the ayes have it. next item, please. >> item 7 resolution authorizing the treasure island director to approve the recommendation of the treasure island arts steering committee and authorize the san francisco arts commission to enter into agreements with the selected artists. hello, jill. >> [off mic] on the progress of the treasure island artist selection process. we conducted a competition, as you might recall to implement the first three projects that were included in the treasure island arts master plan. we had a very successful response, 495 artists from around the world applied. ach ocess we undertook to the point where we are at today, where we have three artists with whom we would like

to contract for either further refinement or resubmission of a proposal or actual implementation of a proposal, i would like to describe that process. the treasure island, according to the arts master plan, the steering committee selected and approved a ion panel that included five members, commission president fei tsen. beltran. guest curator janebishop from sf, d another curator from museum and sculpture garden in washington d.c., mika yishitaki. invited nine finalists to develop proposals. those nine finalists were approved by the steering

committee, commented upon by the arts commission. and i hope you had the opportunity to view the proposals when they were on view in either the lobby of building one on treasure island, or at the war memorial where the arts commission offices are located. resulting from the public display we had 70 public comments. on april 17th, the selection panel was reconvened and the nine proposals were presented by the panel. most of the interviews took place via skype. although we had one artist attending in person, pay white. the results of that meeting and subsequent comments from the arts commission and action from the steering committee are the reason i'm here today. we've sort of gotten the green light to progress with some contingencies. so i would like to tell you what the motions are and i am

happy to show you the proposals and tell you a little about each artist, if you would like. one of the projects was for waterfront plaza and the selected artist was antony gormley. the panel had some concerns just about the emotional quality of the work and its aloofness from the general public. i'm happy to report that the artist has agreed to not just modify but completely redesign the art work in response to the steering committee and panel's comments. additionally, pae white was another artist selected. again, the majority of the selection panel approved her work but had concerns about the

visibiliviews to and from building one of the art work and the artist was asked to redesign, reconfigure, rescale the art work so it's a substantial revision. those are two of the three motions placed before you today. we are asking the treasure island development authority to authorize the arts commission to enter into an m.o.u. with each of these two artists, pae white and ny togormley for specified dollar amounts so they could redesign their proposals which will be reviewed by the arts committee of the arts commission, the steering committee before it's brought to tida. fothe treasure islad re you is development authority to actually approve entering into a contract for design, design development fabrication and

implementation of the art work with hiroshi sugimoto on yerba buena hilltop park. it doesn't interfere with their operations. i would like to proceed to show you some images of the art work that's been selected. unless you have any questions at this point. and i'll give you a brief isa, you help me with posal. that? i think we will start with antony. briefly i will say antony gormley is recognized as one of the most important contemporary sculptors in the world. he lives in england but does work all over the world and focuses on the human form.

he has participated in major solo and group exhibition he has won the turner prize. and multiple other awards for his artistic accomplishments, he was knighted in 2014. so his proposal would be made of cast iron, it would be 49 feet high, 11 feet deep and 9 feet wide weighing 205 tons. though the design proposal will change, i think we can expect that he will be working in the same material and it will be an art work of similar scale. it will be located on the north side of waterfront plaza. i'm pleased to report that conversations between blake, kevin and antony gormley have started about integration of the sculpture into the site.

relation of bike racks, relative to the palms and california avenue and even the paving of the plaza that surrounds the sculpture and whether, the landscaping that may be adjacent or surrounding it. are hose discussions o a very positive start. i imagine they will continue througthartists design revision process and i will report back to you in 2-3 months time regarding that. the next, do we still have other images of antony's work? okay, the next artist -- oh, the motion before you is to enter into an m.o.u. with the artist for $35,000 to redesign the sculpture. and then the next artist is pae white. and pae was selected to develop a proposal for building one plaza.

i actually have a little model of her proposal to show you. so i, may i pass it to you? rate wd chimes. thank you. pae is based in southern california though she does have a residence at sea ranch in northern california and spends her time beeen northern and southern parts of our state. pae, like the other artists, many of the other artists selected for the project doesn't typically apply for competitions but this project and the whole treasure island arts master plan in particular appeal today her.

