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Rising at the edge of San Francisco’s Mission Bay neighborhood, this contemporary structure at 100 Hooper Street demonstrates how adaptive urban architecture can balance innovation and warmth. Its façade alternates between sleek black metal and classic red brick, creating a dialogue between the industrial history of the surrounding area and the precision of 21st-century design. The building’s massing is distinctly modern—crisp, geometric, and composed of clean vertical lines—but its human-scaled ground level and textured materials invite approachability.
Designed with flexibility and sustainability in mind, the structure reflects San Francisco’s ongoing evolution from a city of factories and shipyards into a hub for technology, design, and education. The use of brick at the base roots the building in the city’s architectural past, while the upper stories of dark, minimalist cladding and glass communicate forward-thinking intent. Together, they embody the dual character of the Mission Bay district—historic yet future-oriented, practical yet refined.
The intersection of Hooper and 7th Street, where this photo was taken, has become a showcase for the city’s new generation of mixed-use buildings. The adjacent California College of the Arts (CCA) campus contributes a creative pulse to the area, while nearby biotech and design firms highlight the district’s diverse economy. This proximity between creative and technological spaces is no accident—it’s part of a broader effort to cultivate interdisciplinary collaboration through thoughtful urban design.
Light plays a crucial role in defining this architecture. The narrow vertical windows cut cleanly through the façade, catching San Francisco’s sharp coastal sunlight and revealing subtle tonal variations in the exterior materials. In the late afternoon, the building glows softly against the blue sky, its forms sharpened by the long shadows typical of the city’s western light. The result is a space that feels both substantial and alive, an urban composition of rhythm and restraint.
As with much of San Francisco’s contemporary architecture, 100 Hooper embodies sustainability not just as a set of features, but as a philosophy of permanence. Its materials are chosen for longevity; its form for adaptability. The design invites natural light deep into its interior spaces, minimizing energy use while enhancing the experience of those who work and study within. It’s a quietly confident building—urban in scale, timeless in detail, and distinctly Californian in spirit.
The UCSF Health building in Mission Bay, San Francisco stands as a sleek emblem of 21st-century healthcare design, combining glass, metal, and light in an architectural expression of precision and purpose. This structure reflects the University of California, San Francisco’s evolution into one of the world’s leading centers for biomedical research, patient care, and education. Set within the city’s thriving innovation corridor—where life sciences and technology converge—the building anchors UCSF’s Mission Bay campus, home to hospitals, laboratories, and institutes shaping the future of medicine.
The façade’s composition of reflective glass panels and silvery cladding mirrors both the literal and symbolic transparency of the institution’s mission: openness to discovery, collaboration, and care. The rhythm of vertical windows and the interplay of morning light on its surfaces evoke the precision of a clinical environment while softened by the palm trees that punctuate the sidewalk below—a reminder that even the most technical spaces exist within the life and texture of San Francisco.
Architecturally, UCSF Health’s Mission Bay facilities were designed with sustainability and wellness at their core. Natural light floods patient rooms and workspaces, reducing energy use and supporting emotional well-being. The building’s stacked, offset massing creates terraces and shaded recesses, ensuring both efficiency and comfort. Each level functions as part of an interconnected ecosystem—research, treatment, and education all integrated under one roof to accelerate the path from scientific discovery to healing.
But beyond its glass and steel, the building embodies a civic promise. It represents San Francisco’s ongoing investment in public health and innovation, extending UCSF’s legacy from Parnassus Heights to a waterfront neighborhood reborn from industrial land into a global health district. Patients arrive here not only from across California but from around the world, seeking advanced care in oncology, neurology, pediatrics, and precision medicine. Researchers and clinicians collaborate across disciplines, redefining what’s possible in human health.
Viewed in the afternoon light, the building’s façade glows with the same quiet confidence as the city itself—curious, resilient, forward-looking. In a city long known for its spirit of reinvention, UCSF Health’s Mission Bay campus embodies San Francisco’s newest frontier: not gold, not code, but care.
Rising at the edge of downtown Berkeley, Berkeley City College presents a striking vision of modern academic architecture—an interplay of glass, concrete, and light that reflects the city’s forward-thinking spirit. The building’s bold façade balances transparency and solidity: a dynamic expression of how education bridges structure and imagination. Framed by clean geometric forms and a central cylindrical volume, it’s an urban statement of function meeting aspiration.
