IESNA DG-16-2005 Guidelines for Professional Filming or Photographing Works of Art in Museums.pdf

1、DG-16-05The LIGHTINGAUTHORITYPrepared by The IESNA Committee onMuseum and Art Gallery LightingGuidelines for ProfessionalFilmingorPhotographingWorks of Art inMuseums IESNA DG-16-05Guidelines for Professional FilmingorPhotographing Works of Art in Museums Publication of these GuidelinesHas been appro

2、ved by theIESNA. Suggestions for revisionsshould be directed to the IESNA.Prepared by The IESNA Committee on Museum and Art Gallery Lighting IESNA DG-16-05Copyright 2005 by the Illuminating Engineering Society of North America.Approved by the IESNA Board of Directors, January 2005, as a Transaction

3、of the Illuminating EngineeringSociety of North America.All rights reserved. No part of this publication may be reproduced in any form, in any electronic retrieval systemor otherwise, without prior written permission of the IESNA.Published by the Illuminating Engineering Society of North America, 12

4、0 Wall Street, New York, New York 10005.IESNA Standards and Guides are developed through committee consensus and produced by the IESNA Officein New York. Careful attention is given to style and accuracy. If any errors are noted in this document, please for-ward them to Rita Harrold, Director Educati

5、onal and Technical Development, at the above address for verificationand correction. The IESNA welcomes and urges feedback and comments. ISBN # 0-87995-204-0Printed in the United States of America.DISCLAIMERIESNA publications are developed through the consensus standards development processapproved

6、by the American National Standards Institute. This process brings together vol-unteers representing varied viewpoints and interests to achieve consensus on lighting rec-ommendations. While the IESNA administers the process and establishes policies andprocedures to promote fairness in the development

7、 of consensus, it makes no guaranty orwarranty as to the accuracy or completeness of any information published herein. The IESNA disclaims liability for any injury to persons or property or other damages of anynature whatsoever, whether special, indirect, consequential or compensatory, directly orin

8、directly resulting from the publication, use of, or reliance on this documentIn issuing and making this document available, the IESNA is not undertaking to render pro-fessional or other services for or on behalf of any person or entity. Nor is the IESNA under-taking to perform any duty owed by any p

9、erson or entity to someone else. Anyone usingthis document should rely on his or her own independent judgment or, as appropriate, seekthe advice of a competent professional in determining the exercise of reasonable care inany given circumstances.The IESNA has no power, nor does it undertake, to poli

10、ce or enforce compliance with thecontents of this document. Nor does the IESNA list, certify, test or inspect products,designs, or installations for compliance with this document. Any certification or statementof compliance with the requirements of this document shall not be attributable to the IESN

11、Aand is solely the responsibility of the certifier or maker of the statement.IESNA DG-16-05IESNA Committee on Museum and Art Gallery LightingRichard Rummel, ChairMembersMichael Brubaker*Anne CheneyJill Cody*Christopher CuttleGilberto Da Costa*Anthony DonatoClifford DosselDennis FahnestockRobert Fell

12、erFrank FlorentineDaniel Gelman*Marvin GelmanMary Beth GottiRaymond GrenaldMark HaggittSteven HeffernanPaul HimmelsteinJean HocquardDaniel HowellChristine KesnerHong-um Kim*Kerry Penwell*Gerard PlankFarah Pourbabai-BarnesEdwin RobinsonMark Roeyer*Steven RosenRichard Snow*Aleah Thompson*Christopher T

13、ylerYa-Chi Tsai*Advisory MembersIESNA DG-16-05ContentsPART I: General Rules for Protection . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1PART II: Lighting Practice . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

14、 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11. Infrared Radiation (IR) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22. Ultraviolet Radiation (UV). . . . . . . . . . . . . . . . . . . . . . . . .

15、 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23. Visible Radiation Intensity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24. Relative Humidity and Temperature . . . . . . . . . . . . . . . . . . .

16、 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2PART III: Products . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5Lamps . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

17、. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5Suggested Reading . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6DG-16-05 Guidelines for professional fil

18、mingor photographing works of art in museums The Illuminating Engineering Society of NorthAmerica (IESNA), Museum and Art Gallery LightingCommittee, offers this Design Guide (DG) for muse-um personnel and for photographers filming objectsand artifacts in museums. The DG has been devel-oped by an exp

19、ert panel of museum and lighting pro-fessionals. The IESNA encourages museums to usethe DG as a basis to form a unique policy for filmingand photographing of artifacts. Comments and/orsuggestions regarding the DG are welcome.PART I: GENERAL RULES FOR PROTECTIONBefore filming or photographing works o