her work is in the permanent collection at sf noma, museum of modern art in new york to name a few. she states that her work tends toward reconsideration of the over looked, neglected, forgotten foaken and she works in a y of media from fabric, metal concrete and glass. for this project she did research about the history of easure island, particularly the 1939 s world'fair and she recognized there was an opportunity to remake a lost art work. she had a promotional video for the 1939 world's fair and she noticed behind the massive sculpture of the mythical figure pacifica in the seven seas, there was 100 foot tall silver chime curtain which

tinkled the tranquil song of peace. she would like to propose a variation of that, give it depth, orient horintally and in addition to creating sound, it would have numerous spinning elements of different sizes that would harnthe wind coming off the bay. it would include an assortment of pattern and open work that would allow for a good amount of transparency to take advantage of thview of the bay, the city and the landscape, while creating pockets of intimate spaces. so at this point, the panel liked her proposal but there were definitely concerns about the visibility of building one and vista from building one to the ferry plaza and the bay. so we asked her to really take a look at that. the configuration at one point spanned several components of building one plaza and the panel thought perhaps something

that might have greater height and take up less of a footprint may be more appropriate so she will study that. we also had concern about the materials, their durability with the kinetic elements continue to really operate as planned given the strong winds, so we are going to aser to make an engineered to scale model of the art work or a section of the art work to place it in the location in the building one plaza context so we can evaluate it over a period of six months to make sure it doesn't rust, it doesn't corrode, that the coatings don't begin to flake, that the moving components still operate. and also, as i passed around, i don't know if you have the sound component, but we want to make certain that will be asset, something that is lovely and not something overwhelming

so we need to really evaluate it and the artist is very excited to have gotten this far in the process. very willing to redesign, reconsider, work with the landscape architect andrea cochran and come up with a revised proposal. here are images. here you could see different vistas, different perspectives lookint from t building to the bay. more of a detail. we also want her to evaluate lle, it may be too vivid for the context and we think we can do that with the model she will create. so with your approval the motion would be to enter into an m.o.wiu. h pai white to come up with a revised proposal in the amount of $25,300. and then the next project by

hiroshi sugimoto is foreur about a buena hilltop. he was born in tokyo. he is primarily known for large scale, very impressive photography but he started to work with architecture and sculptover te last several years. there was an article last year in the sunday "new york times" magazine, an extensive article about his work in both sculpture and architecture. he recently performed a commission to redesign the lobby of the hershwern museum. hiroshi has proposed a large monumental sundial for the to location on the south side of yerba buena island.

it would have white marble that extends to a height of 11 and m then bricatfr stainless steel going up to the height of 66 feet. the point of the sculpture would only be 1 and 1/8 inch wide, that's why the panel had concerns this would not be considered a hazard in any way to the coastguard and the f.a.a. i would like to report that preliminary conversations wi the coastguard in f.a.a. conducted are optimistic and positive. there's an application process and bob has signed off on that, it will be, if it t ' already be submitted to the f.a.a. and we will go through that formal process. hopefully gaining approval and

being able to proceed with the implementation of this project. i want to also say this project itself was in edy the tower of the sun from the 1939 world's fair. as i mentioned, it will be a monumental sundial and the artist states that from the tip of the shadow of the tower, he said the tip of the shadow of the tower will fall at noon on the vernal and autumnal equinox and there will be a stone placed at that particular spot with vertical grooves in the prise obationof the e at e position of the noon shadow. the entire sculpture is based on a mathematical formula of infinity. so it has many levels of meaning. but it will also be a beautiful

destination for sitors and residents to the island. so, commissioners, i'm happy to answer any questions you have about the projects, or the process. >> i have some comments. but are there any questions from commissioners? ms. richardson? >> thank you, jill and for the record i also am a mbermef the arts steering committee. >> i'm sorry, i mentioned the selection panel, but yes, you are, of course. >> i've had the opportunity to actually participate in all this, and i want to commend you, jill, several occasions, we had almost 1,000 art work to look at d anyowe coast-to-c, eve to try to select these artists. and now we are down to those selections.

as i mentioned to you before, and i will start with hiroshi sugimoto, i'm very empressed right now. i look at perspective when i look at art and his approach is mathematical. right of the three that we have, there is no question that and the last steering committee meeting we actually gave you the go-ahead. that's why you are here. concerning antony gormley and pei white, i saw eir work and i know they have great potential. they are very well known and there is no question about that and we suggested they need to go back to do a rescale and come up with something that will be compatible. for me right now in regards to e paite, as i said at the steering committee and i need to state that right now.

