A lot of what I collect is from fairly self-contained targets with 10 or 20 books to chase, counting whatever variants exist (here used broadly, including alt covers, limited editions, art-swapped reprints, and sometimes even stuff that goes beyond what CGC cares about: DM/newsies, subsequent printings, and so on). I like the hunt. I also like chasing high grade copies. I have no illusion that this is an investment. I collect what I want, and I'm quite comfortable doing so. I enjoy the appeal of slabbing my prey because it provides the grading with an imprimatur, and because I think CGC's slabs look pretty classy, frankly. I have TPBs and reading copies to, well, read.
But, um, a lot of this sort of thing starts off really strong and then goes for... awhile. I'm curious how other people handle that. How far do you let a set wander off into the weeds before you stop slabbing? As an example that I haven't targeted (yet, anyway) but that should be familiar to everyone: Albedo. Obviously, Albedo #2 is a key copper indie, and the Albedo #0 1st print yellow desk is one of the great rarities of the era. But the Thoughts and Images series runs to #14 (to say nothing of the Antarctic Press and Shanda Fantasy Arts series, which I frankly assume are of interest only to their primary demographic). As I type this, there are zero slabbed copies of Albedo #9-12, 14. Obviously, despite starting with several rare, fairly high-dollar, and even key issues... no one is actually interested in slabbing the full run.
So, what does everyone else do when their set starts strong but ends in drek? Is the cost of encapsulation enough to deter making full run match for storage and presentation? Or does everyone just put the boring fill in mylar to think about what it (hasn't) done?