RECOM ART PHILOSOPHY  |  PHOTODESIGN AND TECHNIQUE  | 

It all began in 1986, when Thomas Saalfrank and Michael Fritz set off on their own path. First they improvised with a lot of hard work and began offering the best black & white prints you could get around Stuttgart. Since then, the two-man show has grown into a mixed team of nine. The new recom is based on a factory site in Ostfildern – modern, functional and yet individual, like a creative workshop should be.

As before, enlargements are made and traditional pieces are created. Black & white conversions, scans and system modifications continue to be the order of the day.  One could say that these are the daily exercises which maintain a confident degree of expertise. In describing the day-to-day business activities as well as the increased range of services provided, Michael Fritz explains that ‘Through the experience of working with various ranges of materials and techniques – as well as the influence of a varied gathering of dedicated employees – recom today is concerned with an important bit more’.

The focus is no longer restricted to image editing and processing but rather focuses on image formation as a whole. Through intensive contact with photographers and other creative people, recom wants to search for and travel down uncharted paths. We have taken it as our goal to actively influence and improve the creative process of making pictures. recom not only wants to produce, but rather to increase the possibilities of what can be achieved. The aim is to create new pictorial worlds that can emerge through the combination of advancing electronic media with old photographic methods. Ultimately, recom wants to pose questions and challenge expectations.

recom is firmly connected and commited to photography. Away from clumsy simulation of screen to print, we aim for a synthesis of media – the combination of tried and true with new and improved. Thus with this in mind, our process is not solely dependent on new technology, but rather about learning new ways of seeing and thinking outside the frame (so to speak) – this is the lens with which we view our process. In this sense we see ourselves as a kind of workshop, experimental laboratory, witch’s cauldron, test bench – a place where everything is allowed – save for eye blinkers! We leave no stone unturned and relish the prospect that any new technology or seemingly absurd idea could be the key to allowing an idea to flourish. Maybe we are dreamers, but we have our fucking fun with it!

2020  |  RESTAURO  |  The leading magazine for conservation and restoration in the German-speaking world RESTAURO publishes the article „Nachdrücklich für die Fotografie” (‚Emphatically for Photography‘), which deals with recom ART and our question about the original. The article also mentions the initiative launched by recom ART to create a work documentation – a catalog of guidelines for the replacement of photographs. This initiative of restorers, photographers, collectors, auction houses, art consultants, art historians, appraisers, insurance companies, lawyers, data archives, and us as producer brings together representatives of all areas relevant to the subject and encourages exchange and discussion in the form of an open forum, from which the catalog is derived.  |  Restauro 01/2020  |

2020  |  RESTORERS’ ASSOCIATION  |  recom ART is at the 3rd work meeting of the association’s section photo/film/audiovisual cultural heritage at the Restoration Centre and Film Workshop in Düsseldorf. On the one hand, we guide a tour through Sammlung Philara and present our prototype of the SPLICED WAXED DITONE shown there. On the other hand, we take part in a round table discussion on the topic „New Production of Contemporary Photographic Works” presented by Jessica Morhard (spokeswoman of the section, Restoration Centre Düsseldorf). While Kristina Blaschke-Walther from Sprengel Museum Hannover presents the view of photo restoration and Stefan Hostettler from Atelier Gursky Düsseldorf the artist’s view on the subject, we report from the perspective of the photo lab and producer.

2019  |  SPLICED WAXED DITONE  |  DITONE: Since 2002, recom ART has gathered a wealth of expertise on the production of inkjet prints. The inkjet prints we produce carry the official market-established name “DITONE”. For the production of our DITONE prints, Hahnemühle paper is used. Optimum color rendition is achieved in all of our DITONE prints every time. We ensure the highest standards through special data preparation, color control and documentation of measured values for both color and paper tone. WAX: For almost a decade now, we have been sealing our DITONE prints with a special wax, so that the coating and pigments are protected from external influences. SPLICING: The procedure is as follows: The image is printed in several parts and then glued together. Subsequently this combined print is reverse laminated onto a panel. This results in the components existing on an equal flat plane and produces the distinct outcome of almost invisible seams. This is crucial because any unevenness in the meeting of the sheets would act as a reflective edge and reveal the splice. RESULTS: The particular advantage of the waxing process lies in the fact that one can retouch the actual artwork in case of a damage at any time and then subsequently polish the surface with the wax again. This method of production further enables the replacement of the frame and glass or acrylic pane at any time regardless of the actual artwork as they are separate, autonomous pieces with no influence on one another. In research studies done by recom ART, the materials involved have been tested both individually and in combination with one another in order to ensure durability and to avoid any unintended reactions between substances.  |  further information  |  FineArtPrinter 04/19  |

