PMG Contemporary Photography: Digital Prints Workshop Bibliography

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=PMG Collaborative Workshops Bibliographies - Contemporary Photography: Digital Prints=
6 - 10 November 2006, San Francisco Museum of Modern Art. 
==General==
*Adelstein, Peter Z. IPI Media Storage Quick Reference. Rochester, NY: Image Permanence Institute, 2004.
*Altshuler, Bruce. “Collecting the New: A Historical Introduction.” In Collecting the New: Museums and Contemporary Art. Edited by Bruce Altshuler. Princeton: Princeton University Press, 2005: 1-13.
*Becker, Dieter, and Klaus Kasper. “Digital Prints: Technology, Materials, Image Quality & Stability.” In Ein Bild sagt mehr als tausend Bits – Über Informationsgehalt, Aussagekraft und Halbarkeit herkömmlicher und digitaler Bilder. Tagungsband der Schule für Gestaltung Bern und Sonderdruck des Rundbrief Fotografie. Göppingen: Museumsverband Baden-Württemberg e.V., 1996: 10-14. www.foto.unibas.ch/~rundbrief/les33.htm.
*Buskirk, Martha. “Medium and Materiality.” In The Contingent Object of Contemporary Art. Cambridge: MIT Press, 2003: 107-160.
*Corzo, Miguel Angel, ed. “Introduction.” In Mortality/Immortality?: The Legacy of 20th Century Art. Los Angeles: Getty Conservation Institute, 1999: xv-xx.
*Gschwind, Rudolf, Lukas Rosenthaler, and Rino Büchel. “Digitization and Long Term Archival of Photographic Collections: Recommendations of the Swiss Federal Office for Civil Protection, Section Protection of Cultural Property.” In Archiving 2004: IS & T’s 2004 Archiving Conference: Final Program and Proceedings, April 20-23, 2004, San Antonio, Texas. Springfield, VA: Society for Imaging Science and Technology, 2004: 11-17.
*Hofmann, Rita. “Farbmittel digitaler Ausdruckmedien: Drucktechnik und Haltbarkeit.” In Ein Bild sagt mehr als tausend Bits – Über Informationsgehalt, Aussagekraft und Haltbarkeit herkömmlicher und digitaler Bilder. Tagungsband der Schule für Gestaltung Bern und Sonderdruck des Rundbrief Fotografie. Göppingen: Museumsverband Baden-Württemberg e.V., 1996. www.foto.unibas.ch/~rundbrief/les34.htm.
*Hoskins, Stephen. “The Diversity of Digital Print Technologies Used in the Creation of High Quality Fine Art.” In 22nd International Conference on Digital Printing Technologies: Final Program and Proceeding, Denver, Colorado, September 17, 2006. Springfield, VA: The Society for Imaging Science and Technology, 2006: 303-307.
*Iles, Chrissie, and Henriette Hudlisch. “Keeping Time: On Collecting Film and Video Art in the Museum.” In Collecting the New: Museums and Contemporary Art. Edited by Bruce Altshuler. Princeton: Princeton University Press, 2005: 65-83.
*Image Permanence Institute. A Consumer Guide to Traditional and Digital Print Stability. Rochester, NY: Image Permanence Institute, 2003. http://www.rit.edu/ipi/sub_pages/consumerguide.pdf and http://www.imagepermanenceinstitute.org/shtml_sub/consumerguide.pdf.
*Mandell, Lee, and Sue Kriegsman. “Digital Repository Planning and Policy.” In Archiving 2005: Final Program and Proceedings, April 26, 2005, Washington, D.C. Springfield, VA: Society for Imaging Science and Technology, 2005: 5-8.
*Real, William A. “Toward Guidelines for Practice in the Preservation and Documentation of Technology-based Installation Art.” Journal of the American Institute for Conservation 40, no. 3 (Fall/Winter 2001): 211-231.
*Rosenthaler, Lukas. “The (Short) History of Digital Archiving.” In Archiving 2006: Final Program and Proceeding, May 23-26, 2006, Ottawa, Canada. Springfield, VA: Society for Imaging Science and Technology, 2006: 69-74.
*Sheridan, Sonia Landy, ed. “New Foundations: Classroom Lessons in Art/Science/Technology for the 1990s.” Leonardo: Journal of the International Society for the Arts, Sciences and Technology 23, 2/3 (1990). The following selection of articles is included in the notebook:
*Sheridan, Sonia Landy. “Why New Foundations?” 165-167.
