So, I’ve been feeling a little ambivalent as to how, or even if, I want to go forward with this daily-photo project which, of course, has been anything but daily in recent months.
I’ll admit I’m tempted to abandon it. Things have changed after all (I just put up my fifth photography exhibit with a sixth opportunity falling into my lap just this afternoon), and it would be easy for me to rationalize that I don’t have time and that I’m justified in easing up on the self-imposed pressure.
There’s also the issue of keeping up appearances. I’ve always looked upon this blog as a safe place to document my overall progress, as well as my experiments with different kinds of photography, and that was fine when hardly anyone was paying attention. Now I feel self conscious knowing that people are, on occasion, looking for me online only to stumble upon what is decidedly not a collection of my best images but, rather, a visual journal and photographic sketchbook. The truth is, a project like this sometimes means posting a photo that otherwise wouldn’t make the cut not to mention the fact that vintage-camera and home-darkroom experiments and even Polaroids (as much as I love them) aren’t for everyone.
The thing is, I also love this blog and have come to think of it as the project-from-which-all-good-things-have-come. It wouldn’t feel right to abandon it now knowing, as I do, that without it there would be no photography shows.
So, I’ve decided to keep my head down and continue plugging away at it. I may redouble my efforts (however sporadically) and try to finish by December 31st or I may simply keep posting until I get to photo 366 even if that means I don’t finish until sometime next summer. :-)
Because, when all is said and done, it doesn’t really matter. What matters (to me anyway) is that this site continues to propel me forward while also providing me with some much-needed structure.
So, it’s in the spirit of experimentation that I’m posting my first sun print today. Also known as the blueprint process, or cyanotypes, sun prints were first introduced by Sir John Herschel, an astronomer, in 1842 and are the oldest non-silver photographic printing process.
And, while many of the contemporary sun prints you see are printed from film negatives, the earliest cyanotypes by Anna Atkins were simple botanical prints created by arranging objects on treated paper and then exposing the paper to sunlight. As you can see, I’ve decided to go old school with my first effort, this sun print of a pine bough.
Thank you so much for sticking with me, folks. Wishing you all a great weekend!