2019  |  VIRTUAL REALITY  |  Based on our established digitisation and image editing we are expanding our reach into the field of Virtual Reality. We have been experimenting with different forms of display which includes VR glasses used in conjunction with multimedia displays and touch screens, to simulate a very unique exhibition experience. In the bachelor thesis of a recom ART employee the architecture of an imagined museum was virtually built and filled with reconstructions of real art objects. This video shows a walk through the exhibition.

2019  |  SFMOMA “REPRINTING“  |  “The Artist Initiative Symposium on Photography: Reprinting Color Photographs as a Preservation Strategy” takes place at the Phyllis Wattis Theater at the San Francisco Museum of Modern Art (SFMOMA). recom ART is one of the participants and leads a presentation about our producer’s view on reprinting possibilities. The symposium deals with the practice of reprinting damaged photographic artworks as a preservation strategy, which has increasingly become a topic of research in conservation, as well as a matter of debate amongst conservators, curators, and artists. SFMOMA’s Artist Initiative aims to redefine the museum’s approach to reprinting, and more broadly to the acquisition, stewardship, and display of contemporary photography. In the first phase of the project, a cross-disciplinary team of curators, conservators, and art historians interviewed photographers who are interested in reprinting their work in SFMOMA’s collection. A second phase of the project saw the team travel to meet with colleagues in American and European art institutions to share our findings and learn about their experiences. The symposium is meant to share the research findings and invite artists, curators, conservators, and others from the field of photography to contribute and engage in an open discussion on this important subject.  |  www.sfmoma.org  |  Transcript Markus Paul Müller  |  SFMOMA Handout  |

2019  |  RENTAL LAB BW AND COLOR  |  The dark rooms and laboratories of recom ART are made available for rent. Notably, they are used to work on the production of large-format photographs by the artists Taiyo Onorato and Nico Krebs for their project “Future Perfect” which is shown at the gallery Sies + Höke in Düsseldorf. Taiyo and Nico work in our color lab with the DURST horizontal enlarger and 8 x 10 inch negatives and make use of our dedicated review space which offers adjustable lighting conditions including settings for bright daylight. In addition to working with our analog set up, the artists deploy various techniques involving laser projections, brushes, and even sunscreen.

2019  |  MATERIAL AGEING  |  We receive the first results from tests and evaluations that have lasted two years to date in cooperation with our partners, including the course “Conservation of Works of Art on Paper, Archives and Library Materials” at the Stuttgart State Academy of Art and Design. As part of her bachelor thesis „Framing of Large-scale Prints”, Franziska Leidig (supervised by Dr. Ute Henniges and Prof. Dr. Irene Brückle) conducted tests on the materials we use in our productions to investigate the effects of climate ageing and light ageing. The materials were tested individually as well as in combination with one another. The tests were as follows: CLIMATE AGEING according to ISO 5630-3: This is a procedure to accelerate ageing. The test materials are exposed to 80 °C and 65 % relative humidity over a period of four weeks. The heightened temperatures and humidity as compared to the normal climate conditions usually occurring between approx. 22 – 24 °C and 55 – 60 % relative humidity, expedit the ageing phenomena to allow for results to be gathered in shorter period. LIGHT AGEING according to EN ISO 105-B02: This is also a procedure to accelerate ageing. The test material is exposed to an irradiance of 420 nm at 1,10 W/m² or around 100,000 lux over a period of 240 hours and at a temperature of 50 °C. These heightened lighting conditions allow for the ageing phenomena on the material to be read expeditiously compared to regular light conditions. ODDY-TEST: This test is based on the principle of accelerated corrosion of an indicator (lead, copper, and silver platelets) which is stored together with the sample material in an enclosed air space. The accelerated factors are on the one hand the low air volume and on the other hand certain climatic conditions. A small amount of water in the test vessel increases the relative humidity to up to 100 %, the temperature is constant at 60 °C. The test vessel is equipped with a water tank. The test duration is 28 days. The potential of the material to be tested for the release of harmful gases is determined. This cooperation was financed by grants from the Federal Ministry of Education and Research as part of the “KMU innovative: starting module” project funding.