*______. “Mind/Senses/Hand: The Generative Systems Program at the Art Institute of Chicago 1970-1980.” 175-181.
*______. “Homography: Visualizing Time.” 233-240.
*______. “Image Generation Survey: Electrostatics.” 251-253.
*______. “Image Generation Survey: Light.” 273-274.
*______. “Image Generation Survey: Magnetics.” 275-276.
*______. “Image Generation Survey: Sound.” 287-290.
*______. “Image Generation Survey: Heat.” 291-293.
*______. “Image Generation Survey: Visualizing Time via Computers.” 315-317.
*Thompson, Bob. “Digital Imaging Techniques and Materials.” In Printing Materials: Science and Technology. Leatherhead, Surrey: Pira International, 1998: 453-470.
*Wilhelm, Henry. “A 15-Year History of Digital Printing Technology and Print Permanence in the Evolution of Digital Fine Art Photography – From 1991 to 2006.” In 22nd International Conference on Digital Printing Technologies: Final Program and Proceeding, Denver, Colorado, September 17, 2006. Springfield, VA: The Society for Imaging Science and Technology, 2006: 308-315.
*Work, Ray A. “Substrate Developments in Fine Art Media.” In 22nd International Conference on Digital Printing Technologies Final Program and Proceeding, Denver, Colorado, September 17, 2006. Springfield, VA: The Society for Imaging Science and Technology, 2006: 323-325.
==Silver Halide & Electrostatic Processes==
*Bacilek, John F. “The Efforts of Eastman Kodak Company to Produce a Direct Digital Output Silver Halide Color Paper.” In IS&T’s 50th Annual Conference: A Celebration of All Imaging, Cambridge, MA, May 1997, vol. 50. Springfield, VA: The Society for Imaging Science and Technology, 1997: 242-246.
*Grattan, David. “The Stability of Photocopied and Laser-Printed Documents and Images: General Guidelines.” Technical Bulletin 22. Ottawa, Ontario: Canadian Conservation Institute, 2000: 1-7.
*Subt, Sylvia S. Y. “Archival Quality of Xerographic Copies.” Restaurator 8, no. 1 (1987): 29-39.
==Thermal Processes==
*Eastman Kodak Company. “Environmental Effects on the Stability of Images on Kodak Thermal Print and Transparency Material.” Technical Information Data Sheet T12080. Rochester, NY: Eastman Kodak Company, 1993, revised May 1997: 1-4.
*Hayashi, Masafumi, and Kazuya Yoshida. “Recent Developments in Thermal Dye Transfer Prints.” In 22nd International Conference on Digital Printing Technologies: Final Program and Proceeding, Denver, Colorado, September 17, 2006. Springfield, VA: The Society for Imaging Science and Technology, 2006: 261-264.
*Henzel, Richard. “D2T2 Printing after Two Decades.” In 22nd International Conference on Digital Printing Technologies: Final Program and Proceeding, Denver, Colorado, September 17, 2006. Springfield, VA: The Society for Imaging Science and Technology, 2006: 288-291.
==Ink Jet Processes==
*Alpers, Peter. “The Evolution of the Term 'Giclée'.” Digital Fine Art Magazine (Spring 1999): 1-3.
*Baumann, Edward, and Rita Hofmann. “The Equivalence of Light Sources in Light Stability Testing.” In IS & T’s NIP20: International Conference on Digital Printing Technologies, Salt Lake City, UT, October 31, 2004, vol. 20. Springfield, VA: The Society for Imaging Science and Technology, 2004: 699-704.
*Bugner, Douglas E., and Brian L. Lindstrom. “Further Investigations into Accelerated Light Fade Reciprocity of Inkjet Photographic Prints.” In 22nd International Conference on Digital Printing Technologies: Final Program and Proceeding, Denver, Colorado, September 17, 2006. Springfield, VA: The Society for Imaging Science and Technology, 2006: 235-238.
*Bugner, David, et al. “Ozone Concentration Effects on the Dark Fade of Ink Jet Photographic Print.” The Journal of Imaging Science and Technology 49, no. 3 (May/June 2005): 317-325.
*Brinkerhoff, Val. “The Glory of Giclée: Fine Art Iris Inkjet Printmaking: Art and Science Meet Head-On.” PHOTO Techniques 19 (May/June 1998): 28-35.