Designed to integrate with Berkeley’s dense, walkable core, the college embodies the principle of accessibility both physically and philosophically. Its glass curtain walls open the interior to the city, symbolizing knowledge that’s visible, public, and shared. Inside, atriums and open staircases create natural light pathways, guiding students and visitors through a space that feels alive with motion and purpose. From street level, the entry’s symmetry draws the eye upward—an architectural metaphor for academic ascent.
The building’s design language leans on modernist influences, recalling the legacy of California’s civic architecture that values clarity and restraint. The juxtaposition of materials—polished metal against raw concrete, cool glass against warm beige stone—echoes Berkeley’s own duality: intellectual rigor housed in a city known for creative rebellion. It’s a study in contrasts, where precision coexists with openness.
Completed in the early 2000s, Berkeley City College’s main campus stands as part of the Peralta Community College District, serving a diverse student body drawn from across the Bay Area. The architecture reflects that diversity—not ornamental, but inclusive and transparent, built for collaboration rather than hierarchy. The cylindrical form crowning the structure acts almost like an observatory, hinting at curiosity and discovery as its guiding ideals.
Photographically, the building rewards patience. At different times of day, sunlight transforms its planes into a living composition of shadow and reflection. The structure becomes a mirror for Berkeley’s ever-shifting sky, connecting earthbound education with the vastness of possibility.
In a city famous for its Victorian and Craftsman architecture, this modernist landmark offers a counterpoint—a sign that Berkeley’s architectural story is still being written. It honors the same values that built its predecessors: beauty, purpose, and the pursuit of enlightenment.
The de Young Museum, located in the heart of Golden Gate Park, stands as a testament to both art and architectural innovation. Established in 1895 and rebuilt in 2005 by Swiss architects Herzog & de Meuron, the museum is an iconic blend of culture and modern design. Its distinctive copper façade, designed to naturally patina over time, complements the surrounding park environment while offering a striking visual contrast.
Inside, the de Young houses an impressive collection of American art from the 17th to the 21st centuries, alongside vibrant works from Africa, Oceania, and the Americas. Not to be missed is the museum’s standout exhibit of textiles, which spans centuries and cultures. The observation tower is another highlight, providing sweeping 360-degree views of San Francisco’s skyline, the Pacific Ocean, and the Golden Gate Bridge.
Visitors seeking a cultural deep dive should explore the rotating special exhibits, which bring in rare and world-renowned works of art. A must for art lovers, the de Young frequently showcases groundbreaking contemporary exhibitions, creating a blend of historic and modern artistic expression. The museum's educational programs and curated workshops make it a hub for locals and visitors alike.
Whether you're a first-time visitor or a seasoned local, the de Young Museum offers a culturally rich experience that is both dynamic and reflective of San Francisco's global artistic influence.
Sanno Park Tower, an iconic high-rise in Tokyo’s Chiyoda district, seamlessly combines sleek, modern architecture with functional design. Completed in 2000, this 44-story building is notable for its sophisticated structural lines and innovative architectural features that highlight Japan's commitment to combining aesthetics with practicality. Designed by renowned architectural firm Mitsubishi Jisho Sekkei, the building is a masterpiece of Japanese urban design, showcasing minimalist yet impactful features that make it stand out in Tokyo's skyline.
One of the building’s unique architectural highlights is the circular glass structure at its entrance, which creates a visually striking focal point. This pavilion-like addition, with its radial design and metal framework, provides a sense of openness and flow that welcomes visitors while maintaining a distinctively modern feel. The glass and steel elements reflect light beautifully, especially on rainy days, adding an element of elegance to the entire structure. The area around Sanno Park Tower is immaculately landscaped, providing a balance between the building’s imposing presence and the surrounding greenery.
Sanno Park Tower serves as a business hub and is home to major companies and government offices, making it a vital part of Tokyo’s economic landscape. The tower's environmentally conscious design incorporates energy-saving technologies and sustainable materials, reflecting Japan's ongoing dedication to eco-friendly construction practices. With its blend of modern aesthetics and thoughtful design, Sanno Park Tower is not just a building; it’s a statement on the future of urban architecture in Tokyo. This landmark appeals to architecture enthusiasts and photographers alike, capturing the spirit of contemporary Japanese design.