2018  |  HELVETIA DIGITISATION PROJECT AT THE ART MUSEUM BERN  |  We conduct another large and multi-week digitisation project with the Cruse scanner. The project “Meret Oppenheim digital” focuses on the diversity of materials and artistic techniques deployed in the work of Meret Oppenheim. Her multi-faceted way of creating is accompanied by an artistic openness which radiates to this day. Her experimental use of materials has meant that many of her works are quite fragile; a point which the artist was aware of and met with great care. The Kunstmuseum Bern houses an inventory of 347 objects by the artist from the years 1930 – 1985. Over a period of four years (2017 – 2021), the works will be thoroughly examined and digitised. The creative combination of different digitisation methods with a focus on precise color reference data serves as a promising instrument for completely accurate preservation of the works which in turn will result in sustainable public presentation. In comparison to conventional methods, the unique high-resolution direct-scan process allows for a greater degree of accuracy in recording details such as surface texture of paper and ink, creases, canvas fibres or fine cracks in paint. The color-accurate files serve as an objective basis from which the conditions of the pieces may be monitored with precision. By implementing an exemplary workflow within the museum, we also explore the great potential of digitally recording works which can be further used in innovative forms of communication.  |  MERET OPPENHEIM DIGITAL  |

2018  |  BFF MASTERTAPES C. V. ALVENSLEBEN  |  recom is featured as the setting in the third episode “MASTER TAPES” BFF. Professional member Peter Schulte meets BFF honorary member Christian von Alvensleben. As the design magazine Novum describes “Christian von Alvensleben is one of the most enduring figures in German photo design and the most universal”. The artist lives in Schleswig-Holstein and works since 2006 with his wife Helga exclusively on personal photography projects. In 2009 he was honored by the Art Directors Club Germany for his life’s work.

2018  |  PARIS PHOTO  |  We present a prototype of a large-format hand-made photographic print in 200 x 600 cm format at Paris Photo. We set new standards with our unique framing construction and our ability to maintain the highest levels of quality in all of our large-format works. The frame construction consisting of an aluminum panel with an acrylic pane protects the photographic work and is able to be transported and hanged separately from the decorative frame. An additional advantage is that the construction consists of a minimal amount of components; all of which are both durable as well as archival. The photographic work consists of the original itself with the frame construction able to be easily removed as desired. In a research project on the subject of “Sustainable Framing of Large-format Potographs”, recom ART collaborates with the Stuttgart State Academy of Art and Design, course “Conservation and Restoration of Works of Art on Paper, Archives and Library Materials”. Key issues are the fixation of the prints in the aluminum frame construction and the influence of the frame materials on the ageing properties of prints.

2018  |  RESEARCH STUDIES WITH THE  STUTTGART STATE ACADEMY OF ART AND DESIGN  |  We consider the general implications surrounding cultural legacy in the pieces we produce. As a producer, we recognize that we play a significant role in determining the longevity of the pieces we produce. For this reason, we are always in close contact with artists, collectors, conservators and restorers. Together with the Stuttgart State Academy of Art and Design and its course “Conservation and Restoration of Works of Art on Paper, Archives and Library Materials”, we engage with the topic “Sustainable Framing of Large-format Photographs” and present a prototype developed for Paris Photo 2018. Our research project, also in cooperation with the ABK Stuttgart, thoroughly deals with the practice of reproducing damaged photographic works. We present our expertise on this topic for the first time in May 2019 at the invitation of the San Francisco Museum of Modern Art as part of the “Artist Initiative Symposium on Photography: Reprinting Color Photographs as a Preservation Strategy”. We also begin to research the longevity of large-scale photography in terms of the materials used in production and plan for a further research project.