*Chovancova-Lovell, Veronika. “Effect of Optical Brightening Agents and UV Protective Coating on Print Stability of Fine Art Substrates for Ink Jet.” In 22nd International Conference on Digital Printing Technologies: Final Program and Proceeding, Denver, Colorado, September 17, 2006. Springfield, VA: The Society for Imaging Science and Technology, 2006: 227-230.
*Fryberg, M., R. Hofmann, and P. A. Brugger. “Permanence of Ink-jet Prints: A Multi-Aspect Affair.” In IS & T’s NIP 13: International Conference on Digital Printing Technologies, Seattle, WA, November 1997, vol. 13. Springfield, VA: The Society for Imaging Science and Technology, 1997: 595-599.
*“IRIS Graphics FAQs: IRIS Giclée Printmaking.” Bedford, MA: IRIS Graphics, Inc. Originally printed from website www.irisgraphics.com (no longer valid).
*Lavédrine, Bertrand. “Étude de la Stabilité Photochimique d’Impressions Couleurs à Jet d’Encre.” Nouvelles de l’Arsag 13 (December 1997).
*Martin, Tony. “Dye-Based or Pigment-Based? Debunking the Myths of Digital Inks.” Digital Photo Techniques (March/April 2004): 49-50, 53, 60.
*Kanazawa, Yukihiko, et al. “Indoor Pollutant Gas Concentration and the Effect on Image Stability.” In IS & T’s NIP20: International Conference on Digital Printing Technologies, Salt Lake City, UT, October 31, 2004, vol. 20. Springfield, VA: The Society for Imaging Science and Technology, 2004: 748-752.
*Papanagiotou, Chrysoula. “Ink-jet Printing as an Alternative Method of Image Re-integration. Paper Conservation News 97 (March 2001): 10-13.
*Quill, Jeffrey, et al. “Quantifying the Indoor Light Environment: Testing for Light Stability in Retail and Residential Environments.” In IS & T’s NIP20: International Conference on Digital Printing Technologies, Salt Lake City, UT, October 31, 2004, vol. 20. Springfield, VA: The Society for Imaging Science and Technology, 2004: 689-698.
*Reber, Juerg, and Rita Hofmann. “Correlation of Ozone Test Chamber Data with Real Life Permanence of Inkjet Prints.” In 22nd International Conference on Digital Printing Technologies: Final Program and Proceeding, Denver, Colorado, September 17, 2006. Springfield, VA: The Society for Imaging Science and Technology, 2006: 231-234.
*Sarver, Patrick. “The Giclée: Rising Star Among Prints.” Art Trends (August/September 1997).
==Workshop Notes==
*Hofmann, Rita. “The Stability of Materials and Current Testing Practice.” Presentation Notes, Mellon Workshop, San Francisco, CA (8 November 2006). 
*Light, Michael. “Curriculum vitae” and “Bio.” Workshop Handout (November 2006).
*Sheridan, Sonia Landy. “Readings for Generative Systems: One Artist’s Response to Evolving Science & Technology.” Workshop Handout (November 2006).
*Sterrett, Jill. “Select Bibliography for Conservation of Time-based Media and Contemporary Art” and “Websites for Conservation of Time-Based Media.” Workshop Handout (1 September 2006).
==Further Reading==
*American Society for Testing and Materials (ASTM). “Standard for Measuring the Dark Stability of Ink Jet Prints (F2035-00).” 2000.
*Brill, T. Light: Its Interaction with Art and Antiquities. New York, London: Plenum Press, 1980.
*Cost, F. Pocket Guide to Digital Printing. Albany, NY: Delmar Publishers, 1997.
*Diamond, A.S., ed. Handbook of Imaging Materials. New York: Marcel Dekker, 1991.
*Durbeck, R. C., and S. Sherr, eds. Output Hardcopy Devices. Boston: Academic Press, 1988.
*Dobrusskin, S., W. Hesse, M. Jürgens, K. Pollmeier, and M. Schmidt. “Faustregeln für die Fotoarchivierung.” Rundbrief Fotografie Sonderheft 1, no. 4 (2001).
*Hanson, E., ed. IS&T: Recent Progress in Ink-jet Technologies II. Springfield, VA: IS&T, 2000.
