Datacolor LightColor Meter in art reproduction photography

How Consistent Is Your Lighting Really? A Real-World Test of the Datacolor LightColor Meter

How consistent is a flash system, really? What impact do aging reflectors, colored floors, or mixed lighting have? German photographer Christoph Petras tested the Datacolor LightColor Meter in his everyday photographic work, where it matters most.

Why Consistent Lighting Matters in Reproduction Photography

In reproduction photography, I prefer not to rely on assumptions. When artwork needs to be reproduced as faithfully as possible, the camera alone is not enough. The light matters just as much, its intensity, its color temperature, and above all, its consistency.

But how consistent is a flash system in practice? Does an old reflector alter the color of the light? What effect can a yellowish parquet floor in a museum have on the image?

These were exactly the questions I wanted to investigate. So, I tested the Datacolor LightColor Meter not under laboratory conditions, but in the places where I would actually use it: in my studio, with my flash systems, and in the often challenging lighting conditions of museums, galleries, and artists’ studios.

Real-world testing: Christoph Petras checks the lighting and setup in his Berlin studio.

What Can the LightColor Meter Measure?

My partner Datacolor provided me with the LightColor Meter to test its functionality. This compact device measures both light intensity and color characteristics, and it can be used with flash as well as continuous and ambient light. There are different measurement modes available for photography and video.

My first impression was positive; the device is compact and well made. Accessories include a carrying case, a stand, and a clamp. I particularly appreciate the option to mount the meter on a tripod. This allows me to establish a fixed measurement point and take repeated measurements under identical conditions.

The device is operated via smartphone and does not have a built-in display. I’ll come back to that later.

The compact and versatile Datacolor LightColor Meter can be positioned directly at the measurement point.

Putting My Flash System to the Test

Having worked in reproduction photography and museum and exhibition documentation for many years, I knew that checking my flash system would be one of the first tests I would carry out.

What the Measurements Revealed

Initially, there were few surprises in terms of light output: the variations were only around one-tenth of a stop, which is practically irrelevant for my work.

However, things became more interesting when I looked at color temperature. I measured a difference of almost 200 Kelvin between the first flash after switching the system on and subsequent flashes. Apparently, my flash system needs to fire a few times before the color temperature stabilizes and I can rely on a consistent white balance.

That is not a problem. However, I would not have known this without taking measurements.

After a few test flashes, the readings stabilized significantly. Further fluctuations of around 80 Kelvin occurred, but they were not reproducible and are insignificant in my 45-degree lighting setup for reproduction photography.

Overall, the result is positive: my flash system is sufficiently consistent for my purposes.

Measurements instead of guesswork: The LightColor Meter helps objectively assess the flash system’s light intensity and color characteristics.

What the Eye Misses

Even more surprising to me were the measurements of the reflectors and fill surfaces. These materials often remain in a studio for years. Changes in their characteristics are barely noticeable to the naked eye.

Over time, white reflective surfaces can yellow, which changes the color of the reflected light. I also found differences in an older flash system that I tested.

This is exactly where I see the benefit of objective measurement. I no longer have to judge whether an older reflector looks slightly warmer. I can measure it.

Reflective surfaces change, too: Aging and yellowing can affect the color of reflected light.

When the Room Itself Becomes a Light Source

In a studio, lighting conditions can be controlled fairly easily. However, when working in museums, galleries, or artists’ studios, things are often very different.

Measuring the Impact of Ambient Light

Large windows, colored walls, parquet floors, and confined spaces can introduce additional ambient light, which can sometimes have a noticeable color cast. This can create mixed lighting that affects color reproduction, particularly when reproducing artworks.

With a conventional light meter, I can measure the amount of light reaching the subject. The LightColor Meter also provides information about color temperature and green/magenta shifts.

In a museum, for instance, a yellowish parquet floor can reflect light back onto artwork. The key question is not whether the reflection exists but whether it is strong enough to meaningfully impact color reproduction. With the appropriate measurement, I can assess this objectively.

In reproduction photography, it is important to identify potential sources of error as early as possible, before the images are captured.

Outside controlled studio conditions – in museums, galleries, or artists’ studios – the room, surrounding surfaces, and ambient light can all affect color reproduction.

Consistency Across Multi-Day Digitization Projects

In particular, with larger digitization projects, it is not enough for the lighting to be correct just once. It also needs to be correct the next day and the day after that.