20、f art in amuseum, the museums rules of security and pro-tection should be consulted. All restrictions must beobserved regarding working in proximity to artifacts,staff monitoring of film crews, written agreements ofcompliance with all museum policies, use of visitorbadges, eating, drinking, and smok

21、ing in the muse-um. In addition: All security rules of the museum shall be followed. Before permission can be granted to photograph and/or film, a list of artifacts to befilmed/photographed shall be provided to theappropriate museum personnel. Written permission to film each artifact shall beobtaine

22、d. The museum must either own theartifact or have written permission from theowner to film/photograph the artifact. The curator of the museum department responsible for the artifact being filmed or photographed shall be notified in advance.A representative from the department maybe present for all f

23、ilming. The conservation department may be notified in advance. A representative from the conservation department may be present for all filming. PART II: LIGHTING PRACTICELight is radiant energy, and exposure to light gradual-ly causes permanent damage to many museumobjects. Some materials are virt

24、ually impervious tolight exposure while others respond quickly. Museumobjects are combinations of materials, and the mostsusceptible material determines the category of sus-ceptibility to damage. The annual extent of exposureis governed by two factors: the reciprocity principle(the product of intens

25、ity and time) and the spectralpower distribution of the incident energy.Total exposure time during the course of annual oper-ating hours takes into account not only the lighting fordisplays, but also daylighting, and lighting for security,emergency, cleaning, and other events when the gal-leries are

26、 closed to the public. Non-display exposureneeds to be included in assessing annual exposure.The lighting required for filming and photographingobjects must be kept within the lowest practical limits(see Part II, 3 Visible Radiation Intensity). It is rec-ommended that when filming artifacts on exhib

27、ition,the existing lighting shall be used whenever possible.If additional lighting is required, light for filming shallbe restricted to the artifact(s) being filmed. Adjacentartifacts shall be shielded where possible to limit lightexposure. This will help to ensure that neither theobject being filme

28、d nor adjacent objects are subject-ed to unnecessary exposure.The spectral characteristics of light from a lamp canbe reviewed by obtaining the lamp spectral power dis-tribution (SPD) curve from the manufacturer. Thiscurve shows the wavelengths where most of the lightsources power is concentrated. T

29、he SPD is plotted1IESNA DG-16-05in the power in watts per unit of wavelength along thevertical (y) axis and in nanometers of wavelengthinterval across the horizontal (x) axis. Concentrationsin the infrared (wavelengths of 780 nanometers andlonger) and ultraviolet (wavelengths of 400 nanome-ters and

30、shorter) regions of the spectrum can harmsensitive artifacts. If additional lighting is absolutely necessary, beyondthe lighting provided by the existing exhibition lightingsystem, the following stipulations shall be followed:1. Infrared Radiation (IR)Infrared radiation will damage artifacts because

31、 ofradiant heat. Therefore, radiation at 780 nanometers(nm) or higher shall be reduced and preferably elimi-nated. This may be accomplished by: Using lamps that reduce IR radiation striking the artifact Using filters that eliminate, or at the least minimize, IR transmission2. Ultraviolet Radiation (

32、UV)Ultraviolet radiation will damage many artifacts bycausing a photochemical reaction. Therefore, radia-tion at 400 nanometers (nm) or lower shall be keptbelow 0.01 percent of the peak spectral power. Thismay be accomplished by Using lamps that emit negligible UV radiation Using filters that minimi

33、ze UV transmissionNote: It is recommended that unless all artifacts ina display area are totally insensitive to exposure,UV be kept below the level indicated abovethroughout the display area Thus, since everysource of “white” light emits some UV, every sourcemust have a filter.3. Visible Radiation I

34、ntensityThe greater the intensity of visible radiation, mea-sured in lux (footcandles), and/or the longer theexposure, the greater the damage. Therefore, theintensity and duration of lighting required for filmingshall be carefully monitored and kept to the pre-scribed minimum. To accomplish this, th

35、e photogra-pher should: Establish exposure limits in terms of lux (footcandles) per hour. Utilize the reciprocity principle while filming.For a given source, exposure is the product ofintensity and time. To expose an object at 100 lux (10 footcandles) for 10 hours is equivalentto exposing it for 50

36、lux (footcandles) for 20hours or 200 lux (footcandles) for 5 hours: in allthree cases the exposure is 1000 lux-hours(100 footcandle-hours). Control the exposure by turning off lights whennot absolutely required, e.g., while setting upequipment, deciding camera angle, measuring distance, rehearsing,

37、completing test shots. Monitor the amount of potential exposure by using an illuminance meter.4. Relative Humidity and TemperatureHeat from lights may raise ambient temperature closeto an artifact. This will cause a reduction in relativehumidity that may be harmful to an artifact.Therefore, addition

