Lately, what I have been doing most frequently is using a 44 inch roll of Red River satin paper with my glossy carbon variable tone ink arrangement. (For a 1430 version of this inkset, see http://www.paulroark.com/BW-Info/Glossy-Carbon-Variable-Tone.pdf. What I actually use in my 9800 is this: http://www.paulroark.com/BW-Info/7800-Glossy-Carbon-Variable-Tone-2016.pdf. It allows glossy as will as Arches printing, which requires 2 MK positions for a good dmax. Most casual printers will want to avoid Arches.)
For the glossy prints I dry mount them on acid free foam core and spray them with Premier Art Print Shield (solvent based) for protection (4 coats with just a few minutes between coats; prints are hung vertically to reduce dust settling on them; I use an open garage as a "spray booth", wear goggles and don't breath). For prints that exceed the size of my pre-coated, heat-activated 24x36 inch foam core, I have the closest service bureau mount the prints on gator board. My success rate with spray adhesives (Scotch 77) and large prints is just too low for me to be comfortable with them.
I should add, however, that I'm ambivalent about the glossy prints in the sense that with primarily carbon images I think physical damage is going to be the limiting factor. The reality of sales through my local gallery is, however, that all the buyers seem to care about is the image. I, personally, think "carbon on cotton" (100% carbon on Arches Hot Press 140 lb. -- full 22x30 sheets) under museum glass is the ultimate, and I'm looking at two of those in my office now. The potential life of such prints is extreme.
Paul
On Mon, Jul 16, 2018 at 8:11 AM Philip Lindsay fotophil@... [DigitalBlackandWhiteThePrint] <DigitalBlackandWhiteThePrint@yahoogroups.com> wrote:
I stopped using glass for my home displays years ago but I have a controlled environment, eg. no direct sun light, no kids with ice cream cones or other such sources of foreign contamination and frequent dust cleaning with a feather brush to avoid dirt buildup. I flush mount my images on Dibond aluminum composite and rely on Print Shield for protection. The absence of glass is especially effective in displaying matte surface prints such as Epson Hot Press Bright.From: "paulmwhiting@... [DigitalBlackandWhiteThePrint]" <DigitalBlackandWhiteThePrint@yahoogroups.com>
To: DigitalBlackandWhiteThePrint@yahoogroups.com
Sent: Sunday, July 15, 2018 6:08 PM
Subject: [Digital BW] the Red River online newsletter: glass or no glass?
I'm a subscriber to their newsletter, and I use their paper as well. I'm in no way employed by that company to say this, but I like their paper and I'm due for another order.The last couple of newsletters contain a feature on Paul Roark and his method of carbon ink printing, which I also use. I was glad to see him get some publicity as well as his technique of carbon printing. I learned one thing that somehow I must have missed over the years, and that is that Paul does not display his photos under glass. It so happens that lately I've had two photos on my wall, same subject, one with and one without glass, and I've noticed I prefer the print displayed without glass.I'd like to hear from other members here on this issue. Glass or no glass... let';s hear some opinions! One concern I would have is... what about dust?Paul W.