-old Samsung Digimax V4, a strange beast that was made for photography enthusiasts who wanted something that would fit in the pocket but still had most of the options of a sophisticated enthusiast’s camera. Father Pitt has set the user options to black-and-white. There is no good reason for doing so: obviously the camera collects color data and throws the colors away, and the colors could just as well be thrown away in software after returning from the expedition. But knowing that the picture must be black and white forces one to think in terms of forms rather than colors. So here are half a dozen pictures from a walk through the South Side Flats.
Building on 17th Street, probably from the 1920s.The entrance to St. Adalbert’s Church.St. Adalbert’s rectory.Rowhouses on Sarah Street.Front steps.
Since these two sites see nearly as many visits as Father Pitt’s main site here, they deserve their own domain names. They have therefore moved to a snappy new server and been given a complete redesign—with, of course, a black-and-gold site logo for each to make sure you know where you are. The old addresses will continue to work indefinitely, but new content will appear at these new domains:
https://pittsburghcemeteries.com/
https://florapittsburghensis.com/
The new server will allow us to offer some features not available before—notably an alphabetical index for each site.
It was already called the “Mellon Arena” by this time, which old Pa Pitt always thought was a perfect parable of what was happening to American public life at the end of the twentieth century: what was built by the people, and named for the people, was handed over to a big corporation. Most Pittsburghers don’t remember that this was actually built as the Civic Auditorium, a new home for the Civic Light Opera. Sports were secondary in the original plans.
The Civic Arena was never beautiful in Father Pitt’s eyes, but it was impressive. The huge retractable dome—the world’s first—looked like an alien spacecraft that had landed on the Lower Hill, demolishing all the houses and business and so forth, as alien spacecraft tend to do when they land, because apparently space aliens are jerks.
Huge retractable domes turn out to be a nightmare to maintain, and the dome stopped retracting several years before the Arena was abandoned.
Father Pitt will now take a moment to praise the little camera that took these pictures in May of 2000. It was a Smena 8M from the legendary Soviet Lomo camera works, a cheap plastic box with a very good lens. There was nothing automatic about it; it had manual adjustments for shutter speed, aperture, and focus, and countless great Russian photographers learned the basics on cheap but capable cameras like these. Father Pitt was not a great fan of the Soviet Union, but he has always had a soft spot for Soviet cameras.
Father Pitt does not normally indulge in what they call “street photography,” but back in March of 2000 this scene seemed to invite a picture, and Pa Pitt’s faithful Argus C3 was in his hand.
Just think of all the things you will have to explain to your children or grandchildren (if available) about this picture. You will have to explain who Lyndon Larouche was, and that conspiracy theories like his were not part of mainstream American politics in those days. You will have to explain that this man is hawking things called newspapers, which were sort of like long-form Twitter. You will have to explain that those things on steel posts (the nearest one has been decapitated, which you will try to avoid explaining) were individualized parking kiosks, one for each parked car, which sounds like such a brilliant idea that it must be about time for a revival. You may even, if you are feeling brave, end up explaining the idea of creating photographs with light-sensitive chemicals.
A dwarf skyscraper with the regulation base-shaft-cap formula, this elegantly simple commercial building was designed by Joseph F. Kuntz and finished in 1907. It used to be known as the Graphic Arts Building before it was turned into luxury apartments. Soon every building downtown will be luxury apartments, and all the commercial offices will have to move to the suburbs.
