I was asked a question as to what I would recommend for environment lighting for a digital darkroom. I did not respond until now because I did not want to trigger an contentious argument about light sources. Since then Larry Bolch has posted a piece about fluorescent sources which I agree with mostly and answers one of the contentious issues.
There are two factors involved in choosing and setting up lighting for a digital darkroom. One is the affect on your monitor or display, and the other involves print viewing. As to the first the primary issue is to avoid any light striking the monitor/display screen that could skew the viewing of color and tone values. In other words try to keep any direct light from a room source from striking the screen, first of all. If possible work in an area that has neutral colored walls and ceiling, and keep brightly colored objects away from the immediate vicinity of the monitor/display so the color is not reflected on the screen.
Today most photographers will be using either sRGB or Adobe RGB as a Photoshop workspace profile, so monitors and displays to be consistent should be configured to the same parameters of 6500K / D65 color temperature and a gamma of 2.2. Particularly LCD displays should be set to 6500K/D65 because that is the ANSI standard for the backlight source, and adjusting to 5000K for instance uses up some of the gamut range of the screen to compensate (there are LCD displays which are native 5000K, made by Eizo and NEC, but they are quite expensive). if your digital darkroom is of necessity such that there is very much light falling on your monitor/display, I very much recommend a hood for your monitor. They are readily available and if you're handy easily made quite inexpensively. So, that brings up the issue of what color temperature source for darkroom lighting. Should it be the same in color temperature? Only if a photographer is making prints to match an objective standard for proofs for offset printing or similar requirements.
The color temperature of room lighting within a fairly broad range will not affect screen viewing from a normal working distance. The reason is the screen fills much of the field of vision (center) and the periphery of vision involves very few color receptors so what is around the screen unless a very, very strong color difference will not affect accurate perception of the screen.
So how about print output viewing? For most photographers (not working directly for and within the printing industry) making prints for normal viewing and exhibition, print output should be viewed for color evaluation in the kind of light environment the print will be viewed or exhibited in. If you don't know that then aim for the middle in color temperature for viewing illumination, half way between warm household room lighting 3,000K more or less and average daylight 5,000K, or about 4000K color temperature. By the way you don't need a special light over your printer to judge output, simply because prints should dry down fully before being evaluated for color from 8 to 24 hours depending on the ambient humidity. So personally I find you can obtain 4000K digital darkroom room lighting easiest and economically in high quality compact fluorescent or CCFL lighting. I prefer fluorescent myself over Solux for instance because it is softer and creates less specular highlighting from a print surface. A good and inexpensive fluorescent lamp holder for professional quality tubes like those used in transparency viewing boxes, are the common desk lamps that accept 15" long fluorescent tubes. This provides the opportunity for those who want objective matching to use high quality, clean sources at both the standard color temperatures of 5000K and 6500K.