2. Digital Media
Time-
based
media
Various
printed B. Nauman, Raw Material-OK OK OK
(1990), single-channel video projection and
substrate two videos on monitors with
s sound, SFMoMA.
Digital
files
Images courtesy threyda.com, sfmoma.org, and blog.ub.ac.id
3. Paper-Based Digital Media
Fine art
D. Goldblatt, Street Traders and
Montecasino, Fourways, Johannesburg
(2001), pigmented inkjet print, MoMA. Family
photos
Commerci
al print
materials
Images courtesy moma.org, apple.com, and crwgraphics.com
5. History of Digital Prints
• 1940s - First computer built in
England, Colossus
• Digital printers were met with SKEPTICISM
because the process wasn’t human enough
• 1960s – dot matrix printers and line plotters
Colossus computer
•1989- Iris fine art print as proof for four
color offset
• 1990- Giclée: “that which is squirted,”
became synonymous with inkjet print
• 1990s “photorealistic” inkjet prints:
accurate and pleasing tone and color
L. Harmon and K. Knowlton, Studies in
reproduction, high dynamic range, low
Perception, 1997 (original image 1967); computer-
grain, high resolution, uniform gloss and
generated print
texture, stiffness, weight, plastic
backing, fade
Images courtesy wikipedia.org and vam.ac.uk resistance, sleevability, stackability, handle
6. What is a Digital Print?
An image created by an electronic printing
device with the information from a digital file.
+ + + =
7. Paper Supports
• “Plain” bond paper: common in laser printers and office copiers, smooth, usually
white and standard cut, produced from woodpulp in mass quantities, with Optical
Brightening Agents (OBAs)
Image courtesy graphicsatlas.org
8. Paper Supports
• Fine art paper: adopted from traditional printing, thick and heavy, rough
surface, and deckle edges, good quality cotton rag; sized or coated for inkjet printing
Image courtesy graphicsatlas.org
9. Paper Supports
• Cast-Coated paper: Smooth, white-pigmented coating of
starch, gelatin, PVOH, casein, and/or styrene butadiene; semigloss or gloss finish
Image courtesy graphicsatlas.org
10. Paper Supports
• Resin-Coated paper: Coated on both sides with a polymer to prevent curling, top layer
contains TiO2 pigment and OBAs; the resin layer can take on a number of different textures
that will be visible through any other surface coatings; has the look and feel of a traditional
photo
Image courtesy graphicsatlas.org
11. Paper Supports
• Synthetic Papers: noncellulosic materials, small pockets of air (microvoids)
create strength, tear and solvent resistant
•Plastic Films: PET or PVC, generally smooth-surfaced thin films that are
transparent, translucent, or opaque
•Woven Materials: Inkjet or Dye sublimation printing onto
clothing, banners, canvas, and other textiles
•Rigid Supports: Aluminum, glass, Plexiglas, Dye sublimation printing for ID
badges
Categories for coated papers
Porous papers dry quickly and Swellable papers dry slowly and
aren’t sensitive to RH, but and remain sensitive to RH, but
allow pollutantsto penetrate; best protect the inks inside the
for pigment-based inks polymer; best for dye-based inks
12. Colorants
PIGMENTS DYES
solid, insoluble particles molecular and can be dissolved in a
vehicle
>1000 nm 3 nm
Must be milled and heated to reduce Tinctoral strength (brilliant colors)
size (to prevent clogging printhead
nozzle)
Natural CMY colorants are not optimal Pure color rendering
for color control
Transparency in synthetic organic High transparency
pigments
Lightfast Poor lightfastness?
Relatively stable to the environment High surface area=vulnerable to the
environment
Bronzing and differential gloss Differential gloss possible
13. Colorants
CYAN MAGENTA YELLOW BLACK
Azo dyes – Azo dyes – Azo dyes – Azo dyes –
soluble in water or soluble in water or soluble in water or soluble in water or
solvents solvents solvents solvents
Phthalocyanine Quinacridone Carbon black –
dyes – water pigments – surfactant
solube solvent soluble necessary for
dispersion
Rhodamine
colorants
Metalized
magentas
14. Finishing Techniques
Added after printing to protect the image from poor environmental
conditions and handling
• Aerosol fixatives: popular in early days of Inkjet printing, less
common now; most likely solvent-based acrylics with additives
• Liquid coatings: natural resin or synthetic polymer (film forms)
to both sides of the print
• Lamination: a thin film applied with pressure and/or heat; many
laminates incorporate UV absorbers
• Face mounting: Plexi adhered to face of the print with a
polymerizing silicone or a pressure-sensitive acrylic adhesive
(Diasec)
15. Photomechanical Prints
Offset Lithography
• 1950, predominant process for
printing
•Large volume, high quality
commercial prints
• Halftone dots in a rosette pattern;
misregistration frequent
Frequency Modulated Halftone Amplitude Modulated Halftone
Image courtesy graphicsatlas.org
16. Digital Processes
Inkjet- FM Electrophotography- AM
Dye Sublimation Digitally-exposed
photographic papers
Images courtesygraphicsatlas.org
17. Inkjet
• 1990-present, technology derived from ink
droplet telegraph transmissions (1867)
•Continuous – originally for printing proofs
• Iris fine art prints, 1989
•Piezo printing: a ceramic electric
tile deflects unneeded ink through
pressure
Pigment-based inkjet print under UV
radiation; OBA’s fluoresce
•Drop on Demand – 1994, photorealistic
printing
• Thermal or “bubble jet”: ink
vaporized through heat and forced out of
the head
•Piezo printing
Image courtesy graphicsatlas.org
20. Inkjet Identification
• Printed on all types of paper
•Droplets of variable distance, density, and size, smooth edges
• Droplets sharp and oblong on RC paper
• Droplets diffuse and undefined on porous and fibrous supports
• Satellite droplets between larger ones
• Differential gloss and bronzing
Photomicrograph showing ink drops
Image courtesy graphicsatlas.org
21. Electrophotography
• 1960-present, technology derived from
experimentations with electrostatic
charges(1937)
•Four impressions for color
•Halftone process for value (distance).