2018  |  HANGING SYSTEM  |  For wall mounting we offer our self-developed suspension system. This is available with 16 and 35 mm distance to the wall. For wall alignment, it is able to be combined with a wall bracket and leveling screws.

2018  |  LARGE-FORMAT MOUNTING ACRYLIC GLASS CONTI GS  |  Depending on the material (glossy, matt or scratch-resistant), silicone mounting with acrylic glass is available in sizes up to 245 x 600 cm. We focus on using only high-quality acrylic glass. The glossy acrylic glass is a cast material and the matt is UV 100 Gallery AR. On request anti-reflective museum acrylic glass is also available.

2018  |  LARGE-FORMAT MOUNTING  |  Within our mounting department we experiment with different finishing techniques for our large-format works which includes dealing with the sensitivity of the materials as well as testing out new, innovative, modern materials. We offer large-format mounting up to a width of 265 cm. Mounting is possible for all types of prints. While we primarily laminate on aluminum composite and aluminum sheets, we are also open to other material suggestions.

2018  |  WETMOUNTING AND HIGH-GLOSS DRYING BW PRINTS  |  Gelatin silver prints can be enlarged up to 140 x 450 cm. We offer wetmounting on aluminum composite panels up to a size of 137 x 300 cm. We ensure that the adhesive we use is long-lasting and of archival quality. Through watering, the print can also be released from the plate again. One of recom ART’s special black & white surface refinement techniques is the high-gloss drying of gelatin silver prints, which is possible up to a width of 75 cm. In addition, we develop a technique for wetmounting of high-gloss dried gelatin silver prints without losing the high-gloss and reflective surface. Hotmountings on aluminum, aluminum composite, and museum cardboard are also available.

2017  |  PROOF SYSTEM COLOR AND BW PRINTS  |  For our customers, especially the international artists, we offer the installation of our special proof system. The proof system simulates our c-type, black & white, and DITONE prints in the customer‘s studio so the have an accurate and immediate impression oft he final piece during the creative processes and before the final printing at recom ART. As a base to implement the workflow, we use an optimised color chart with our brand-new BARBIERI SPECTRO LFP QB as the underpinning from which to begin the workflow.

2017  |  PRODUCTION DATABASE  |  We implement the storing of all information related to the production of each image and project in a self-programmed database for potential use in later productions of editions and reprints of damaged works. The details of all production steps are thoroughly documented and a physical reference is created and kept in our cooled storage facility. recom ART provides all customers with a data sheet containing the production notes which may be referred to for all future productions.

2017  |  HEIDELBERG CHROMAGRAPH S3400  |  For the digitisation of negatives or positives we use a drum scanner by HEIDELBERG. We optimised the scanner’s technology and created the best way to get high-resolution scans. The negatives or positives are mounted temporarily onto a transparent cylinder and scanned in high resolution. The maximum resolution of the scan file correlates with the size of the piece. Negatives or positives can be scanned up to a size of 10 x 14 inch.

2017  |  HAND-MADE C-PRINT  |  A color laboratory is set up with the same requirement for repeatability and accuracy as the black & white laboratory. The idea of color separation – the exposure of the red, green and blue channels on negatives – is hereby re-established and revived. The printing of images from the original as well as from our REANALOG negatives is possible. The maximum exposure width is 6 m.

2017  |  HOSTERT PRO RA4 RELOADED  |  In close cooperation with HOSTERT PRO, the RA4 development process is optimised to achieve a higher cyan density. In addition, the difficulties with achieving suitable archival conditions after washing C-prints and transmaterials is solved, as is already the case with the machine in the black & white development.