it's a landmark building and at the base you will have sculptures so to have art work takes away from that. what i have in mind, again, i only have one vote. it may be something of light that could beam into the building entrance or something dynamic. but ths scaled version, i will look at that but i'm strongly looking at something that has a perspective in dsi that's what i'm oking at, en people get off that boat and they look and see open space and see the distinctive, when you look at hiroshi sugimoto, it incites conversation. regardless of the height. it's just basically what type of thing i'm looking for a

singular art object. with antony gormley, he needs to go back and come up with something for that. i also understand and you need to reiterate to the public, there are also opportunities for local artists. you are actively exploring that. so i think yes, we should help you to move ahead so you ca engage with all these artists, even for them to do a rescale is still costly and they need to proceed with the work. selection. final say as to the so there is still time to reviw and it might be some of this are best suited for parts of the island at the end of the day but at least tk haor started. thank you.

>> thank you, ms. fei. >> thank you for all your hard work on this. you were very clear about what the additional funding for pae white's evaluation would be used for. but i wasn't very clear, or i didn't quite understand what the additional $35,000 for gormley's art work would be used for. >> he is coming up with a brand new proposal. this amount is really consistent with the dollar amount the arts commission would pay for development of a proposal. the competition was, i think the artist really out did themselves with their enthusiasm but we paid them far below our going ratejust because there really isn't ve much funding available at this point and we are relying on the generosity of t.i.d.c. to advance the funds. we discussed this dollar amount at the steering committee.

chris is part of that and he concurred he felt like this was a valid, appropriate amount. it's also based on, to some extent, the amount of the actual commission, were it to be successfully awarded. and that would be a $2 million commission. >> is this additional money basically a stipend to further the design and they could use it for whatever purpose? >> well, it's really artist fee and related travel expenses. it can only be used, it should only be used for this specific purpose. it's not -- it definitely has -- it's not sort of discretionary use. it's specifically to come up with a new design. >> okay.

let's see, i actually agree with linda's comments or concerns about the appropriateness of having the screen art work interrupting the plaza. i am certainly not an art expert but as a lay person, when i arrive on the island and in front of building one, it always struck e as being a very civic kind of space. it certainly has a certain size and ama to it and i just wonder what that, what the impact to the plaza would be to have an art piece that basically bisects the view to the water and vice versa. i think it's certainly prudent to further evaluate that and perhaps there's a different location that would be better for an art work like this.

i really do like the fact that it does harp back to the history of the island. i think that's a really inspiring element. and then, let's see. the we are funding here through the m.o.u.'s, if it doesn't result in a satisfactory proposal, what would the committee do at that point? do you open it back up to the finalists? >> very good question. i think i would have to go back to the steering committee and seek direction from them. but i think we might actually just open up the competition again. but i really couldn't, i would have to consult with the steering committee. i don't believe in the ranking of the non proposals there were contenders who were, well, there were some other contenders so we could look at

the other contenders, i don't know if commissioner tsen who served on the committee would like to comment. thk you, jill. t wasa very thoughtful and consuming, time-consuming process. a lot of people certainly had their chance to comment on the art work. but i do think these first three pieces are so important for setting the tone for the island. it would be our first public pieces it's worth it to take the time to make sure what is being done is going to be what will set the standard for the rest to come. again, i think if the artists who have been asked to give more conceptual designs back to us, if they are not satisfactory or if there's another direction which the steering committee would like

to go, we can discuss it at that time but that process would be, but i would want us to have the courage to reconsider, if thandeed the . and i think arfrthe tida board, we wait to see wha the results of the conceptual designs are and then we will xt s the decisions about the ep. but there's much to consider. i think for antony gormley's case. the particular image thathe had was not as emotionally responsive as we uld have liked, so we are asking him for more concept and with pae white, i think all of you have noted we do not want obstruction before building one and that's been heard loud and clear. so we will see what these artists come back with. and with pae white,

particularly, i think the location and also the environmental effects on the type of materials she is about to use, we need to evaluate that. but i think we have haa greatre artists and it'sjust refining and then going forward and then making decisions at the right moment. with that, are there any comments? yes, mr. beck? >> i just wanted to suggest one change to the resolution. page 4, further resolve clause. line 2 currently picks up from prior line, authorizing the san francisco arts commission director of cultural affairs to

enter into agreements with selected artists for conceptual design and then further resolve. wanted to suggest that it says enter into agreements small a, with end artists for revised design proposals for e wateront plaza and building one plaza and for conceptual design, sorry, for design, fabrication, transportation and consultation for the yerba buena hilltop site. >> we could incorporate into the motion. i justwant to make sure, mr. beck, this is coming back to the steering committee? the arts steering committee before it goes forward? i'm talking about, not the resolution but resultof

