*make prints on highly textured, unique papers. I am a big fan of matte fiber and would love to do more handcoating of unique papers like kozo;
*make print on irregular surfaces e.g. wood, glass, etc.;
*shoot pinhole, holga, whatever, cross process, go nuts- emphasize features that distinguish individual prints, even flaws;
*note to self: collaborate with people like Ron to make IR sensitized glass plates;
*use that fantastically inexpensive gear on the market to produce great new images;
*produce print with materials like Au/Pt/Pd that have material value;
*make photographs with materials soon to vanish e.g. instant prints and transfers, e6 materials etc.;
*make photographs with real intimacy and value that you can sense in the hands. Some would say print as large as possible to demonstrate film's superiority in terms of lp/mm and so forth, but I think that is precisely the wrong approach... I see contact prints as the way to go;
....and far above all else.....
*Learn from others, and freely share insight and gear with others in our little community so that everyone can do their very best to make great images completed to high artistic and archival standards. Rest assured that the value of high-quality traditional images will go up... and soon.
APUG could help by putting out our photobook (TBA soon!), perhaps making gear exchanges a bit easier, and by putting the best imagery, innovative gear, and most interesting experiments front and center... in high-end magazine and book form. If the NY Times isn't interviewing us here on APUG by year's end then we've failed in this regard.
P.S. Should it interest anyone, I just posted a blog entry more or less on this topic; the gist is to put up or shut up. Comments are always welcome.