Digital BW, The Print

I think this might be a bit OT but... 

I've been starting to sell prints on HME (Museum Etching) and Crane
Museo. 3MK BO prints. 

As of now I've been selling prints only. I was thinking of offering
semi finished products in the form of matted prints.

But after going trough my (limited) mats samples, I could not find one
that I liked. One might look good with one paper and for one image but
for another image on the same paper, it would not look good.

I find this very complex as I'd have to stock many mat colors. I also
think mat color & framing is a very personal choice.

Would be easy if I was the end user, for example an exhibition of my
work (maybe someday... ;-) ).

What do others on this list who sell prints think about selling print
only, matted or even framed pictures?

Thanks for your advice,

Denis Bouchard

Denis,


> I've been starting to sell prints on HME (Museum Etching) and Crane
> Museo. 3MK BO prints.

> As of now I've been selling prints only. I was thinking of offering
> semi finished products in the form of matted prints.
>
> But after going trough my (limited) mats samples, I could not find one
> that I liked. One might look good with one paper and for one image but
> for another image on the same paper, it would not look good.
...

I standardized on mats from Light Impressions.  Their 'Gallery White' is
a non-brightened paper with a Lab B=3 (varies a bit batch to batch).  
Then I try to have a print and paper tonoe, as well as a matting style
that avoid a mismatch between the print and mat board.

Due to the Lab B of 3, I find brightened papers do not  work well where
a paper border is left around the image for signing.  A brightened paper
with lots of OBAs is too bluish and will draw the eye to the border
instead of into the image.  So,  if the print is mounted with a paper
border showing, I use un-brightened paper.  Ideally, this is what I'd
use for everything.  With the 1800 3-MK prints, un-brightened paper is
my norm.

For some of my printing, however, I prefer a brightened paper.  For
example, currently my 100% carbon solution for the 7500, to me, looks
best with Premier Art's Smooth Bright White paper.  To avoid the problem
of the bright paper border, I simplly have the overmat go to the print
-- no border.  I sign both the mat and print.  The print tone itself is
fine with the mat board.   As a matter of prinitng sytle, I tend to do
some edge burning and avoid bright highlights (that would still be too
cool) near the edge for the same reason I don't like the bright white
borders.  The eye will to to those bright spots, whereas I want the eye
to be guided into the image, not out of it.  So, with a print tone that
is not cold, no paper bording showing, and appropriate edge burning, the
brightened paper works rather well with the creamy mat board.  But for
OBA fade concerns, I might actually prefer it -- as do most.

I think selling prints in mats (and clear bags) looks a lot classier
than just the prints.  Frankly, it's so easy that the return to me on a
per hour basis is probably better with the un-framed but matted prints.

Paul

www.PaulRoark.com <http://www.PaulRoark.com>





[Non-text portions of this message have been removed]

--- In DigitalBlackandWhiteThePrint@yahoogroups.com, "pr_roark"
<pr_roark@...> wrote:

...
> I standardized on mats from Light Impressions.  Their 'Gallery White' is
> a non-brightened paper with a Lab B=3 (varies a bit batch to batch).  
> Then I try to have a print and paper tonoe, as well as a matting style
> that avoid a mismatch between the print and mat board.
> 
  With the 1800 3-MK prints, un-brightened paper is
> my norm.
> 

Thanks Paul. This Lab B=3 makes sense for non OBA papers. And Light
Impressions sell precut mats with backing board in standard sizes at
an affordable price. Very practical and time efficient indeed. :)

I'll sure give it a try with the 3-MK on RR Aurora Natural.

Many thanks again!

Denis Bouchard