2017  |  LIGHTJET 500 XL  |  With our multiple LightJets we are able to make exposures from negatives directly onto chemically coated papers through laser technology. This kind of exposure allows a high precision in detail, color accuracy, and durability. Our very own optimised photographic development process allows for a wider color space and color precision in the same way our branded inkjet printing DITONE does. This process offers a high stability and allows for the reproduction of photographic works from negatives. We renewed the laser lights and updated the software to state-of-the-art technology.

2017  |  FOUNDING RECOM ART  |  The art production department of recom is founded as an independent company under the name recom ART.

2017  |  EPSON IMAGE FILM  |  We begin using the EPSON SureColor P20000 printer and are invited to share our experience with EPSON. It is a pleasure and a small honor to be one of the first companies to test this printer.

2017  |  COLOR LABORATORY  |  Over the course of changes within the photographic market, recom decides to develop a modern color laboratory and constructs it with a lot of own work on a new dedicated floor.

2016  |  ORTHOFILM  |  For a work by Axel Hütte, recom ART uses orthochromatic film, which is exposed like a slide in a large format and mounted onto a mirror-polished stainless steel plate. The light effects are created solely by reflections of daylight on the plate, even when it appears to look almost like a lightbox. The bright areas are the transparent areas of the film while the dark areas are made of blackened silver. Orthochomatic film is suitable for high-quality printing processes such as platinum prints or cyanotypes, as it offers a high resolution. It is available up to a roll width of 100 cm.

2015  |  DIGITISATION FOR GRISEBACH  |  Photographs and prints are digitised for the first time by recom for the auction house Grisebach. To produce a reference scan as a color-true digital copy, we use the CRUSE for the large-format works, while the mobile DOM is used on-site for small-format works.

2015  |  DIGITAL RESTORATION BW  |  We are brought on to work with Heinrich Heidersberger’s image of a gas station which had been previously exposed onto a glass negative and had suffered damage over the years. Its deteriorated condition is suited as an ideal model for showcasing the capabilities of our REANALOG WORKFLOW for the exhibition at EXPONATEC 2015. First, we digitise this glass plate and then digitally restore the image. Once the image is restored and the damage removed, we create a new REANALOG negative and make a gelatin silver print from it. We use an original print by Heinrich Heidersberger as the reference for this new print.  |  Heinrich Heidersberger Institut  |  Jahresbericht 2015 Heinrich Heidersberger Institut  |

2015  |  REALOG WORKFLOW  |  The success of creating black & white negatives from digital data leads to the construction of a new black & white laboratory with newly developed machines for drying prints without any warping or crinkling as well as hot and wet mounting of fibre-based paper prints. The established REANALOG WORKFLOW consists of a combination of analog and digital color management. With this workflow we are able to achieve a nearly 95% accuracy to the digital file within the first test print exposed from the negative.  |  PHOTONEWS Heft 4/2015  |

2015  |  DOM  |  We introduce our own invention, DOM, (pronounced “DOME”) which is an entirely self-contained reproduction system for digitising of pieces. The added benefit of this equipment is that it is mobile and thus allows us to offer on-site scanning capabilities. In conjunction with the DOM we also develop our own operating system titled D-FACE which additionally allows for customizable settings for changing the light and structure conditions in the capture. The DOM is also suitable for use in advertising, for example, via the D-FACE app.

2014  |  REFERENCE SCAN HIRSCHHORN PROJECT  |  We continue our work with digitisation in a project for the K21, Kunstsammlungen Nordrhein-Westfalen. We work with the large-scale installation piece “Instensif-Station” by Thomas Hirschhorn which extends over two exhibition rooms. This piece has been permanently exhibited in the collection since 2010. From a conservation point of view, the artist used a wide variety of highly unstable and rapidly aging everyday materials such as adhesive tapes and foils, construction foam, spray paint and florist film. While these materials had been intentionally used as part of the artist’s concept, their changes over the years were distressing to him. Of particular concern is the fading of the once intense hue of red in the collage pieces, which had been applied with felt and ballpoint pens. Due to the state of the pieces, restorations and revision of the collages must be done under the guidance of the artist. After completion of these measures, our CRUSE scanner is used to document the pieces in their present state as digital references. Unfoiled, the works are digitised in true likeness to color and texture and thus able to be experienced by generations to come, even though the original material is subject to decay due to the material-inherent characteristics.  |  RESTAURO 08/2015  |