The Bently Reserve in San Francisco is an iconic landmark that beautifully encapsulates the grandeur of early 20th-century architecture. Originally constructed in 1924 as the Federal Reserve Bank of San Francisco, this Beaux-Arts masterpiece was designed by George W. Kelham, a prominent architect who left a significant mark on the city’s architectural landscape. The Bently Reserve's imposing facade, with its row of towering Corinthian columns, commands attention and exudes an air of classic elegance that contrasts strikingly with the modern high-rises that now surround it.
Stepping through the grand entrance, visitors are greeted by an interior that is just as impressive as the exterior. The marble-clad lobby, adorned with intricate bronze detailing and opulent chandeliers, harks back to a time when buildings were constructed not just for utility but as a testament to the city’s prosperity and ambition. The Reserve’s main banking hall, now a prestigious event space, features soaring ceilings, massive arched windows, and meticulously restored murals that offer a glimpse into the building’s storied past.
Today, the Bently Reserve is a sought-after venue for high-profile events, weddings, and corporate gatherings. Its historic charm and prime location in the Financial District make it an ideal spot for those seeking a unique and sophisticated setting. The building has been thoughtfully renovated to preserve its historic elements while incorporating modern amenities, ensuring that it continues to serve as a vital part of San Francisco’s urban fabric.
For those interested in San Francisco’s architectural heritage, the Bently Reserve is more than just a building; it’s a living piece of history that continues to play a prominent role in the city’s cultural and social scene.
Arterra, a striking residential development in San Francisco’s Mission Bay, is a prime example of modern urban living with a sustainable twist. Completed in 2009 by Arquitectonica, this LEED-certified green building offers an elegant blend of style and functionality, making it a standout in the city’s rapidly evolving skyline. The building’s architecture is characterized by its sleek, angular lines and expansive glass windows, which flood the interiors with natural light while offering panoramic views of the Bay Area.
Arterra’s design reflects a commitment to eco-friendly living, with energy-efficient systems, green roofs, and environmentally responsible materials used throughout the construction. The vibrant exterior, featuring a mix of blues, grays, and whites, mirrors the dynamic atmosphere of the surrounding Mission Bay neighborhood, a hub of innovation and creativity in San Francisco.
Residents of Arterra enjoy a range of high-end amenities, including a fitness center, rooftop terrace, and a landscaped courtyard, all designed to enhance urban living while minimizing the building’s environmental footprint. The proximity to key city attractions like Oracle Park, the Chase Center, and the UCSF Medical Center makes Arterra an ideal choice for those seeking convenience without compromising on luxury.
Whether you’re drawn by its sustainable design, modern aesthetic, or prime location, Arterra represents the future of urban living in San Francisco. Its thoughtful integration of environmental principles with cutting-edge architecture sets a new standard for residential developments in the city.
Keskusta centrum=city center in Finish. The photo was taken on one of the malls on Eteläesplanadi st, Helsinki
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The Edwin M. Lee Apartments in San Francisco stand as a contemporary addition to the city's architectural landscape. Named after the city's late mayor, this structure reflects modern urban design principles, featuring a striking façade of alternating blue and white panels. The building's use of large windows maximizes natural light, creating an airy atmosphere within. The roof's innovative solar panels highlight San Francisco's commitment to sustainable architecture, offering an eco-friendly touch. Situated in a vibrant neighborhood, these apartments are more than just housing—they're part of a larger community initiative aimed at providing affordable living spaces while enhancing urban aesthetics. The building’s sleek lines and thoughtful design are a testament to the city's evolving architectural trends, blending functionality with style. For those interested in urban design and sustainability, the Edwin M. Lee Apartments are a notable example of modern architecture in San Francisco.
Building Architecture
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Located in San Francisco's vibrant Mission Bay neighborhood, Mission Bay by Windsor Apartments stands as a testament to contemporary urban living and architectural finesse. This modern complex, with its striking red façade, embodies the innovative spirit of San Francisco’s evolving skyline. The exterior's bold color palette, juxtaposed against clean lines and expansive windows, creates a visually appealing contrast that captures attention. The design's emphasis on minimalism reflects the broader architectural trend in the city, blending functionality with aesthetic appeal.
