Paluska was listed in good condition and Brooks in serious condition. All rights reserved. This material may not be published, broadcast, rewritten or redistributed. Show discussion. Video: Ohio rampage Open in new window. Discuss: Discussion comments. Expand Collapse. View all comments. Leave your comment. I agree, black is best. Cheers Bill. Flying Tiger. Global Administrator.
Black for me. I like black as Im not distracted by the light! And yet youre not allowed to exhibit on black? Wouldnt it make the displays more appealing to the viewing public? Or are the judges just too "White Coated" about this? As far as BEST - probably the black will help store stamps longer - less light is reflected and less "Chemical Whiteners" in the manufacturing process. Black is Beautiful. Can't disagree with the master on this one.
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Allanswood wrote Quote: And yet youre not allowed to exhibit on black? Guess those rules could do with some relooking.
I still wonder about the size of the paper having to be not more than 29 cm in height - making everybody having to do extra work by trimming off a little bit of their A4 sized white sheets of paper. Have others had that problem? Nothing consistent, but several stockbooks where strips start "pealing off from bottom". And no, the stockbooks are not heavily loaded or similar. And no, it's not about storage either as I have plenty of other stockbooks remaining in excellent condition I know some other collectors around Europe who have experienced similar as well.
I remember reading similar complaints from German stamp forums also I guess it is or was a quality control issue at Lighthouse. But anyway My vote goes to white page. The pages look bit more draft, but that's a trade I can accept if it saves me from unnecessary expenses.
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Brummie wrote: Maybe I am more gentle? Brummie wrote: They look beautiful all sitting there in a row kerailija but when I look on top of the bookcase I see green things in pots I hope you water them VERY carefully? Michael Eastick. As a dealer I disagree with this statement and for a very simple reason.
Many dealers use the T-series stockbooks made by Lighthouse. If Lighthouse made the T-series albums with black pages I would most likely use them as they certainly make the stamps look better. Many dealers also use hagner sheets so this argument does not apply to that situation. This statement was referring to some ebay dealers who shall remain nameless.. Needless to say they were returned, along with ones from some other dealers. As with most people there are good and bad apples in the barrel. Now if something catches my eye I ask for a scan on a black background and if it is acceptable I will bid for it.
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Once bitten twice shy Regards. I prefer black. Shows the perfs better. Also can see perfins better. Actually as far as my personal albums are concerned I use cream archival paper - I like the classical look, think the older - muted colour - stamps actually present better and my old covers look better on cream.
I only use stockbooks for storage until archived. The above was posted four years ago, but are the peeling strips still an issue for anyone? Not with all the black stockbooks I bought in the last 5 years. This really was a problem back then.
I think somewhere in the period of 5 to 10 years back. I had these issues with black page Lighthouse, page Lindner and page Mandor stockbooks. I now use these books for housing miniature sheets only. Stewie wrote: Thick stockbooks meaning 64 pagers have durability issues; at some point they usually break from the back binding This is true - if they are overfilled. I sell more stockbooks than anyone in Australia.
Many s a year, for 20 years.
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I import pallet loads each year. Indeed, if you google "Lighthouse stockbooks" I am generally the 1 match globally, no matter where you type it in. Try it and see. Near all buyers take a box of 10 or 20 as it saves a lot on shipping, and far lower unit cost. As you know, my book is about Prince's spiritual journey, and Devasquez and I talked for two hours on the subject.
Our interview demonstrates that every source is worth contacting; you just never know who is going to have the insight you're looking for, or connect you with other valuable sources. And you can't dismiss someone because they aren't well known in Prince lore. People often complain that I don't share enough details from my interviews in my blog posts. Well, I have to give people a reason to read the book, especially so they can grasp the full story.
So, unfortunately, I can't really go into the specifics of my conversation with Devasquez. What I can say is that the interview provided more support for my initial feeling that Prince's oscillation between the sacred and profane in his art was informed by an internal struggle. In fact, as I transcribed the interview, I kept thinking of Ephesians "For we wrestle not against flesh and blood, but against principalities, against powers, against the rulers of the darkness of this world, against spiritual wickedness in high places.
It has a jazzy feel because Devasquez is from Louisiana.
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As a biographer, it's always exciting when you find that one source's story corroborates another, especially when you weren't even trying to make that connection. That's what happened when I talked to Devasquez; her experience with Prince validated some information I received from Jill Jones.
Before speaking with Devasquez, I never thought I would help people who knew Prince find closure or make sense of their time with him. I experienced that with Devasquez as I shared some of my findings with her. It was such a cool feeling. Finally, I am so grateful for her encouragment. I always wondered what Prince would think of my book.