www.cityofangelsconservation.weebly.comLos Angeles CA USASenior Conservator & Museum ConsultantDavid HarveyDaveEd - Here are some useful links on the topic of LED lighting for museums.Cheers!
https://www.nedcc.org/free-resources/preservation-leaflets/2.-the-environment/2.4-protection-from-light-damaghttps://www.nedcc.org/free-resources/preservation-leaflets/2.-the-environment/2.4-protection-from-light-damagee
http://www.connectingtocollections.org/wp-content/uploads/2011/08/SSL-Guidelines-Ver.-10.0.pdf
On Mon, Apr 4, 2016 at 10:01 AM, Ed Sharpe - Archivist for SMECC <[log in to unmask]> wrote:
Dave or others........ what type of led strips or bulbs should we use?I go online and see Getty using some but is backchatter on the net that LEDS can have too much UV and are EVIL!I... am so ... confused...Thanks for any adviceEd Sharpe archivist for SMECCIn a message dated 4/1/2016 10:38:20 A.M. US Mountain Standard Time, [log in to unmask] writes:www.cityofangelsconservation.weebly.comLos Angeles, CA USASenior Conservator and Museum ConsultantDavid HarveyDaveCheers!If you don't have a regular conservator who you use, you can apply for grants for this kind of consultation. The IMLS encourages museums to bring in specialist consultants to help the staff care for collections, and you can contact their office to get details of what grant category and level this fits in. They are very helpful.You really should get a conservator in, who is well experienced with environmental issues with collections, to spend a day studying the space, taking environmental measurements, and making recommendations for best practices for the collections and with specific advice on the light issues.The other effect of light that UV filters do not solve is the thermal (heat) energy. So if your works are inside closed-air-tight cases with glass or plexi fronts then that sunlight is heating up the interior of the cases which can either lower or raise the relative humidity, and those fluctuations can be significant in a single day between day and night. So that damage may be going on too.Do you also have lights inside the room on the exhibits as well? You have to add those into the light damage equation and also mitigate any UV from them as well as following the appropriate light levels (foot candles) for the type of collections in the room.And there are paints made for museum use with titanium dioxide in them, which absorbs UV and does not reflect it off of the walls.There are also some fairly lightweight sheer fabrics made for museums that will will filter the UV as well as to cut down on the amount of light coming in, that can be used.Third, if you do use UV filter film it is far better to mount it on a lightweight frame that can be easily mounted inside the windows and easily removed. UV film will degrade over time and will eventually lose it's filtering properties. So you will have to continue to monitor your UV levels and when there is a significant raise in your UV levels then it is time to replace the film. It would be far harder to try to peel and scrape the film off of the glass than to simply pull down a frame and replace it.Second, is the architecture of your exhibition space. Why exhibit light sensitive collections facing large windows? Are there other collections that could be in this space that are not as light sensitive, such as metals, stone, ceramics, etc.?First and foremost, while UV light is the most damaging to light sensitive collections, the rest of the light spectrum continues to accelerate photo-chemical reactions that cause permanent damage. This is why light sensitive collections such as paintings, works of art on paper, photography, textiles, etc. have to be rotated off exhibition, even if the best technology and efforts have been taken to reduce light damage. Light damage is cumulative and permanent.Amy,There are several considerations here.
On Fri, Apr 1, 2016 at 8:41 AM, Amy Halliday <[log in to unmask]> wrote:
Amy HallidayComments and advice appreciated!Hi everyoneI've recently started a job in a small college gallery with several soaring and beautiful windows, but no system in place for controlling natural light (with all the implications for heat, UV and conservation). Motorized blinds would be very expensive and interfere with the architectural aesthetics of the space, so I'm looking into getting UV-filtering film professionally fit to the inside of all of the windows and would appreciate any advice or feedback on the below from anyone who has relevant experience or conservation expertise.
Currently, the best balance of effectiveness, price and look that I've encountered is to use DN 60 from Johnson Window Films, a metallized, low reflective and neutral-looking film that "blocks 99% of harmful UV rays" and has high heat rejection. However, I'm aware that sometimes the "99%" of UV blocking is in the 325 to 380nm range, not up to 400nm, which is a gap of some concern for vulnerable items like works on paper. Does anyone have any thoughts on this, given also that with the design of the space, the windows (only on one side) are a good 20 feet from the opposite walls, and we could - ideally - combine the window film with UV-resistant plexi on framed works?
Best
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