the conceptual design. >> oh, absolutely. the conceptual designs will go back to both the seleon committee for their input as well as the steering committee. >> the steering committee. >> i think the selection committee has done their work th it's really in the hands of steering committee advised bthe comments of the arts commission. >> right. so the steering committee ll have another time to look at it. so before we take -- this is an action item. so let's comments from the public, if there are any. hearing none, what is the pleasure of the board? >> okay, so, i am making a resolution and there is an amendment proposed by bob beck and i would want that sentence to be added to this resolution as read earlier. we are going to reiterate this will go back to the steering committe

for their assessment. >> good. and do i have a second? >> second. >> it's been moved and seconded. all in favor say aye. all those opposed? the aye's have it. thank you, jill. >> thank you so much commissioners and director beck. >> item 8, street naming convention. >> this is an informational item, i believe.

and for the north/south streets alpha, a-avenue, b, c, etc. when you get into residential neighborhoods, there were a variety of existing street

names depending upon the era in which the housing was constructed. some of them drawing from names of naval officers and others drawing from names of fishes, chinook, halibut, flounder, sturgeon, etc. so with those conventions. but in planning for the future of treasure island, the team, the developer worked with the treasure island museum as well tida and in 2015 they recommended a set of street names for the island that had been incorporated through the mapping process in planning for the future. and knowing that several boa members have come to the board

since 2015, i wanted to kind of review that again with you so that you have a sense of the direction that we are headed and the inspiration for it. so as i mentioned, the existing street names that are incorporated in the planning documents are largely with the exception of california clipper cove, avenue of the palms follow an alpha convention in north/south streets and numeric convention on the east/west streets. the inspiration the t.i.c. looked to for coming up with a new et of street names was the 1939 golden gate international exposition. a large number of the streets, particularly the major streets

are drawn from place names that were within the exposition. there's also thought given to the type of street name designation. so you see it here four of the most important streets on the island, clipper cove avenue, trade wind, seven seas and avenue of the palm, so these are all avenues in this naming convention. those names come om locations within the golden gate international exposition, seven seas, clipper way, the port of the trade winds as clipper cove was then referred to, as well as avenue of the palms.

names in the north/south direction are again, drawn from place names within the community and these are streets and ways. and in particular i would highlight the two shared public ways that are in this area, the garden walk and siesta way are street names proposed for the shared public ways. really trying to, again, reflect the nature of the shared public way as a pedest rerianm rather than primarily a vehicle realm. and these are locations within the exposition grounds where they drew inspiration from.

and again touching back to our earlier conversation, the court of pacifica and peace makers mural that's where the sculpture that we were talking about during the director's report was located. again, some of the more ndary reets in the eastern side of the island, port way passage, blosso way, farralon street all draw their names from locations in the exposition grounds. and then for the wind row streets and the garden streets they draw their names from artists and architects that contributed to the exposition. and the organization here is a

li more structured. si the wind row are streets and they are arranged alphabetically from the south to the north and then on the garden streets, they are again ar alpraedbeticamoving from the west to the east. and those are all referred to as lanes. if you are coming to the island and you are looking for a lane you will head to the east side of the island, if you are looking for a street, you are going up the west side of the island and you could track how close you are getting by the alpha. george kellam. sotomayor.

that is the sculpture as its fully assembled. some artists whose names were proposed or have been selected contributed to what was called the unity sculpture. we have 14 sculptures that tida owns that were from that fountain and each of the sculptors contributed a pair to that fountain and we have two pieces by sergeant johnson that are in our collection. as well as ruth corvath, she contributed two of the

sculptures to that unity fountain. bernard maybeck renowned landscape architect had a hand in the exposition grounds. zoe dell lantis. she was here two years ago. at her request zoe dell lane uses her first name which is the name she has always gone by. whereas all of the other street names are the last names of the artists or architects. do m

and lulu braghetta for path of darkness and william wurster for yerba buena club. and helen phillips. on yerba buena island, the plan is to use the street naems in use on yerba buena island. macalla road. yerba buena road and treasure island road connecting the two islands together. so that's the overview of the names that, or the network of names that has been adopted. i just want to bring it back to

the board since it's been a while since the public or board have seen it. >> thank you very much, mr. beck. it's great we have some streets named after artists and architects. i think that's terrific. are there any questions by the board? are there any questions from the public? hearing none. next item, please. >> item 9, thrr resident consultation update.