Mission Bay, historically an industrial area, has transformed into one of the city’s most sought-after residential districts. The area’s redevelopment over the past two decades has been marked by a focus on sustainability, green spaces, and community-centric design. Mission Bay by Windsor is a perfect example of this, offering residents not just a place to live, but an immersive experience in urban life. Its proximity to parks, waterfronts, and the thriving commercial hubs of the city provides unparalleled convenience.
Inside, the apartments continue the theme of modernity, with open floor plans, high ceilings, and state-of-the-art amenities. Large windows flood the living spaces with natural light, creating a warm and inviting atmosphere. The building also offers a range of communal facilities, including a rooftop terrace, fitness center, and resident lounges, all designed to foster a sense of community among residents.
Living at Mission Bay by Windsor means being at the heart of one of San Francisco’s most dynamic areas. With easy access to public transportation, dining, shopping, and cultural attractions, it’s an ideal location for those who want to experience the best of city living in a stylish and comfortable setting.
Arterra, a striking residential development in San Francisco’s Mission Bay, is a prime example of modern urban living with a sustainable twist. Completed in 2009 by Arquitectonica, this LEED-certified green building offers an elegant blend of style and functionality, making it a standout in the city’s rapidly evolving skyline. The building’s architecture is characterized by its sleek, angular lines and expansive glass windows, which flood the interiors with natural light while offering panoramic views of the Bay Area.
Arterra’s design reflects a commitment to eco-friendly living, with energy-efficient systems, green roofs, and environmentally responsible materials used throughout the construction. The vibrant exterior, featuring a mix of blues, grays, and whites, mirrors the dynamic atmosphere of the surrounding Mission Bay neighborhood, a hub of innovation and creativity in San Francisco.
Residents of Arterra enjoy a range of high-end amenities, including a fitness center, rooftop terrace, and a landscaped courtyard, all designed to enhance urban living while minimizing the building’s environmental footprint. The proximity to key city attractions like Oracle Park, the Chase Center, and the UCSF Medical Center makes Arterra an ideal choice for those seeking convenience without compromising on luxury.
Whether you’re drawn by its sustainable design, modern aesthetic, or prime location, Arterra represents the future of urban living in San Francisco. Its thoughtful integration of environmental principles with cutting-edge architecture sets a new standard for residential developments in the city.
The de Young Museum’s perforated copper façade is an architectural triumph in San Francisco’s Golden Gate Park, seamlessly blending art, nature, and innovative design. Reimagined by the renowned Swiss architectural firm Herzog & de Meuron in 2005, the building's unique textured façade is crafted from oxidized copper panels, which will continue to change color over time as they weather. This transformative aspect reflects the museum's connection to the natural surroundings of the park, creating an ever-evolving dialogue between structure and environment.
Herzog & de Meuron's design celebrates modernity while honoring the museum's rich history, replacing the original 1895 building that was damaged in the 1989 Loma Prieta earthquake. The façade is perforated with a meticulous pattern of openings, allowing light to filter through and creating dynamic shadow play on the interior during the day. The use of copper pays homage to the materials historically used in San Francisco, adding a layer of local character to the modernist design.
The de Young Museum’s striking exterior is complemented by its soaring observation tower, which offers panoramic views of the city and Golden Gate Park, making it one of the most architecturally significant museums in the United States. The juxtaposition of the textured, natural copper façade against the surrounding greenery highlights Herzog & de Meuron’s ability to merge architecture with the landscape. Today, the de Young Museum remains not only a world-class art destination but also an iconic landmark, showcasing how contemporary design can be deeply rooted in both place and history.
The Boxer Lab at the UCSF Mission Bay campus is a state-of-the-art research facility dedicated to advancing medical science. As part of the larger UCSF research complex, this lab supports groundbreaking work in areas like oncology, neuroscience, and immunology. Designed with a sleek, modern aesthetic, the building showcases a fusion of architectural minimalism and high functionality, featuring large windows that flood the interior with natural light, encouraging collaboration and innovation.
The exterior of Boxer Lab is a blend of contemporary materials, with clean lines and a neutral palette. The building’s design incorporates sustainable practices, including energy-efficient windows and thoughtful landscaping, creating an environmentally friendly atmosphere that supports UCSF’s mission of sustainability.