2014  |  SYMPOSIUM DZ BANK ART COLLECTION  |  recom is invited to participate in a series of talks held by the DZ Bank art collection, on the topic “Reproduction in photographic art. Preservation of the original, new production or interpretation?” This forum is developed in collaboration with Marjen Schmidt (photo engineer and restorer, chairwoman of the section history and archives of the German Society for Photography DGPh.) Over the course of four discussion rounds, different issues related to this topic are addressed. Specifically, recom participates in the lecture round under the title “The Changing Techniques in Production and Reproduction in Photography” in association with Prof. Dr. Rudolf Gschwind (Professor, Digital Humanities Lab, Basel, Switzerland). The talk centers around ideas relating to conservation and reproduction and are discussed according to the latest techniques and the specification of technical terms within photography. The exchange takes place between representatives of various specialities including production, restoration, art, and science.  |  https://www.dzbank-kunstsammlung.de/de/sammlung/symposium  | 

2013  |  MOVING TO BERLIN  |  The art production side of recom relocates from Stuttgart to Berlin. It initially occupies 1,300 square meters. In the following years, a black & white dark room and lab, a color dark room and lab, as well as a large-format mounting station are set up and the space is extended to 2,500 square meters.

2011  |  DIGITISATION OF WORKS BY PAUL KLEE  |  The Kunstsammlung Nordrhein-Westfalen requests that their collection of 99 Paul Klee works is digitised by recom in a pilot project. This collection is made up of the works which had formed the basis of their collection fifty years earlier. The house views this process as being advantageous to both their conservation efforts as well as for marketing purposes. The exact surface documentation is able to serve as a reference for assessing damage as well as assists in detecting changes to the artwork over a longer period of time. The accuracy of these scans is so exact that it is possible to view every detail of the work – specks of dust, cracks in paint, creases in paper or fibre of canvas – when enlarged on the screen. Additionally, marketing departments can use the “digital copies“ within their catalogs, brochures, posters, or virtual museum tours on the Internet. We also produce a limited Edition as a DITONE replica and the archive packaging is designed by recom ART, too.  |  Kunst- Klee als Scan – Digitale Revolution im Museum – Diverses – FOCUS Online  |

2009  |  TEXTE ZUR KUNST  |  As early as 2009, we begin regularly producing the usually 100-piece editions for “TEXTE ZUR KUNST“. These are issued as DITONE prints. So far, this has included works by Norbert Bisky, Jutta Koether, Franz Erhard Walther, Jorinde Voigt, Albert Oehlen, K. O. Götz, Thomas Struth, Amy Sillman, Sean Landers, Ed Ruscha, Katharina Grosse, and Cecily Brown. Often these are small-sized works between 20 x 30 and 60 x 90 cm. The editions enjoy great popularity and therefore often sell out quickly. We look forward to future productions over the years to come. Here you can see Jorinde Voigt’s “Situation Study IX” from 2013, published in TEXTE ZUR KUNST, December 2013, Volume 23, Issue 92.

2008  |  PRESENTATIONS KÜNSTLERBUND BADEN-WÜRTTEMBERG  |  Between 2008 and 2013 we hold regular events for the Künstlerbund Baden-Württemberg in our rooms in Ostfildern. We deal with topics such as our original scan or how to deal with the long-term storage of images. In addition to providing basic information, this series of events is also intended for exchange and discussion.

2008  |  NEW NEGATIVE EXPOSURE  |  An exhibition by Ralph Mecke at Camera Work provides the catalyst for producing black & white negatives from exposure of digital data. This production involves cooperation with another black & white photo lab, yet due to the success of the product in 2015, leads recom to the decision of building a new modern black & white laboratory in Berlin.

