Digital BW, The Print

>
> Then there's the glazing - cost, weight, and fragility (glass breaks,
> plastic scratches). Then there's shipping (weight, fragility). And
> finally a huge frame with glazing like that is a serious pain to hang
> because of it's weight (takes two people).

Yes there are those - probably the biggest problems - though not
insurmountable

and as I said - every method seems to have it's problems - face mounting,
for example,  can be gorgeous, but it's rather expensive - and now the face
of the print is basically even more delicate than a completely bare print

>
>  From a display standpoint, I find that big sheets of glazing create too
> much glare. Yes, you can pop for anti-reflective glass, but I don't have
> a rich uncle financing me at the moment.

That's never really worried me that much - as long as it's well lit

> The biggest problem for me is matting - in the US, the max size normally
> available is 40x60 inches, which is too small to be useful if your print
> is 40x50 inches. Unless your favorite matte board comes in really large
> sizes, this basically limits you to prints smaller than 80 cm (31.5 in)
> on the short side.

we got around it this way - my framer has a really nice way of basically
mitering the corners - so he's not using a single full matte and cutting a
hole in it - he's basically using four sides. He doesn't try to hide it, but
it's so nicely done, I've never ever had anyone comment on it - it's almost
like a feature that distinguishes the large size prints. He frames for the
National Gallery of Canada and it's a method he developed for large work
there.


tim