Located in the thriving Mission Bay neighborhood, the lab is strategically positioned at the heart of San Francisco’s biotechnology and research hub. Since its establishment, the Boxer Lab has become a pivotal player in medical research, making strides that influence global healthcare advancements. The surrounding UCSF complex offers additional research facilities, green spaces, and outdoor courtyards for employees to unwind, creating a balanced and inspiring work environment.
For those visiting the UCSF campus, the Boxer Lab stands as a symbol of San Francisco’s commitment to innovation in medical science. The building’s seamless blend of form and function makes it a standout structure in one of the city’s most rapidly developing areas.
Somewhere's Window.
Portfolio flic.kr/s/aHsk7LUokY
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I am Camera Assistant & Grip. At present, I am learning English in Los Angeles. Also I am looking for job & internships.
Photography is my lifework.
Filmography
Happy New Year
・Japan Association of Audiovisual Producers award 2014:Personal Communications Section
・Mito Short Film Festival :Second Prize
To me
・The 9th NHK Minimini Video Award:Gateway to success Prize
Experience
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Finalcut Pro
MIRA, San Francisco’s striking new addition to the skyline, redefines modern urban living with its unique, twisted architectural design. Located in the heart of the city, this innovative residential tower stands out for its dynamic façade, which spirals upward in a series of shifting columns. Designed by renowned architect Jeanne Gang, MIRA's form is both a functional and aesthetic marvel, allowing for expansive windows and maximizing natural light in each unit. The building's white, metallic exterior contrasts beautifully with the blue sky and surrounding structures, making it an iconic feature in the city's landscape. Situated near the waterfront and major cultural hubs, MIRA offers residents a luxurious and convenient lifestyle with stunning views of the Bay Area. This architectural gem not only enhances San Francisco’s skyline but also represents a significant advancement in sustainable, forward-thinking design.
Uber’s global headquarters, located at 1725 3rd Street in San Francisco’s thriving Mission Bay district, reflects the company’s innovative spirit through its striking modern architecture. This cutting-edge building is a glass marvel, with its sleek reflective facade mirroring the city’s evolving skyline and emphasizing Uber's forward-thinking ethos. Designed with sustainability and productivity in mind, the building stands as a beacon of Silicon Valley's influence on San Francisco's urban landscape.
Architecturally, Uber HQ features a distinctive curvature along the top floors, adding a dynamic visual appeal to the glass-dominated design. The generous use of glass symbolizes transparency and connectivity, integral values in the tech industry. Inside, the structure offers open, collaborative workspaces designed to foster creativity and teamwork among Uber’s global workforce. The use of sustainable materials and energy-efficient systems underscores Uber’s commitment to environmental responsibility, as reflected in its corporate operations.
Positioned near Chase Center, home of the Golden State Warriors, Uber’s headquarters is part of the ongoing transformation of the Mission Bay neighborhood, now a hub for technology and innovation. The area’s close proximity to the waterfront and its access to public transportation make it an ideal location for Uber’s corporate base, allowing employees easy connectivity across the Bay Area.
Uber HQ’s architectural design, sustainability initiatives, and key location at the crossroads of San Francisco’s business and tech sectors make it a pivotal point in the city’s modern development, marking the ongoing evolution of this iconic city.
The de Young Museum, located in the heart of Golden Gate Park, stands as a testament to both art and architectural innovation. Established in 1895 and rebuilt in 2005 by Swiss architects Herzog & de Meuron, the museum is an iconic blend of culture and modern design. Its distinctive copper façade, designed to naturally patina over time, complements the surrounding park environment while offering a striking visual contrast.
Inside, the de Young houses an impressive collection of American art from the 17th to the 21st centuries, alongside vibrant works from Africa, Oceania, and the Americas. Not to be missed is the museum’s standout exhibit of textiles, which spans centuries and cultures. The observation tower is another highlight, providing sweeping 360-degree views of San Francisco’s skyline, the Pacific Ocean, and the Golden Gate Bridge.
Visitors seeking a cultural deep dive should explore the rotating special exhibits, which bring in rare and world-renowned works of art. A must for art lovers, the de Young frequently showcases groundbreaking contemporary exhibitions, creating a blend of historic and modern artistic expression. The museum's educational programs and curated workshops make it a hub for locals and visitors alike.
Whether you're a first-time visitor or a seasoned local, the de Young Museum offers a culturally rich experience that is both dynamic and reflective of San Francisco's global artistic influence.