2007  |  STATE GALLERY STUTTGART  |  We give the presentation „Digitisation of Works of Art” at a specially organised symposium with the State Gallery Stuttgart. Here we also talk about our original scan. The symposium is intended to discuss the handling and use of scan data after the pieces have been scanned, i. e. to catalogue them in the next step, make them available in print and online applications, but also to conserve and archive them. Further participants and speakers are Dr. Daniel Fluck (Pro Archive AG), Klaus Pollmaier (Stuttgart State Academy of Art and Design), Dr. Christofer Conrad (State Gallery Stuttgart) and Lars Klemm (ModulDepot GmbH | k3-artservices).

2006  |  DIGITISATION STATE GALLERY STUTTGART  |  For the State Gallery Stuttgart we digitise a series of paintings with the CRUSE scanner which amongst others includes the painting by Claude Monet “Fields in Spring”. The data sets are used by the house in a variety of capacities, including inventory purposes.

2005  |  CRUSE SCANNER  |  REFERENCE SCAN  |  Using the CRUSE scanner, we start creating reference or texture scans of pieces, often original works of art. Reference scans digitally record all aspects of the piece including color and texture. We record Lab color space measurements from the piece and include them in the digital file. These recordings document the exact appearance of the piece at the time of its digitisation. From this, an accurate digital proof is created, which works in conjunction with the measurable values and therefore, retains its accuracy in the long term. If needed, slight color adjustments are completed on the digital file by comparing the Lab values measured on the piece with the spectral photometer. The result is a color-true file. In this process, it is possible to achieve a tolerance of less than ± 2 % with 90 % of all templates, depending on the material of the templates and the tolerances of the scan and print process. Henceforth, this file serves as an accurate reference for reproduction. With works of non-digital origin, this is clearly the only possibility of a digital reference. Of course, it is only possible to document the condition as it is on the day of the scan. It is not possible to draw inferences about the initial condition of the physical piece at the time of its creation. In the case of works of digital origin, the measurements are recorded immediately after the initial production. Taking this into account, a new digital version of the piece is created with its specific color and contrast values. Thereby it is ensured that the measured values of the reference file are identical to those of the output. The digital copies produced with the CRUSE scanner are primarily intended for use in the printing or online sector. However, they are also valuable from a conservation point of view, e. g. as a condition report of the surface that can be used over long periods of time as a basis for indicating any subsequent changes or damage to the original.  |  Information Cruse Scanner  |  Rundbrief Fotografie Vol. 22  |

2005  |  WAXED DITONE  |  For Will McBride’s exhibition at Camera Work in Berlin recom searches for a suitable method to even out the different gloss levels of the inkjet while also offering protection of the sensitive surface. The image surface of the DITONE prints is layered with a wax which is commonly used for restoration purposes. The polishing achieves a uniform matt gloss finish and protects against environmental pollution, dirt, and fingerprints. This is another of recom ART‘s special surface refinement techniques. 

2002  |  DITONE  |  Close cooperation with EPSON and today’s GMG means that inkjet printing can now produce halftones. On this basis, recom establishes its own brand DITONE, which incorporates the idea of halftone in its name.

1999  |  DEVELOPMENT WITH EPSON  |  The first printers from EPSON are only partially able to generate an exact color control or halftones. Based on the control of the HELL 403 color image recorder, recom develops a way to control the printers more precisely. This idea is the basis for today’s proofing system from GMG, which, for example, simulates offset printing using inkjet printers. EPSON integrates the color control used at recom into their software.

1996  |  COOPERATION WITH SHIMA SEIKI  |  recom is selected by SHIMA SEIKI as a test company to help with further development and advancement of new technology. This is followed by a very rich exchange between Germany and Japan where new hardware and software are developed in record time.

1996  |  DIGITAL IMAGE PROCESSING WITH SHIMA  |  SHIMA’s image editing software is revolutionary because it enables collaborative editing with the photographer in real time on the computer. Furthermore, not only are there new possibilities of image manipulation, but also the use of styli for pointer guidance. SHIMA is the predecessor of Photoshop and will be used until the year 2008 due to its superior technology. recom is one of the first companies to try out this technology in exchange with SHIMA SEIKI.

