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Author Topic: Lighting for framed photos - NewB  (Read 2488 times)

PharmGeek

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Lighting for framed photos - NewB
« on: February 24, 2014, 08:40:12 pm »

So I have cranked out a few nice prints from my new R3000....let me just on a quick side note just say...as a newb at printing...now that I have calibrated monitor, proper profiles, etc..my softproofing is actually working!!  Almost dead on accurate...the epson profiles seem to be working great.

Anyway...besides me having fun...I plan on doing much more printing and framing in my house and I am wondering if you all have good advice about lighting the prints? 

I guess I could have my contractor at some point put in some lighting where needed....but I am wondering if you all have any suggestions or DIY tips with respect to lighting the shots...

Most of the house is lit by basic recessed lighting - CFL bulbs....some of the spots are near a wall and could decently throw light on a print...some of those I am hoping I can retrofit with something I can shroud light more direct to the print...or something like that...but other areas that will need frames on the walls are kinda darkish...

Well, hoping the collective wisdom here can spark any ideas for me.

Thanks.
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bill t.

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Re: Lighting for framed photos - NewB
« Reply #1 on: February 24, 2014, 10:26:58 pm »

Track lighting is easier to install and adjust than recessed lighting.  In any case, teasing wires up to the ceiling can be quite a chore, even for professional electricians.  One approach is to have an electrician bring out a service for a hanging light in the ceiling.  Then you extend that with a track light bar which is not too difficult for those adept at not falling off ladders.

There is a tendency to install both recessed and track lighting systems too close to the wall.  Before installing anything, hang a test frame on the wall.  With the help of a broomstick mounted spotlight held close to the ceiling, try various distances paying due attention to reflections, shadows cast by the frame, and so on.  Take notes.

Right now I am very much liking so-called "High CRI" led spotlights which run very cool, emit almost zero UV, and cost a ton of money.  The ones with CRI's in the 90's are quite nice, provided the color temperature is 3000K or more.  Here's what I use in my art fair booth, and more recently in my print evaluation torture chamber:

http://store.earthled.com/products/sylvania-ultra-hd-par38-professional-series-led-par-lamp-30-degree-3000k-78745-led21par38-dim-p-930-fl30#.UwwHWvldWBk

If you poke around on that site you can find cheaper variants, it's a fast moving field.  Cree also makes some nice, high CRI leds.  Just promise me you will not select a cloyingly Yellow 2700K bulb, yuck!  Those things are suitable only for making the bananas look better at the supermarket, or for people who like the yellow jaundice look.

You can also find CFL's with relatively high CRI's, particularly in the 5000k variety.  Seems like it's easier to get high CRI's in the 5000K+ range.  A 5000K CFL can look pretty nice provided its CRI is up there in the 90's.  However, if it exhibits the obvious High-Eye-Fatigue-Blue color of the cheap-is-good crud from Lowes and Home Depot, you can be sure that accurate color rendering is not its forte.  But a 5000K CFL with a CRI above 90 will look fairly neutral.

Anyway, spend a Saturday at the art galleries and see what they're doing, lightwise.  Spotted art sure looks nice, especially if it's yours.  But for home use you might not want to emphasize the art as much as in a gallery.  Or maybe you do.  But nothing helps like perspective.

And I personally dislike the all-too-common MR16, low voltage fixtures because they use transformers which add needless weight and complexity to a system that can be so much simpler and more reliable if run directly on AC.  And sometimes those dinky little overworked transformers catch on fire, just ask a gallery owner.



« Last Edit: February 24, 2014, 10:29:54 pm by bill t. »
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BarbaraArmstrong

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Re: Lighting for framed photos - NewB
« Reply #2 on: February 25, 2014, 02:57:56 am »

Bill, I, too, am making decisions about lighting for a gallery space, and expect to use 3000K LED's on a track.  When I looked at the photometrics chart for the bulb you highlighted, I was surprised at the huge level of candlepower compared to the PAR30 equivalents I am considering.  How far from your artwork is this bulb generally installed?  Do you want a higher level of light, because of the ambient conditions at a fair, than I would in a more subdued environment, with a track on an 8-ft. ceiling?  I've found your continuing comments in this forum very very helpful, and want to express my own thanks for all your input.  --Barbara
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bill t.