San Francisco's Edwin M. Lee Apartments are a striking example of contemporary urban design, featuring an eye-catching facade with alternating blue and white panels. The building’s architecture reflects a commitment to sustainability, incorporating energy-efficient windows that not only provide ample natural light but also contribute to the city's eco-friendly initiatives. Named after the city's former mayor, Edwin M. Lee, the apartments are part of a broader effort to offer affordable housing in a bustling urban setting. The sleek, modern aesthetic of the building, combined with its practical design elements, showcases San Francisco's innovative approach to residential architecture. Located in a vibrant neighborhood, these apartments provide residents with a dynamic living experience, blending style with sustainability. The building's unique design stands out in the city's skyline, making it a notable landmark for both locals and visitors interested in the evolution of urban housing solutions.
The entrance to the ETC Cottage (Swedish: ETC Torp) - you can pick a tomato when you pass. A house with a roof made of solar cells and a greenhouse towards south. The frame and the walls are made of wood - a climate-positive building that stores carbon dioxide. The foundation consists of foam glass, no concrete is used. It is so energy efficient that it can provide energy to at least one more house. The building is a show house and you can buy a house like that from the building company ETC Bygg.
Built: 2022.
One of the buildings in the ETC Solar Park in Katrineholm.
etcbygg.se/ett-klimatsmart-hus/ (website in Swedish)
The red house is typical for Sweden. The traditional red paint contains pigment from the copper-mine in Falun, Dalecarlia.
This is a HDR of Casa Mila La Pidrera in Barcelona. This is a typical Gaudi city mark. I liked the cirri clouds that seem light small waves coming out form the building. I used to dark the pic to give a more sexy look with the phasing out of the clouds into the sky. Comments welcomed.
Magna Plaza is a nice shopping mall, just behind the Dam, Amsterdam, Nederland. It
has been designed in the Neo-Gothic style by a Dutch architect of the end of the 19th century P.C.Peters. It was a time when another famous Dutch architect Petrus J.H. Cuypers just completed the construction of the Rijksmuseum (1885) and the Central Station (1889), both full of historical references in their architecture.
Oslo city hall is where the Nobel prize for peace is given. They started to build the building in the 30's, but because of the 2ww they finished building it in 1950. The building looks very ugly on first sight, but then you find its beauty. The clock is one of the pearls, it is located on the north side of the City Hall.
The building was designed by Arnstein Arneberg and Magnus Poulsson.
Please view large.
The rooftop of Casa Milà, also known as La Pedrera, features Antoni Gaudí’s uniquely designed chimneys that resemble abstract sculptures. Located in Barcelona, Spain, these surreal structures contribute to the building’s whimsical and artistic aesthetic. With their organic shapes and mosaic-like textures, the chimneys not only serve a functional purpose but also exemplify Gaudí’s innovative approach to architecture, blending utility and art. Casa Milà’s rooftop is a must-visit destination for architecture enthusiasts and is a key example of Catalan Modernisme.
Appartments / Condo's in Holland, Heerhugowaard. However the walls have a big problem: they let rainwater in , but not out ! Owners are in big financial trouble since the builders and the producers of the wallmaterial have all gone bankrupt.
27 apartments for rent, from 2-room to 5-room apartments, all with an own carport. Built: 2007. Architect: Contekton. Builder: Skanska. Owner: Uddevallahem.
For a Passive House in a cold climate no radiators or under-floor heating are necessary. The building is superinsulated and airtight and has therefore only minor transmission and ventilation losses. It is primarily heated by radiated solar energy, heat produced by humans, household machinery, domestic electronic equipment and light fittings.
Jefferson Market Branch, New York Public Library, still familiar to New Yorkers as Jefferson Market Courthouse, is located at 425 6th Avenue (SW corner of West 10th St) in Greenwich Village, New York City.
For the unrelated roll-film format produced from 1898 to 1929, see 110 film (roll format).
110 is a cartridge-based film format used in still photography. It was introduced by Kodak in 1972. 110 is essentially a miniaturised version of Kodak's earlier 126 film format. Each frame is 13 mm × 17 mm (0.51 in × 0.67 in), with one registration hole.