1995  |  DIGITAL PRINTING WITH I.R.I.S. PRINTER FROM SCITEX  |  recom introduces inkjet production on paper with an I.R.I.S. printer similar to today’s recom ART inkjet printing or DITONE.

1991  |  LIGHTJET 2000  |  After the HELL C100 and the CPR 403, recom buys the LIGHTJET 2000. The most famous LIGHTJETS today are built for the printing of photo paper and slides to a maximum size of 10 x 14 inches. Many years later, larger LIGHTJETS are also designed for large slides and large photos for advertising.

1990  |  INKJET PRINT ON SILK  |  recom works with the artist Gunter Sachs to print his portraits of Claudia Schiffer on silk. A printer from STÖRK is used as well as reactive inks, which develop their full color intensity after evaporation in a bell jar. Through this project, recom succeeds in breaking through as an innovative service provider for artists. This is followed by other notable productions for Cindy Sherman and Kodak.

1989  |  DIGITAL IMAGE EDITING WITH CHROMACOM  |  recom becomes a pioneer of digital image processing. The CHROMACOM is the most modern image processing computer with a network technology that allows the user to save and copy to several hard disks. Today’s server technology is also based on this idea.

1989  |  HELL 399 DRUM SCANNER  |  The HELL 399 drum scanner is the first open-face scanner that has been able to save the file on so-called Data Pots (NASA Space Development). In addition, the scanner is able to digitise RGB in one step using analog color controls. This forms the basis for the acceptance of this new digital technology and is crucial for digital image processing with the CHROMACOM. The retouched and stored data is able to be subsequently exposed as slides in the future.

1989  |  CPR 403  |  The imagesetter CPR 403 is primarily used for the digital exposure of photo paper. recom endeavours to be the first company to expose slides eith the CPR 403 and is successful. The crucial difference making this development a success, is the simultaneous exposure of red, green and blue lights which allow for an expedited exposure time. The later developed LIGHTJETS 2000 series are based on this principle. Another special application is the exposure of color separations (black & white negative for the colors red, green and blue). This technique will be used in a contemporary context in 2017 as part of the construction of the new color laboratory, for example, for the landscape shots by Peter Funch.

1987  |  KLIMSCH LOGALUM  |  Light measurement and color control is applied to all colors in the enlarger’s beam path using KLIMSCH LOGALUM. The revolutionary technology of the time is now implemented with the help of HEILAND ELECTRONIC as an LED variant for the recom ART REANALOG WORKFLOW. In the black & white range, with the split exposure of blue and yellow, the gradation control is carried out with the help of the HEILAND ELECTRONIC Splitgrade.

1987  |  KLIMSCH COMPACT CAMERA  |  With this analog 1: 1 process, duplicates of pieces are created. The KLIMSCH compact camera is the predecessor of the CRUSE scanner in use at recom ART today.

1987  |  ANALOG COLOR MANAGEMENT  |  With the help of densitometers an accurate analogue color management is built up. The idea behind this is to achieve a color accuracy of over 95% within the first exposure and thus results in higher productivity. This forms the basis for today’s REANALOG WORKFLOW at recom ART.

1987  |  COLENTA RA4 DEVELOPMENT  |  The new calendar year is all about color. The color development of C-prints is driven forward and the RA4 development machine is optimised for higher color accuracy and color stability. The COLENTA color machine is used to bring color separations, which are made on the C100 and printed on color paper. The method used is called color separation and is still being used today.

1987  |  HELL C100  |  The HELL C100 is the first recom machine to duplicate a slide digitally. The three light colors are scanned individually and then simultaneously exposed onto a new slide. Through this development, reproductions of slides are created and produced in cooperation with Grieger Ostfildern and a 5 x 12 m large lightbox is later produced for the Stuttgart train station.

1986  |  ANALOG RETOUCHING  |  The retouching of slides, black & white and color negatives as well as any kind of supervisory materials are included in the product portfolio in this same year.

1986  |  FOUNDING RECOM  |  recom is founded as a black & white laboratory by the former Grieger apprentices Michael Fritz and Thomas Saalfrank and initially deals with black & white special applications, such as analog photomontage.