Digital BW, The Print

Different strokes, apparently. Galleries I know do the framing/glazing for shows and 
consignments, not the artist. With co-op galleries (where the aritst is one member) the 
artist do their own. And it appears the OP was selling prints on his own, not through a 
gallery which was what my first comment was based on.

But the point relating back to the original question, is Conservation Clear is inexpensive 
when you buy it by the box. Actually cheaper than a single cut sheet of common single-
strength window glass.  

Museum Glass' UV-blocking properties (which the thread morphed into) are no better than 
Conservation Clear. It's benefit is the sputtered-on AR coating that makes the glass look 
like it has dissapeared. But it costs 5X that of Conservation Clear.


Best - Brad
Prison pix: http://www.citysnaps.net/AlcaBook/Alcatraz



--- In DigitalBlackandWhiteThePrint@yahoogroups.com, Tom Baker <tbaker1328@...> 
wrote:
>
> Just out of curiosity, but if they consider Museum glass to be the minimum, what would 
be considered an upgrade.  Museum glass is the best that one can get, as far as I can tell.
>    
>   Tom Baker
> 
> jim kitchen <jim.kitchen@...> wrote:
>           Dear Brad,
> 
> I may be alone with this issue, but the galleries I work with,
> ask that my black and white carbon images be framed with
> Tru Vue Museum glass, and they sell quite well...
> 
> Expensive yes, selling point yes, and they consider this to be
> a minimum requirement for any images of this nature.
> 
> jim k
> 
> [Non-text portions of this message have been removed]
> 
> 
> 
>          
> 
> 
> [Non-text portions of this message have been removed]
>