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Re: Lighting for framed photos - NewB
« Reply #3 on: February 25, 2014, 04:19:19 am »

Hi Barbara, yes that's a very bright bulb.  In my test setup it's located about 14 feet high and 8 feet away from the artwork.    The artwork receives 200 Lux in that situation.  A Lux is the same as the "candela per square meter" that we use for our monitors, so 200 Lux is roughly 1/2 again the brightness of a  135 cd/m^2 monitor set up for image editing. 200 lux is about the brightness of a well lighted office interior and perhaps twice the brightness of a relatively bright house interior, although walls in even well lighted private homes can be abysmally dark.  So at 200 Lux, the artwork is one f-stop brighter than optimistic estimates of practical ambient lighting.  That's pretty dramatic and probably as far you could take it without making the spotlighted art the absolute centerpiece of the room.  My guess is you'd want something closer to 300 lumens and a wide "flood" angle of coverage for an 8 foot ceiling.

At art fairs the ambient light is typically very low quality, heavy on the yellows and quite weak in every other color.  Light only an indoor parking lot or football stadium could love.  It's important to be able to overwhelm some of that.  Usually I have the booth lights located about 4 to 5 feet above the highest pieces of art, and if needed raked down at a high angle to reduce illumination efficiency.  Helps to have a dark carpet to absorb some of bounce.

One approach is to buy a sampling of lights with various intensities and color balances, and try them out in your particular situation.  Those that don't work out for artwork display can then see other less critical duties around the house or office.  Should also mention that Lowes and HD now carry a line of Sylvania "HD" lights that are one notch down in CRI from the very best, but with twice the lifetime ratings.  I have some of those as well and really can't tell the difference at the fairs.  When last I checked, the Sylvania led lights looked much better than the cheaper Lowes "Utilitech" brand.

FWIW, I bought one these cheap Lux meters to be able to be able to duplicate the light levels (though not the color quality) of lights at my various display venues, and have found it quite useful.

http://www.amazon.com/Meter-LX1010BS-lcd-display-Luxmeter/dp/B004XCW5TK/ref=sr_1_6?ie=UTF8&qid=1393318011&sr=8-6&keywords=lux+meter

Should also mention that compared to halogens, led bulbs heat the artwork much less for the same light intensity.  Holding one's hand a few feet from both types of bulbs is a very dramatic comparison.  That and the very low UV content of led lights are why many museums are converting to leds.
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BarbaraArmstrong

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Re: Lighting for framed photos - NewB
« Reply #4 on: February 25, 2014, 02:36:41 pm »

Bill, thank you for your detailed response, and also the link to the luxmeter from Amazon.  I expect to order the luxmeter so I can assess the light levels on artwork in my home, as an indication of  -- or comparison to -- what I will want in a dedicated home studio/gallery setting (fully realizing I am likely to want more light in the gallery). As soon as I read that your light source is typically 14 feet above and 8 feet away from the artwork, I breathed a sigh of relief about using PAR30 equivalents (instead of your PAR38 sized bulbs).  I was surprised to read your post last night, as only yesterday I had had a phone conversation with a lighting designer at the wholesaler my lighting supplier had referred me to.  Wow was he helpful, with an offer to come in to see the different lamps I am considering and compare their effect.  He, like you, strongly suggested a high CRI bulb for a truer color balance.  Also, I will be able to take in some of my artwork to evaluate the effects of the bulbs, and determine what lighting angle will work best, and compare the effects of high-CRI versus, say, an 85 level.  My local gallery and a new small museum in town have both opted for LED, and I know the gallery is at 3000K, so the idea of knowing how something would look there, as well as at home, is a happy one.   Thanks for all your observations and suggestions. I do enjoy figuring out lighting, and when you get it right, it is the gift that keeps on giving. --Barbara
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bill t.

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Re: Lighting for framed photos - NewB
« Reply #5 on: February 25, 2014, 04:22:44 pm »

Be sure to include some pieces with saturated reds in your testing.  That's the weakest link in led lights right now.  As CRI ratings slip below the 90's, it's usually because of losses in the reds more than most other colors.  Violets at the other end of the spectrum can bear watching as well.

