New Light Sources Transform Wine Tasting Experience

The role of light sources in wine tasting is crucial, particularly when observing the color of wine. This process requires transparency, which means the light source and the reflection, transmission, and absorption factors of the tasting room and glass must be considered. Traditionally, candlelight, sunlight, or filament light in matte white tones have been used. However, with the advent of new electric light sources, a comparative evaluation is necessary.

Historically, sunlight and candlelight were the primary sources, but various lamps have since been introduced. Fluorescent lamps, especially those with low-pressure mercury, are exceptions due to their ultraviolet discharge. The quality of light emitted depends on the fluorescent or phosphor coating. Modern fluorescent lamps are designed to match the eye's sensitivity to specific wavelengths, improving their suitability for wine tasting.

Traditionally, candle or filament lighting with light-wine-eye interposition has been preferred. Strong intensities are needed for diffuse light. Studies have examined the behavior of different light sources with white and red wines. Tasters were asked to evaluate the color under various light conditions, using a white matte formica surface. The goal is to identify what is sought when observing wine in a glass, influenced by tradition, culture, and fashion. For white wines, vibrant and pale tones are desired, while for reds, vibrant tones away from oxidation are preferred. The light source should rejuvenate the wine's appearance, except for very special wines.

Different light sources highlight various wine characteristics. For instance, some lights enhance ruby red in reds and paleness in whites, while others emphasize leather and purple tones in young wines. The study found that candlelight and filament light with diffuse lighting, as well as high chromatic resolution fluorescents like TLD 93 and 95, are effective. Low-pressure mercury discharge models are also useful. Other light sources, such as tungsten halogens, provide imprecise results.

The study aligns with the chromatic concepts of light sources. High color reproducibility and appropriate color temperature are essential. For old red wines, a low color temperature below 3000 K is preferred to shift leather tones to tile. For young reds and whites, a higher color temperature above 4000 K is beneficial to reduce yellow tones. Low-pressure sodium light is not suitable due to its monochromatic nature.

The ideal diffuse light temperature ranges from 4000 to 10000 K, with a color reproduction close to 100%, practically between 85-100%, specifically 93-95%. This level is not achievable with sodium or mercury lights but can be with incandescent, halogen, and certain fluorescents like TLD 93-95.

The required light intensity for diffuse lighting in a neutral white matte environment with a standardized glass is crucial. Reflection and absorption values are fundamental when working with diffuse light. Experimentally, a matte white environment is preferred for diffuse light below 5000 K, and a matte white with a faint violet tone is suitable for higher light temperatures. This setup enhances vibrancy and reduces brown tones.