• Pigment based (dry) or dye-based (wet)
Dry toner electrophotographic print under toner
UV radiation; anti-counterfeiting feature
appears in the margins •Dry toners imbedded within
polymer beads
•Liquid toners solvent-based, 98-
99% Isopar (aliphatic hydrocarbon)
Image courtesy graphicsatlas.org
23. Electrophotograph Identification
• Printed on uncoated or coated paper, surface treated paper or plastic film
• Rosette pattern of dots
• Dry toner has visible particulates with speckles in white areas, powdery
appearance
•Differential gloss
Photomicrograph showing dry toner particles
Image courtesy graphicsatlas.org
24. Dye Sublimation
• Also called Dye diffusion thermal transfer
(D2T2): 1995-present
• D1T1: direct thermal
• D1T2: direct thermal transfer
•Only used for photographs, not documents
• Kiosks, personal printers, ID
Detail of the perforated edge of a dye sub
badges, ceramic mugs, and textiles
print
Image courtesy graphicsatlas.org
25. Dye Sublimation Technology
Dye sublimation works with a single-color ribbon (4 passes, 1 for each color)
containing dye heated by a special head that runs the width of the paper.
When the head heats up, it vaporizes (sublimates) the dye in that location.
Out of 256 possible levels, the temperature adjusts the quantity of dye
transfer. The dye, now in gaseous form, is absorbed into the paper. Since the
paper receives the dye layers separately, the print can result in a smooth,
seamless image, up to 11 x 17” in size.
Image courtesy DP3project.org
26. Dye Sublimation Identification
• Continuous tone, dyes bound within the media
• Banding from the low-resolution heat array used to transfer dyes
•Microscopicbumps from imbedded dirt cause a characteristic dull gloss
• Subtle iridescence, relief, and differential gloss
•Backprinting may be a clue to the process
Photomicrograph banding and bumps
Image courtesy graphicsatlas.org
27. Digitally-Exposed Photo Papers
• Late 1990s – digital enlargers
•Chromogenicmost common, but also Gelatin Silver Prints and other color
processes
• Papers modified for short exposure times and spectral range of a laser
• Computer output image
exposed by laser,cathode ray
tube or light-emitting diodes
• Images can be digitally
manipulated before printing
• 1994 Durst Lambda printer,
large scale
•Specular illumination shows
that the dyes are in the
emulsion layer
Magnified image of a digitally-processed C-print
showing a poor resolution digital image and digital
Image courtesy graphicsatlas.org exposure unit
28. Preservation Challenges
1. Identification/Categorization
2. Quantity
3. Variety! Combinations of inks, papers, finishes, optical
brighteners, anti-static agents, biological inhibitors, etc.
Solutions
•Relative humidity should be kept at a stable point below 50%. Whenever possible the
RH should be maintained between 30%-40% with minimal fluctuations, though never
below 15%-20%.
• Temperature should be maintained between 65 and 70 F and seasonal fluctuations
should be kept to a minimum.
• Filter out UV and air pollutants
• Match colorant and media correctly (brands) and buy long-lasting materials where
possible
• Use only enclosure materials that have passed the PAT test
29. Condition Issues
Overall fade
original faded
Inkjet
Dye sub
Images courtesy DP3project.org
30. Condition Issues
Color shift
original color shift
Inkjet
Images courtesy DP3project.org
31. Condition Issues
Yellowing
original yellowed
Inkjet
Dye sub
Images courtesy DP3project.org
45. Condition Issues
Print Characteristic Sensitivity and deterioration
Image-forming substance on Abrasion/blocking probable
SURFACE
Image-forming substance WITHIN Abrasion/blocking less probable
surface
Image-forming substance DYE- Sensitivity to light/water HIGH
BASED
Image-forming substance Sensitivity to light/water LOWER
PIGMENT-BASED
Image-forming substance contains HIGH sensitivity to heat, flexing,
blend of thermoplastic waxes or folding
resins
Media is made up of one layer LOWER sensitivity to flexing/folding
Media has multiple layers HIGH sensitivity to flexing/folding
Table 11.1 modified from M. Jürgens, The Digital Print: Identification and Preservation
46. Research
• IPI DP3 Project – effects of the environment and enclosures, and
preservation measures within cultural heritage institutions
• Tessa Gadomski B.A. Thesis at UD - Appropriate techniques for surface
cleaning inkjet prints (2009)
•Mark McCormick-Goodhart: Aardenburg Imaging & Archives – quality
testing of digital print media
•Henry Wilhelm – permanence research and free download of his book, The
permanence and care of color photographs: traditional and digital color
prints, color negatives, slides, and motion pictures (1993)
47.
48. Thank you…
• Ryan Boatright
• Barbara Lemmen
• Debbie Hess Norris
• Gawain Weaver
and
• The WUDPAC 2014 Contemporary Photography Group:
Jessica Ford, Courtney Von Stein, and Marlene
Yandrisevits