The film is fully housed in a plastic cartridge, which also registers the image when the film is advanced. There is a continuous backing paper, and the frame number and film type are visible through a window at the rear of the cartridge. The film does not need to be rewound and is very simple to load and unload. It is pre-exposed with frame lines and numbers, a feature intended to make it easier and more efficient for photofinishers to print.
Unlike later competing formats, such as disc and APS film, processed 110 negatives were returned in strips, without the original cartridge
The 110 cartridge was introduced by Kodak in 1972 with Kodak Pocket Instamatic cameras. The new pocket-sized cameras became immediately popular, and soon displaced competing subminiature cameras, such as the Minolta 16 series, from the market. The 110 film width is 16 mm. A four frame strip measures 111 mm.
Fujifilm stopped manufacturing 110 in September 2009.[1]
Estes Industries has long marketed several model rockets, the most notable being the Astrocam, with a simple 110 camera in the nose; the shutter is triggered when the nose cone separates from the rocket body.
In May 2012, Lomography revealed they would be bringing back 110 film by releasing a brand new Lomography Orca Black and White film. This is now available for sale, along with a 200 ISO colour negative version (process C-41) under the name "Tiger".
Although the format is most closely associated with cheaply produced, low-cost cameras, Canon, Minolta, Minox, Pentax, Rollei, Voigtländer, and others, as well as Kodak, offered sophisticated, expensive 110 cameras, with excellent multi-element focusing lenses and precise, electronically controlled exposure systems. Such cameras are capable of making high-quality images on 110 film. Some of these cameras are quite small and still hold appeal to subminiature-photography enthusiasts.
However, most[citation needed] 110 cameras have been cheaply made, with mediocre lenses and only rudimentary exposure control. The small negative size of 110 film makes it difficult to enlarge successfully. For these reasons, the 110 format is associated with prints that are often rather grainy and unsharp. This has led to the misconception that the cartridge itself is incapable of holding film flat enough for making high-quality negatives.
A 110 cartridge of ISO 400 film. The arrow indicates the modification made so that sophisticated cameras detect the proper film speed
The 110 cartridge, as specified by Kodak, has a plastic tab on one end. Camera designers had the option of using this tab to sense film speed, enabling sophisticated cameras to switch between high- and low-speed film. A short tab indicated high-speed film, and a long tab indicated low-speed film. Kodak left it to the film manufacturer to decide which film speeds were high or low. Only a few expensive cameras took advantage of this feature.
The last 110 film that Kodak produced was ISO 400 speed packed in a cartridge that senses as "low" speed.[3] As shown in the photograph to the right, these cartridges can be modified by hand so that they signal the proper speed to the camera.
In May 2012, Lomography released their own 110 film - the Orca Black and White 100 ISO pocket film. Named after the killer whale because of its monochromatic coloring, the Orca B&W film is the first 110 film in production since 2009. More recently, Lomography released their first color negative 110 film - the 200 ISO Lomography Color Tiger 110.
In 2010, Adox announced that their new Adox Pan 400 black and white film to be released in mid 2011 will be eventually sold in 110 format. However with the problems that the first test coating of Adox Pan 400 experienced, the release date has been pushed back and there is no set date for the release of it in 110.
Although the format is commonly associated with print film, Kodak also produced Kodachrome 110 slide film until 1982.[4][5]
Along with standard sized slides that fit into standard projectors, 110 slide film could also be processed into smaller format slides. The latter required special Pocket Carousel projectors.[4] The sub-miniature slides were mounted in small mounts. There were also mount adapters available that allowed the small mounts to be projected in a common projector. These adapters were not entirely satisfactory however, as to project the smaller slide at a size comparable to that from 35mm the projector had to be moved further from the screen, resulting in a dimmer image. The dedicated 110 projector overcame this by using a brighter lamp
Jefferson Market Branch, New York Public Library, still familiar to New Yorkers as Jefferson Market Courthouse, is located at 425 6th Avenue (SW corner of West 10th St) in Greenwich Village, New York City
For the unrelated roll-film format produced from 1898 to 1929, see 110 film (roll format).
110 is a cartridge-based film format used in still photography. It was introduced by Kodak in 1972. 110 is essentially a miniaturised version of Kodak's earlier 126 film format. Each frame is 13 mm × 17 mm (0.51 in × 0.67 in), with one registration hole.
