stink, stank, stuck

I haven't been able to post much recently. Partly because I'm really busy (in a good way- some shows and editorial work), but also because I've been stuck. For the past few days I've been trying to write a post that interweaves my adoration for my new favorite sweater, more adoration (and downright respect) for Brian Ulrich and his show at Quality pictures, my apprehension/resignation/sometimes adoration of adjunct teaching, and the notion of "sell out" as addressed by Dave Eggers in an old Harper's article and it's relevance in my recent decision to apply for a day job unrelated to photography.

Maybe I'm trying to do bite too much off here, but I'm not ready to abandon it quite yet. It seems interesting that others are writing about similar themes (separately- maybe I need to break it down) and that's what I love in the blogosphere- I'm not alone in my head. In the meantime, while I go back to the other work (the work that pays the bills) and masticate on this blog stuff, I want to point out:

• Exposure Compensation on real authentic photographic prints -
- my two cents: I used to think that editioning prints was just a sales gimmick and resented it being used in photography. Now I'm of the opinion that to make a really good print, is an act of craftsmanship that is actually respected in the process. The hassle of making a good 30x40 is something I don't want to have to go through more than 1/2 a dozen times. Keeping the prints editioned keeps the quality high. That said though, I love Jen Bekman's 20x200 approach, a best of both worlds approach.

• the Jackanory on turning down a desk job (my case is a quite a bit different- I haven't been offered anything. In fact, I don't know if I want the one I applied for or am even qualified)

• Conscientious on the future of ideas (and your bank balance)

• Cara Phillips on the necessity of a day job and the inherent difficulties of balancing work (for pay) with, well, work. Boy, I'd love to chime in on this, but the truth is, I've got paying work I have to get to right now (I told myself I'd start at 9:00- I'm 17 minutes late) I'm juggling every day. I do love though that in mentioning the importance of support from foundations such as Guggenheim, she shows a Sternfeld photograph made out in this neck of the woods. I don't have my copy of the book handy, but I think that picture's Pendleton, Oregon, is that right? I'm not positive on her selection, but I know that this one, one of my favorites in the book, is from Gresham, Oregon, near my own day job. Well, one of them. Maybe I can use GoogleEarth to find the street and photograph it these days?