38、al photographic lights shall remainon for as short a period as necessary, and shall bekept as far away from all artifacts as practical. Smallfans may be helpful in reducing temperature increas-es during filming, especially near artifacts. Relative humidity near artifacts shall be monitored during fi

39、lming, using appropriate equipment. The relative humidity (RH) and temperature shall remain constant within 5 percent during any 24 hour period. If thislimit is exceeded, filming shall cease untilcorrection is made. Lights may also cause direct heating of artifacts,which may severely damage some of

40、them.This must be avoided by using appropriate 2IESNA DG-16-05IESNA DG-16-05TABLE 2: LIGHT SOURCE COMPARISON CHARTLAMP TYPE ULTRAVIOLET* VISIBLE* INFRA-RED* CRI LIFE EFFICACYUV-C UV-B UV-Ahours lm/wNon-reflectorizedstandard incandescent - .005% .05% 8.0% 72% 99+ 750-2,000 8-21Reflectorized (R and PA

41、R) - - 0.1% 8.0% 64% 99+ 2-4,000 7-20Non-reflectorizedHalogen1003% 0.02% 0.2% 8.4% 72% 99+ 2,000 15-28Reflectorized Low VoltageHalogen2- 0.002% 0.06% 10.0% 68% 99+ 2-5,000 12-25Fluorescent Lampstandard phosphor - 0.2% 0.6% 22.0% 32% 45-60 6,000-20,000 30-90Fluorescent Lamprare earth phosphors - 0.3%

42、 0.7% 23.0% 29% 70-90 7,500- 24,000 60-100Metal halide - .1% 4.0% 25.0% 35% 60-85 6.000- 20,000 70-115High pressure sodium - - 0.5% 30.0% 35% 21-65 10,000-24,000 50-140Daylight: Cloudy sky 0.2% 1.0% 4.0% 45.0% 30% 100 - -110Daylight: Sunshine 0.2% 1.5% 5.0% 45.0% 30% 100 - -110* Typical values; quan

43、tities may vary for specific light sources.1. No external bulb or glass shield.2. Data for MR lamp with dichroic reflectors; higher UV possible with aluminized reflectors. Infrared quantity equals total transmitted in the beam and through the dichroic reflector.34IESNA DG-16-05LAMP TYPENon-reflector

44、izedIncandescentReflectorizedNon-reflectorizedHalogenReflectorized, lowvoltage HalogenFluorescent Lampstandard phosphorsFluorescent Lamprare earth phosphorsMetal halideHigh pressuresodiumHigh pressuremercuryDaylight: Cloudy skyDaylight: SunshineLUMEN OUTPUT200 - 20,000200 - 20,0001,500-14,00050-2500

45、120-10,0001000-10,0002,500-200,0002,000-150,0001,600-60,000-GEOMETRYA, TR, PARTMR, ART, TU, T/CT, TU, 2-Pin,4-pinED, BT, T, PAR E, ED, T, BTA, ED, BT, PAR, R MISCELLANEOUSReflector or opticalsys. req.Self-containedoptical controlCompactVery compactStrip luminairesStrip luminairesWarmup, restrikeissu

46、esWarmup, restrikeissuesWarmup, restrikeissuesCan causeartifact damageWill causeartifact damageCONCLUSIONSHigh infrared radiation;low efficacy.High CRI High CRIand infrared; Definedbeam; low to mediumefficacy.High infrared; excellentcolor rendition andmedium efficacy.High infrared radiation;excellen

47、t color rendition;superior beam control;medium efficacy.Fair to good color rendition; differentcolor temperaturesavailable.Very good to excellentcolor rendering; differentcolor temperaturesavailableToo high lumen pack-age; color uniformityand stability issues.Improved designsbeing developed.Not typi

48、cally suitablefor exhibition rooms;poor color rendering.Some color improveddesigns available.Not suitable for exhibition rooms; poorto fair color rendering.TABLE 3: LIGHT SOURCE COMPARISON CHARTTABLE 3.1.RECOMMENDED TOTAL EXPOSURE LIMITS IN TERMS OF ILLUMINANCE-HOURS PER YEARTO LIMIT LIGHT DAMAGE TO

49、 SUSCEPTIBLE MUSEUM AND ART GALLERY OBJECTS.All ultraviolet radiation (400nm and below) should meet the requirement of Part II 2.Max. Lux-Hours Types of Materials Illuminance Per YearHighly susceptible displayed 50 lx 50,000* materials: textiles, cotton, natural fibers, furs, silk, writinginks, paper documents, lace,fugitive dyes, watercolors, wool.Moderately susceptible displayed 200 lx 480,000*materials: textiles withstable dyes, oil paintings,woodfinishes, leather,some plastics.Least susceptible displayed * *materials: metal, stone,glass,