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- By using LEDs, museums can significantly reduce energy consumption and operating costs while minimizing their carbon footprint. Additionally, the longevity of LED lights reduces maintenance requirements, minimizing disruption to exhibits with heavy foot traffic.
www.lumilum.com/blogs/led-lighting/led-lighting-for-art-and-displays-best-practicesLED Lighting for Art and Displays: Best Practices and Techniques
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Aug 27, 2014 · The good news is that the installation of LED lighting should have significant benefits for the gallery, for visitors and also for the environment. We have noticed a real trend towards museums and galleries taking an interest in LED lighting.
Aug 10, 2015 · Right now, museums want their replacement LEDs to light a painting like their old incandescent lights. But LEDs have to be specifically engineered to look lose their unnatural...
Jul 19, 2021 · LED lighting. Museum lighting standards assume galleries are still using incandescent bulbs or fluorescent lights. But LEDs offer more for both audiences and conservation.
- Emrah Baki Ulas
- Overview
- CCI Technical Bulletins
- Abstract
- Authors
- Table of contents
- List of abbreviations
- Introduction
- What are LED lamps?
- Table 1 Notes:
- Do LEDs provide good-quality light?
Stefan Michalski, Canadian Conservation Institute
Jim Druzik (retired), Getty Conservation Institute
Technical Bulletins are published at intervals by the Canadian Conservation Institute (CCI) in Ottawa as a means of disseminating information on current techniques and principles of conservation of use to curators and conservators of Canada’s cultural objects as well as collection care professionals worldwide. The authors welcome comments.
Light-emitting diode (LED) lamps are in the process of replacing the incandescent and fluorescent lamps that have been used by museums and art galleries for decades, but the transition is not simple. LED lamps vary widely in the quality of light they provide, and concerns have been raised about elevated rates of damage. The majority of LED lamps on...
Stefan Michalski is a Senior Conservation Scientist at CCI. He earned a B.Sc. (Hons) in Physics and Mathematics (1972), trained as an objects conservator in the Queen's University Master of Art Conservation program and then joined CCI in 1979. He has created many CCI tools to help preserve collections: the Relative Humidity Control Module (1981), the Light Damage Slide Rule (1988), the Framework for Preservation of Museum Collections poster (1994) and the online Light damage calculator (2012). He wrote the temperature and humidity specifications section for the first edition of the museums chapter of ASHRAE – Applications Handbook (1999), and he contributed to its update in 2019. He was an invited contributor to PAS 198:2012, Specification for managing environmental conditions for cultural collections and is the author of CCI’s web pages on climate and lighting. In partnership with ICCROM (International Centre for the Study of the Preservation and Restoration of Cultural Property) and the Cultural Heritage Agency of the Netherlands (RCE; formerly the Netherlands Institute for Cultural Heritage, or ICN), he helped develop an international course on risk and co-authored its manual, The ABC Method: a risk management approach to the preservation of cultural heritage (2016).
Jim Druzik holds a B.S. in Chemistry. He was a Senior Scientist at the Getty Conservation Institute between 1985 and 2016, where he led research on the effect of pollutants and of light on collections. He created a full-scale gallery to study viewers’ responses to lighting. He brought the needs of museum conservation to the LED programs of the U.S. Department of Energy (DOE) and worked closely with their scientists from 2008 until 2016. Prior to his retirement, he was instrumental in the creation of the Managing Collection Environments Initiative. Before joining the Getty, he was at the Los Angeles County Museum of Art for five years and at the Norton Simon Museum from 1974 to 1980. He served in a wide variety of advisory capacities for the National Archives and Records Administration, the Library of Congress and the Smithsonian Institution.
•List of abbreviations
•Introduction
•What are LED lamps?
•LEDs produce coloured light
•Different ways to make white LEDs
•One LED lamp = one housing + one or more white LEDs + electronics
µW/lm/nm microwatt per lumen per nanometer
ANSI American National Standards Institute
CCR constant current reduction
CCT correlated colour temperature (or colour temperature)
CFL compact fluorescent lamp
CIE International Commission on Illumination
Lamps based on LEDs (pronounced el-ee-dees) are gradually replacing all previous lamps (tungsten, halogen, fluorescent, etc.). There is concern in the museum and conservation community about whether the light from LEDs is of good quality, whether it causes extra damage to artworks and whether lamp life is as good as claimed. Many of us have been disappointed with early LED lamps bought for the home, and early adopters in museums were disappointed by LED lamps that died long before predicted. As the strange bumps in LED lamp spectra became widely known, concern mounted.
LED lamp technology is improving very quickly. The selection of directional LED lamps (spots, floods) with good-quality light has increased in just the last five years from a handful to dozens and will eventually become the norm rather than the exception. In order to keep this text relevant for more than a few months, the emphasis is on the why and how of LED lamp selection, rather than on specific models.
LED lamps are complex assemblies which comprise light-emitting diodes, phosphors, electronics and a housing. Some are designed to be part of a whole new installation of lamps and specially designed fixtures. Others are intended as replacements of older lamps, so the housing is designed to fit in the same fixtures as the older lamps (for example, a round bulb, a parabolic aluminized reflector [PAR] spot lamp, an MR16 [multifaceted reflector] low-voltage lamp or a fluorescent lamp). The most notable and unfamiliar feature of LED lamps is their elaborate cooling fins, as seen in Figure 1.
© Government of Canada, Canadian Conservation Institute. CCI 122894-0001
Note 1
It takes about one year to reach this rate after an initial installation of all new lamps, assuming replacement only after burn-out. This is a common maintenance method for these lamps, so randomized dead lamps do become a common problem in display areas.
Return to first note 1 referrer
Note 2
Although larger organizations tend to use fixed schedule replacement for fluorescent lamps, thereby avoiding the problem of randomized lamp failure, smaller users tend to replace as needed. After a few years, the display area will suffer this rate of random dead lamps.
Return to note 2 referrer
Yes, the best LED lamps do produce good-quality light, but they are in the minority. The majority produce mediocre light just above legislated minimums. This means, unfortunately, that museums and art galleries must take some care when choosing LED lamps. This is not a new issue for museums. Poor-quality light from LED lamps was preceded by poor-qu...
Oct 5, 2023 · LEDs’ longevity, energy efficiency, and minimal ecological impact enhance exhibits’ aesthetic appeal and contribute to the broader narrative of responsible custodianship. This ultimate guide comprehensively explores the multifaceted considerations in choosing LED lighting for museums and galleries.
Nov 4, 2019 · As one museum director observed, natural lighting in museums encourages people not just to visit, but to visit and re-visit, to experience changes in view as the light naturally brightens and dims over time, creates shadows and highlights, reveals new tonalities, and directs or diffuses the gaze.
Jul 3, 2023 · LED lighting in museum and exhibition spaces holds immense importance due to its numerous advantages over traditional lighting methods. LED lamps offer accurate color rendering, energy efficiency, and preservation benefits, enhancing the visitor experience while reducing operational costs and minimizing damage to valuable artwork.