The cinematographer who recommended the Sylvania lights to me was involved with the AMPAS committee that took a close look at led lighting for motion pictures.  They finally give it a "nay" recommendation based as much on motion picture camera film and print distribution stocks as anything else.  But he personally sometimes uses the Sylvania lights because of their relatively high "R9" rating, which is the red component.  And led lighting is today widely used in motion picture production, although not so much at the very high end.  Here's some technical background on CRI:

http://www.leapfroglighting.com/why-the-led-r9-value-isnt-important/

A wonderfully arcane and technical AMPAS page on the history, science, and tradition of motion picture lighting, seen from the color domain.  Not for everyone.

http://www.oscars.org/science-technology/council/projects/ssl/
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Some Guy

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Re: Lighting for framed photos - NewB
« Reply #6 on: February 25, 2014, 08:20:33 pm »

Frame shop I use has a mix of halogen and LED lights form overhead onto the workspace (sales floor tables).  They thought having the mix would be better.

There are some ceiling recessed lights called PhantomLights.  They have internal aperaturs and lenses to focus the spot on the framed print.  http://www.phantomlighting.com/finding-the-best-picture-frame-lighting-for-art-a-204.html

Another is Roger Hograth LED lights in an overhead tube above the print.  He has some color temp. controller for them too, but they cost $1,000 or more depending on size. http://www.hogarthlighting.com/  Special order to fit, hence no refund.

Micheals Art Supply sells some small LED frame light that runs on 4 AA batteries.  I have one, but the ever draining batteries and the color out of the LED's (very ugly green/yellow color) is awful.  Sells for about $30.  http://www.michaels.com/LED-Gallery-Lights/fr1536,default,pd.html?cgid=products-framing

The best I have come up with is a $26 Westinghouse frame light that has a pair of 15 watt tungsten T6 lamps in it.  http://www.amazon.com/Westinghouse-Lighting-75051-14-Inch-Picture/dp/B001APWNCC  Orchard Hardware also sells the same lamp fixture.  The clear lamps with it will be warm in color, but what I did was dip them in some Marthe Stewarts' "Blue Bonnet" (the color) transparent glass paint a few times and they approximate daylight lamps.  I added a slide dimmer to the cord too so I can dim them for nightlights.  Works out pretty well that way, and very dramatic too.

SG
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BarbaraArmstrong

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Re: Lighting for framed photos - NewB
« Reply #7 on: February 26, 2014, 01:13:26 am »

Bill, thanks for the additional notes, and especially the link to "leapfroglighting." The R9 information was very interesting -- now I have another variable to consider!  Actually, as I think I'll be in the 90's for CRI, it may be that the R9 level will be good also.  But now I know to ask, and to think about looking at the rendition of reds in particular.  Thanks again! --Barbara
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PharmGeek

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Re: Lighting for framed photos - NewB
« Reply #8 on: February 26, 2014, 01:24:50 am »

ok, you all have given me some food for thought on some planning....really interesting info here....thanks!  I want to check out some galleries soon as recommended both for general viewing pleasure and recon.
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BarbaraArmstrong

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Re: Lighting for framed photos - NewB
« Reply #9 on: February 26, 2014, 03:57:09 am »

PharmGeek, when you look at prices for LED bulbs, bear in mind that many of them have an expected life of 50,000 hours.  So, in residential use, they could easily last your lifetime, or maybe half a lifetime if you're very young and/or use them a lot.  Some are rated at 25,000 hours.  Some have a smooth frosted look, and many look like showerheads with multiple spouting points.  The available light quality, and their other qualities (like no or almost no UV), as Bill pointed out, means they have a lot going for them. Also, much smaller electric bills.  --Barbara
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Ernst Dinkla

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Re: Lighting for framed photos - NewB
« Reply #10 on: February 26, 2014, 05:22:04 am »

To be honest I lost confidence that one can present the same image to everyone's eyes/brain. With whatever lighting.

An interesting graphic from a study on the aging of eyes, in Dutch but the left bell curve represents scotopic (low light) and the right bell curve fotopic (more light) vision. The  other curves represent what humans aged between 0 and 90 have (left) in spectral sensitivity.
http://toine-hendriks.nl/Fotobeoordelen/ouderdom.htm

Lower light levels for exhibitions etc are recommended to keep print longevity high. The Kruithof curve in mind one should keep the color temperature low too then. For elderly people the prints will be degraded in their color fidelity and shift way more to the warm end than with more light and cooler color temperatures.

Cataract surgery helps a lot to get most of the spectral sensitivity back :-)  Photographers have been quite aware of that.

Related to the above Aardenburg-Imaging considers 500 Lux as the minimum for critical color viewing and 2000 Lux D50 for the real deal. In every Aardenburg-Imaging test result there is a nice table of what light level can be expected in certain spaces; offices, galleries etc. Consider the monitor brightness, the necessary viewing light Lux level for proofs and the variety of display conditions and I would like to see a nice solution that covers the vision of both young and old eyes.

