Collecting runs in the Fisher blood. While Doris and Donald got plenty of press in the Bay Area when they chose SFMOMA to house their massive art collection, their son Bob and his wife Randi seem to be the photography buffs in the family. Some weeks back I made an appointment to be granted access to Pier 24's secure, climate-controlled galleries and spend a couple quiet hours looking at the pictures the couple have acquired over the years, a genuinely impressive array by greats like Diane Arbus, Walker Evans, William Eggleston, Robert Frank, Lee Friedlander, Andres Gursky, Helen Levitt, John Gutman, Richard Misrach, and many many more. If those names look familiar it's because almost all of them have had major retrospectives in Bay Area museums and galleries over the last decade and a half, and if I have any complaint about the collection is that it houses few surprises for anyone who pays attention to photography at all. That said, the Fishers collect in-depth so you are pretty much guaranteed to see pictures that feel like old friends: Bernd and Hilla Becher's industrial architecture, vintage American signage by Evans, Eggleston's giant tricycle. Being the contrarian I am I started at the very back of the space, in the gallery pictured above, where I found one absolutely perfect and unexpected juxtaposition, Gutman's depiction of a boy caught mid-stride in his leap off a diving board directly across from a whole series from Aaron Siskind's Pleasures and Terrors of Levitation. And I do like Pier 24 itself, the Pilara Foundation's gift to San Francisco photography-lovers. Admission is always free, the appointment system guarantees there's never more than a dozen other people in there with you, and no one bats an eyelash if you spend ten solid minutes staring at Allan Arbus's extraordinary portrait of his wife. The Foundation is clearly committed to photography, and I just hope they are not afraid to allow some adventurous curation too.