*Hibino, I. “High Resolution Thermal Transfer Technology (Micro DryTM Technology).” In IS&T's 1998 PICS Conference. Springfield, VA: IS&T, 1998: 100-102.
*Institute of Physics. Postprints: 26-27 Oct. 2000, Preservation and Conservation Issues Related to Digital Printing. London: Institute of Physics, 2001.
*Institute of Physics. Postprints: 24-25 March 2003, Preservation and Conservation Issues Related to Digital Printing. London: Institute of Physics, 2003.
*ISO 18920: 2000. “Imaging Materials -- Processed Reflection Prints – Storage.”
*Johnson, H. Mastering Digital Printing. 2nd ed. Cincinnati: Muska & Lipman Publishing, 2005.
*Jürgens, M. C. “Konservierung von Digitalprints.” Rundbrief Fotografie, N.F. 28, 7, no. 4 (2000): 18-19.
*Jürgens, M. C. “Identifizierung von Digitaldrucken.” Papierrestaurierung 2, no. 4 (2001): 2-7.
*Jürgens, M. C. “Toward a Methodology for the Identification of Digital Print Formats.” In Postprints: Preservation and Conservation Issues Related to Digital Printing. London: Institute of Physics, 2001: 60-65.
*Lee, D., W. Fass, and A. Winslow. “Engineering an Ink Jet Paper - What's Involved?” In IS&T: Recent Progress in Ink Jet Technologies. Edited by Rezanka and Eschbach. Springfield, VA: IS&T, 1996: 247-253.
*Lowe, A. Digital Hard Copy: Discreteness and the Dot. London: Permaprint, 1997.
*MacPherson, I. “Pigments for Ink and Non Impact Printing.” In SPIE: Hard Copy and Printing Materials, Media, and Process 1253. Bellingham, WA: SPIE, 1990: 118-135.
*Mills, R. “Ink Jet Printing: Past, Present and Future.” In IS&T: Recent Progress in Ink Jet Technologies. Edited by Rezanka and Eschbach. Springfield, VA: IS&T, 1996: 12-15.
*Park, E. “What is a Thermal Paper?” Paper Technology VIII (1989): 14-15.
*Robb, A. “The Effect of Relative Humidity on Ink-jet Prints.” In Postprints: Preservation and Conservation Issues Related to Digital Printing. London: Institute of Physics, 2001.
*Sakaki, M., M. Hirose, and M. Katayama. “Development of Plain Paper for Color Bubble Jet Printing.” In TAPPI: New Printing Technologies: Symposium Proceedings. Atlanta: TAPPI Press, 1996: 149-152.
*Sarada, T., and J. Cartin. “Piezo Driven Drop On Demand Inkjet Technologies, Inks and Papers.” In TAPPI: New Printing Technologies: Symposium Proceedings. Atlanta: TAPPI Press, 1996: 155-159.
*Schneider, J. M. “Continuous Ink Jet Technology.” In IS&T’s 50th Annual Conference: A Celebration of All Imaging, Cambridge, MA, May 1997, vol. 50. Springfield, VA: The Society for Imaging Science and Technology, 1997: 313-318.
*Sobotka, W. “New Developments in Papermaking for Non-Impact Printing Technologies.” In SPIE Proceedings: Hard Copy Output 1079. Bellingham, WA: SPIE, 1989: 301-307.
*Störing, M. “Fluch oder Segen? Optische Aufheller in Papieren.” Fine Art Printer (February 2006): 34-36.
*Störing, M. “Optische Aufheller: Langzeitergebnisse Simuliert.” Fine Art Printer (March 2006): 25.
*Urbons, K. “Technik und Kunst der Fotokopie, Teil I: Technik und Kunst der Fotokopie.” Rundbrief Fotografie, N.F. 19. 5, no. 3 (September 1998): 38-42.
*Urbons, K. “Technik und Kunst der Fotokopie, Teil II: Konservatorische Aspekte.” Rundbrief Fotografie, N.F. 20. 5, no. 4. (December 1998): 8-11.
*Vaught, J. “Thermal Ink Jet: A Historical Recollection.” In IS&T Reporter 10, no 2. (1995):1-2.
*Will, H. “So Entstehen Hochwertige Fine-Art-Papiere: Ein Besuch bei der Hahnemühle FineArt GmbH.” Fine Art Printer (February 2006): 26-33.
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