>> thank you, directors. to touch a little on the advisory services but also the planning for homeownership and premarketing as well as planning for our continuing discussion about planning for our two first affordable housing projects. the directors had requested that we keep a log of our outreach to residents. it's included in your binder but also this is just our log of our public meetings and workshops as well as email and direct correspondence with households, keeping it as part of our record. at this point, a.r.w.s. has met with 170 of our 202 households, 84%.

again as we have discussed before, there's great interest in homeownership opportunities for more tn 50% of those households. with some interest in -- option. the miscompiling their reports to go back to households. summarizing the current household composition, eligibility and benefit options. and for those households that have not yet met with the advisory consultants, we are preparing a summary based on the known information, best available information from their lease. and providing that with the hope that summary may spark them to come back and engage to clarify any information missing from their leasing folder.

we are also continuing to review feedback from the consultation sessions and planning for the extension early in lieu option to residents in 2019. on the homeownership front, there were workshops mentio and held in may, as i mentioned. these were administered by the san francisco housing development corporation in partnership with one treasure island. they will be holding a spanish language workshop on june 30th. we do have a number of spanish language households. unfortunately for the may 19th session, the translation services were not available so we are following this up with a repeat workshop that will be entirely in spanish.

and then also need to begin our efforts with tidc and mayor's office of intdevelop procedures and protocols for the pre-marketing effort. by which, residents through the thrr will have the opportunity to purchase either affordable usy units, or market rate units before they go on sale to the general public. there will be a pre-marketing window. and again under the thrr, our households have the opportunity to purchase a new unit from the developer in that pre-marketing window. income qualifying households may also purchase an inclusionary for sale affordable unit but that income certification process could take up to a year to complete.

with the first project ticipated to be completed at d enof 2020, we really have about a year to get people through this certification process and prepared for the pre-marketing window that will come before the building is actually completed. and again, the first for se units, both affordable and market rate will be in the mid rise building plan for parcel y4.2 on yerba buena island. and you see here where that is located. this is the parcel just above where the new westbound on and offramps touch treasure island and conceptual rendering of the

macalla rendering. and the main entrance off macalla off the upper right hand image. on our affordable housing projects we will be developing in partnership with one treasure island, again, the first project is a source of postures and catholic charity project, and adjacent to that project in the city side neighborhood. the source, they have veterans housing application due on july 9th. we have invited them to come to the infrastructure and transportation committee meeting next week to present on their design development for the building.

their predevelopment loan will be considered this friday. this pointthe pre-development loan is only for $500,000, which is really intended to allow them to refine the building massing and programming, so we can finalize the number of units they are going to pursue in that. the plan for that project is to pursue an affordable housing and sustainable communities grant application in the next cycle which is anticipated to come out in early 2019. we need to worwith t.i.d.c. and m.o.h.c.d. to ensure we have a funding plan for the project prior to the application.

the next project is a significant opportunity for us to transition not only the 66 existing cath charies households but depending upon the final size of the building many of our existing pred.d.a. households as well. our current expectation is ere between and 26 of the units will be for non-income qualifying households. but we have within the villages' portfolio 27 households that have section 8 vouchers, so they would for affordable units wi this building and we are likely to have many other existing house holds that could qualify well.ove into this building as we believe that most of this

building will be occupied by existing residents on the island. either market rate or catholic charities residence. so that's my recap. take any questions you may have. >> thank you very much, mr. beck. are there questions, comments from the board? >> yes, commissioner. i have some questions. thank you for the presentation. again, bob. and i know your staff is working diligently on this. some questions. so on the certification, we are going to be having the spanish language only for the next session? >> the workop on june 30th is for people who are interested in purchasing first time home buyers workshop. so the city we have funding that's available through the thrr but the city has a number

of programs for first-time home buyers but that workshop will be conducted in spanish. >> that is great. it's really great that the primary obligation that we have, and i need to say th we need texhaust, of the day, we are going to be measured, number. yes, there are two things here, the primary obligation, sure. secondly, to make opportunities available to anyone on the mainland but the primary obligation are the ones that are great interest to me first because that's the one that is written in the d.d.a. and those are the ones we have obligations to. again, i'm going to be looking at how we are treating this class of, you know, of residents. because we want to make sure they are getting all the information they have. they have priorities. at the end of the day, at a

certain point that we are able in present where they are this pool and again, doing the outreach to all the othe fine. t prary obligation is to be met. i want to make that very clear. i also, and i will be saying all over again, i would like to see a table. all these numbers we join around for catholic charities, they are going to have 66 and all the others out there are going to have opportunities, that's fine. the universe of what the numbers, if i come from mars and i said okay this is what we are doing now with the transition. who are we, we are the primary obligations, i need to be able to know thatd know where they are in the pipeline and then all the other members that we also reaching out to, we need to be able to do that. again, i wanted to see that graph. so i can be able then to see down and deduce where we are.