These projects can extend over several days. Even if a setup is rebuilt identically, conditions can change. For example, daylight enters differently, a light source may shift slightly, or a reflector may not be in the same position after a break.

This is where the option to mount the LightColor Meter on a tripod proves useful. This allows me to establish a fixed measurement point and quickly check after an interruption to see if the lighting conditions still match the original setup.

For me, collecting individual readings is less important. What matters is the ability to objectively document a lighting situation and reproduce it later.

A defined measurement point makes it easier to document lighting conditions and reproduce them consistently during longer projects. Here you see the LightColor Meter mounted on the Datacolor Spyder Checkr.

Why 5600 Kelvin Doesn't Tell the Whole Story for Video

Measuring light color can be useful for video, such as when documenting exhibitions or conducting interviews.

Looking Beyond Color Temperature

Complex mixed-light situations can arise quickly in these situations, with video lights, existing room lighting, and daylight all coming together. A nominal specification such as 5600 Kelvin is not enough to accurately assess the lighting situation.

I therefore find additional information about the green/magenta shift particularly useful. These differences are easy to miss during capture but may require correction in post-production.

The same principle applies here: The better I understand the lighting situation while shooting, the more precisely I can respond to it.

In Video mode, the app displays color temperature and the measured light source’s green/magenta shift alongside exposure values.

Practical Limitations in Everyday Use

Smartphone-Only Operation

The LightColor Meter has no built-in display and is operated exclusively via smartphone, which bothered me somewhat.

In principle, this works without any problems. However, in everyday photography, the smartphone can go into sleep mode or an incoming call can interrupt the measurement.

I found a very simple solution: I use an older smartphone with the LightColor Meter. This way, the meter is independent of the phone I actually use for work and communication.

Operation is smartphone-based: Christoph Petras uses a separate older device with the LightColor Meter.

Conclusion: Identifying Problems Before They Reach the Final Image

The Datacolor LightColor Meter does not replace a gray card or the Spyder Checker for me. It simply comes into play at a different point in my workflow.

I still use a gray card and the Datacolor Spyder Checker for white balance, exposure control, and camera calibration. With the LightColor Meter, however, I can take a step back and check whether the light source and overall lighting situation are correct before getting to that stage.

Two tools, different tasks: The Spyder Checker supports accurate color reproduction during capture, while the LightColor Meter comes into play earlier, when assessing the lighting situation.

I see a practical advantage in this, especially in reproduction photography, museum and exhibition documentation, and longer digitization projects. To me, what matters is not so much an individual reading, but rather the ability to objectively check, document, and reproduce lighting conditions.

The LightColor Meter is a small, straightforward tool that integrates well into my existing workflow.

Most importantly, it helps me identify potential sources of error before they end up in the image.

Christoph Petras is a photographer and reproduction photography specialist based in Berlin. He studied photography at the Academy of Fine Arts Leipzig and the Glasgow School of Art, followed by postgraduate studies in fine art photography under Timm Rautert. Since 1999, he has worked as a freelance photographer.

His work focuses on the precise reproduction and digitization of artworks, as well as museum and exhibition documentation. He has completed major digitization projects for museums, galleries, and foundations, including the Brücke Museum Berlin, Kunsthalle Rostock, and the Federal Foundation for the Study of the Communist Dictatorship in Eastern Germany.

Petras describes his photographic approach as documentary and objective, with a strong emphasis on capturing and reproducing artworks as accurately and faithfully as possible.

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Frequently Asked Questions

1. Why is lighting consistency important in art reproduction photography?

Consistent lighting ensures accurate color reproduction and prevents unwanted variations in exposure, white balance, and artwork appearance across images.

2. How does ambient light affect artwork digitization?

Reflections from windows, floors, walls, or surrounding surfaces can introduce color casts and mixed lighting, reducing color accuracy in artwork reproductions.

3. What tools are used for accurate artwork color reproduction?

Professionals use gray cards, color targets, light color meters, calibrated monitors, and ICC color-managed workflows to achieve faithful color reproduction.

4. Why is color temperature alone not enough?

Two light sources can share the same Kelvin value yet produce different color casts. Measuring green/magenta shifts provides a more complete assessment of lighting quality.

5. How do photographers ensure consistency in multi-day digitization projects?

By documenting lighting conditions, using fixed measurement points, and regularly verifying light output and color characteristics throughout the project.

Datacolor LightColor Meter in art reproduction photography