On lamps; the independent www.olino.org must have the most thorough test method available right now and the number of lamps tested grows. Dutch and English pages. LEDs are not there yet. Often the red suffers as mentioned already in this thread. However CRI is not a reliable indication and lamp manufacturers aim at getting a good CRI score while the spectral distribution of that lamp may be worse than a lamp that has a lower CRI. Olino has an article on CRI and its flaws.

Last week it struck me that some sepia toned B&W prints shift so much to warm with 2800K halogen light compared to 4000K halogen and even more to 5000K Philips 950 fluorescent lamps. I thought chocolate when I saw that change happen. This was not "metamerism" but the eye/brain limits on adaption. The more when the border of the paper keeps its neutral paper white. This was with Innova IFA24, a high white reflection, near neutral, no OBA paper. Inks the Z3100 pigments. The paper does not show fluorescence in UV light. I checked it after this experience and it confirmed my SpectrumViz measurement, no OBAs. Paper with a lower white reflection and an already warm paper white actually are more constant in their appearance. A high white reflection increases gamut in both color toned B&W and color prints, the color temperature of the lighting seems to have more effect then. I also think that eye/brain adaption goes better with color prints than with B&W prints. Something that is already visible when a B&W tone range is not perfectly neutral, a small color shift shows in a B&W print and goes unnoticed in most color prints.


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Met vriendelijke groet, Ernst

http://www.pigment-print.com/spectralplots/spectrumviz_1.htm
January 2014, 600+ inkjet media white spectral plots.
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BarbaraArmstrong

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Re: Lighting for framed photos - NewB
« Reply #11 on: February 26, 2014, 12:57:24 pm »

Ernst, I need to re-read your "note" to let it all sink in -- probably multiple re-reads.  Thanks. --Barbara
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PharmGeek

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Re: Lighting for framed photos - NewB
« Reply #12 on: February 27, 2014, 01:15:17 pm »

Whew - i got tech homework needed!!
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MirekElsner

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Re: Lighting for framed photos - NewB
« Reply #13 on: February 27, 2014, 06:07:23 pm »

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BarbaraArmstrong

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Re: Lighting for framed photos - NewB
« Reply #14 on: February 28, 2014, 03:24:49 am »

I'm not an expert on all this, but I'll respond by saying that Solux is interesting because it comes in specified color temperatures, and I think there are choices, as there are with other bulbs, about the degree of light spread.  However, it is halogen, so has all those characteristics: hot in use, and not nearly as electricity efficient as LED.  Is the Solux only available as MR-16 bulbs?  Those are quite small, with limited beam spread compared with larger lamps, so you need a lot of them to cover a given area, and they can look quite intense, though they are dimmable.  Oh, and the MR-16 bulbs require a transformer to reduce the voltage, either on the line itself or in the lamp housing. Fixtures designed for MR-16 bulbs would have it built-in.  I haven't used Solux where I have installed in-home lighting, because I wanted the larger lamp that the PAR bulbs give me, and the light temperature of the PAR halogens is just a bit cooler than incandescent, so I am pleased with it.  My in-home displays are not what you would call "color-critical."  Hope this helps, and hope I didn't mis-state anything, as I haven't used the Solux myself. --Barbara
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Ernst Dinkla

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Re: Lighting for framed photos - NewB
« Reply #15 on: February 28, 2014, 04:35:14 am »

The Van Goghmuseum in Amsterdam kept its Solux lighting for display after a recent renovation. Probably they skipped LED lighting for the wrong reasons.

http://www.prweb.com/releases/2013/4/prweb10680218.htm
http://www.mondoarc.com/news/1766260/study_wrongly_implies_led_to_blame_for_van_gogh_masterpiece_damage.html

There is a lot to be said for sufficient light on perfect reproductions of paintings that can not stand normal display light. The last should be kept in dark, cool archives till the next revolution in reproduction technology calls for a new exposure to light. This happens already. Should we still go to museums then? The more a question when Google offers good information for print reproductions.

Oh, on the color quality of LEDS:
http://en.wikipedia.org/wiki/High_CRI_LED_Lighting


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Met vriendelijke groet, Ernst

http://www.pigment-print.com/spectralplots/spectrumviz_1.htm
January 2014, 600+ inkjet media white spectral plots.
« Last Edit: February 28, 2014, 07:57:50 am by Ernst Dinkla »
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