because i know that right now we don't have the funding but we wanted to carry everybody, to convey to all the residents, so they have all the ination that you are giving them and it's a lot of information, so they can make a decision. because things are going to be going very fast, when you start the building. so that's something i wanted to lay on the table. and secondly, i was at the san francisco board of supervisors on tuesday. that's very interesting. i think there was a treasure island-related item. they know the rules committee, we are shooting for 25%. and all of them are talking about 30%. i had to address a little public comment to let them know even at the 25%, we don't have the money yet.

so if they can help usthey y reinterested in what we are doing, maybe for broader discussions as to where we are. and i'm going to segue at the end of the day where we are right now. how is the funding? m.o.h.c.d., what are the conversations? what are they saying as of today? what are the next steps? are we going to bring them here so they can be telling us ere we are and what we should be doing, us, in order to further why we are doing all this planning, the funding and the time line, is also on a trajectory and where are we. for people who are listening, people who are not privilege to all the technical information we have here, and you have been doing a great job on that. just one bottom line, simple answers that we can -- you know, transparent.

so help me answer those questions. >> sure. >> i think, mr. beck, you are coming back to both the infrastructure committee with some housing reports. certainly in our next w meetinas the board and commsi awell. >> yeah, no, definitely this will continue to be a hot topic r the next decade. i will incorporate a break down, a road map how we intend to accomplish as well as where we are with a funding update. >> thank you. >> i'm glad we are moving forward with housing development. i think we are making a big giant step in both the market rate and affordable housing in

the planning that's going into it. we don't have all of the subsidy dollars yet for all of the affordable units but we are working towards that. i know that the non-profit groups are also looking at savings through modular technology and production. so i ththey are working hard on it. >> yeah, mo in particular has been doing a lot of work. looking at the regulatory and cost framework the city imposes on projects as a way of to make sure the city is not making, putting additional hurdles in the course of developing affordable housing. >> thank you very much. are there -- yes, ms. richardson? >> yes. you mentioned something, for

you, bob, the modular housing, i think we indicated before, and we could entertain to the t.i.d.c. to have presenta sowe could begindre what the challenges are and how they could bsolved >> i think certainly the non-profit groups are meeting and looking at those, at that technology and seeing if it makes sense for them. so we will hear in the future from that. are there any comments from the public? on the report. hearing none. next item, please. >> item 10, discussion of future agenda items by directors. >> are there any items? hearing none. i think we can adjourn. >> adjourned. >> thank you, all. thank you.

>> i love teaching. it is such an exhilarating experience when people began to feel their own creativity. >> this really is a place where all people can come and take a class and fill part of the community. this is very enriching as an artist. a lot of folks take these classes and take their digital imagery and turn it into negatives.

>> there are not many black and white darkrooms available anym that is a reall big draw. >> this is a signature piece. this is the bill largest darkroom in the u.s.. >> there are a lot of people that want to get into that dark room. >> i think it is the heart of this place. you feel it when you come in. >> the people who just started taking pictures, so this is really an intersection for many generations of photographers and this is a great place to learn because if you ne people from different areas and also everyone who works here is working in photography.

>> we get to build the community here. this is different. first of all, this is a great location. it is in a less-populated area. >> of lot of people come here just so that they can participate in this program. it is a great opportunity people who have a little bit of photographic experience. the people have a lot, they can really come together and share a lve andon.

>> we offer everything from traditional black and white darkrooms to learning how to process your first roll of film. we offer classes and workshops in digital camera, digital printing. we offer classes basically in the shooting, ton the town at night, treasure island. there is a way for the programs exploring everyone who would like spend the day on this program. >> hello, my name is jennifer. >> my name is simone. we are going on a field trip to take pictures up the hill. >> c'mon, c'mon, c'mon.