The film is fully housed in a plastic cartridge, which also registers the image when the film is advanced. There is a continuous backing paper, and the frame number and film type are visible through a window at the rear of the cartridge. The film does not need to be rewound and is very simple to load and unload. It is pre-exposed with frame lines and numbers, a feature intended to make it easier and more efficient for photofinishers to print.
Unlike later competing formats, such as disc and APS film, processed 110 negatives were returned in strips, without the original cartridge
The 110 cartridge was introduced by Kodak in 1972 with Kodak Pocket Instamatic cameras. The new pocket-sized cameras became immediately popular, and soon displaced competing subminiature cameras, such as the Minolta 16 series, from the market. The 110 film width is 16 mm. A four frame strip measures 111 mm.
Fujifilm stopped manufacturing 110 in September 2009.[1]
Estes Industries has long marketed several model rockets, the most notable being the Astrocam, with a simple 110 camera in the nose; the shutter is triggered when the nose cone separates from the rocket body.
In May 2012, Lomography revealed they would be bringing back 110 film by releasing a brand new Lomography Orca Black and White film. This is now available for sale, along with a 200 ISO colour negative version (process C-41) under the name "Tiger".
Although the format is most closely associated with cheaply produced, low-cost cameras, Canon, Minolta, Minox, Pentax, Rollei, Voigtländer, and others, as well as Kodak, offered sophisticated, expensive 110 cameras, with excellent multi-element focusing lenses and precise, electronically controlled exposure systems. Such cameras are capable of making high-quality images on 110 film. Some of these cameras are quite small and still hold appeal to subminiature-photography enthusiasts.
However, most[citation needed] 110 cameras have been cheaply made, with mediocre lenses and only rudimentary exposure control. The small negative size of 110 film makes it difficult to enlarge successfully. For these reasons, the 110 format is associated with prints that are often rather grainy and unsharp. This has led to the misconception that the cartridge itself is incapable of holding film flat enough for making high-quality negatives.
A 110 cartridge of ISO 400 film. The arrow indicates the modification made so that sophisticated cameras detect the proper film speed
The 110 cartridge, as specified by Kodak, has a plastic tab on one end. Camera designers had the option of using this tab to sense film speed, enabling sophisticated cameras to switch between high- and low-speed film. A short tab indicated high-speed film, and a long tab indicated low-speed film. Kodak left it to the film manufacturer to decide which film speeds were high or low. Only a few expensive cameras took advantage of this feature.
The last 110 film that Kodak produced was ISO 400 speed packed in a cartridge that senses as "low" speed.[3] As shown in the photograph to the right, these cartridges can be modified by hand so that they signal the proper speed to the camera.
In May 2012, Lomography released their own 110 film - the Orca Black and White 100 ISO pocket film. Named after the killer whale because of its monochromatic coloring, the Orca B&W film is the first 110 film in production since 2009. More recently, Lomography released their first color negative 110 film - the 200 ISO Lomography Color Tiger 110.
In 2010, Adox announced that their new Adox Pan 400 black and white film to be released in mid 2011 will be eventually sold in 110 format. However with the problems that the first test coating of Adox Pan 400 experienced, the release date has been pushed back and there is no set date for the release of it in 110.
Although the format is commonly associated with print film, Kodak also produced Kodachrome 110 slide film until 1982.[4][5]
Along with standard sized slides that fit into standard projectors, 110 slide film could also be processed into smaller format slides. The latter required special Pocket Carousel projectors.[4] The sub-miniature slides were mounted in small mounts. There were also mount adapters available that allowed the small mounts to be projected in a common projector. These adapters were not entirely satisfactory however, as to project the smaller slide at a size comparable to that from 35mm the projector had to be moved further from the screen, resulting in a dimmer image. The dedicated 110 projector overcame this by using a brighter lamp
Doorway, dog, interior, blue walls and red chairs.
Portals: See www.flickr.com/photos/swigart/sets/72157594457756977/
This is the West Wing at the Virginia Museum of Fine Arts located at 200 N Arthur Ashe Blvd, Richmond, VA.
This section of the Museum opened in 1985; it was designed by Hardy Holzman Pfeiffer Associates and features some beautiful late Brutalist architecture.
The West Wing was sponsored significantly in part by Sydney and Frances Lewis, who owned BEST Products. Hardy Holzman Pfeiffer Associates also designed the iconic headquarters building for BEST Products, located in neighboring Henrico County.