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SW2700PT

"El BenQ SW2700PT puede mostrar el 99% de Adobe RGB Color; Un estándar de oro para la impresión. También puede mostrar gradaciones tonales maravillosamente, con una precisión mucho mayor que un monitor portátil."
Mark Wood
  • Lugar: UK
  • Product Model: SW2700PT
  • Descripción:
  • Testimonial
    Fine Art and Commercial Photography

Antes de darle un vistazo al Monitor SW2700PT, Debería explicar ¿quién soy y a que me dedico? Mi Nombre es Mark Wood, he trabajado exclusivamente en artes creativas por casi un cuarto de siglo. Me especializo en impresos, habiendo trabajado primero como diseñador gráfico antes de cambiarme a la fotografía; Un cambio realizado al inicio de la fotografía digital popular a finales de siglo. A través de mi carrera he reconocido la necesidad de obtener color y valores tonales correctos. En Diseño Gráfico errores en producciones impresas pueden llegar a costar £1000s, ¡y no me gustaría tener que ser yo el que paga esa cuenta! Dependiendo en el tipo de fotografía que trabajas el costo por errores de color en la impresión puede variar por ejemplo un álbum de Bodas.


He trabajado como fotógrafo de prensa y como fotógrafo comercial donde los interiores y productos necesitan colores y valores tonales precisos.

El contexto es importante. El BenQ SW2700PT es una gran pantalla, a un precio muy bueno, pero se vende por menos que otro monitor de BenQ dirigido a fotógrafos serios sobre la gestión del color, el BenQ PG2401PT. Tengo la suerte de tener ambos monitores conectados a mi computadora, por lo que es fácil para mí compartir mi opinión sobre ambos. Como fotógrafos preferimos gastar nuestro dinero en cámaras y lentes. En mi experiencia de enseñar manejo del color es que comprar un buen monitor se encuentra muy abajo en la lista de compras de un fotógrafo, aunque es una herramienta necesaria muchos de nosotros no lo tomamos en cuenta como una necesidad. Una búsqueda en internet te dará como resultados muchos monitores que son ideales para flujos de trabajo en manejo del color, pero el precio los hacen prohibitivos, y en mi opinión no son necesarios ya que para nosotros un error de impresión representa algunas hojas inkjet desperdiciadas. Conozco muchos Fotógrafos semi-profesionales que dependen de una pantalla de laptop para precisión de color. Esto es un gran error. En estos momentos no hay pantalla de laptop confiable para reproducción impresa. El monitor BenQ SW2700PT puede desplegar 99% de Adobe RGB un standard dorado para impresiones. De hecho puede desplegar degradados tonales muy bellos con mayor precisión que la pantalla de una laptop. He estado escribiendo sobre impresiónes, pero distribuir imágenes en línea también exige una reproducción confiable a través de varios dispositivos, por lo tanto, el monitor desempeña un papel central en los flujos de trabajo fotográficos. Las especificaciones técnicas del BenQ SW2700PT son las siguientes: • 27 pulgadas, 16:9, 2560x 1440, Tecnología IPS • 99% Adobe RGB • Precisión del color mediante panel de procesamiento de 10 bits, LU de 3D de 14 bits y media excelente ΔE ≤ 2 para espacios de color Adobe y sRGB • Software propio Master Element Calibration • Modo Blanco y Negro • Informe de la calibración del color individual-probado incluido • Los terminales de entrada incluyen DVI-DL, HDMI, DisplayPort, USB 3.0 junto con un práctico lector de tarjetas SD • Control OSD (Visualización en pantalla) • Capucha de Sombreado (estándar)

En Español coloquial se traduce así:

Figure 02: The display area of the BenQ SW2700PT.






1.The display area of the monitor measure 27 inches across the diagonal. The aspect ratio is 16:9, the wide screen format; which I like when using Lightroom as it allows the panels on the left and right to be visible without comprising the way my photographs are displayed. The 2560x 1440 pixels over the 27 inch display make for tight, sharp reproduction of images. IPS stands for in-plane switching, it is a widely used display technology, more on that in point 3.

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Figure 03: A Chromaticity Chart.

2. Para explicar Adobe RGB eche un vistazo a la Figura, un gráfico de cromaticidad. La figura representa todos los colores que el ojo estándar puede ver. El triángulo rojo punteado representa sRGB. Es un espacio de color equivalente a la mayoría de los dispositivos de impresión mini-laboratorio. ¿Cuál podría ser la pregunta, ¿por qué la necesidad de que el mayor espacio de Adobe RGB marcado en blanco? Adobe RGB abarca todos los colores estándar de impresión gráfica; SRGB no lo hace. La forma negra representa un espacio genérico de impresión cian, magenta, amarillo y negro (CMYK), y es para imprimir que se requiere cobertura Adobe RGB. El gran triángulo rojo representa ProPhoto. La Figura 03 sugiere que sRGB y Adobe RGB cubren el rango de color y tono requerido para CMYK pero ver estos espacios de color en 3D demostrará lo contrario. En 3D, las curiosas formas de los distintos perfiles para combinaciones de papel e impresoras ilustran la necesidad de ampliar la gama de Adobe RGB, ya que los monitores capaces de mostrar este espacio de color ofrecen a los fotógrafos la mejor oportunidad de ver los colores de impresión de las impresoras de inyección de tinta. La visualización de colores fiables es esencial para todos los fotógrafos serios. Tenga en cuenta que el espacio de impresión se extiende más allá de Adobe RGB en los azules.

Figure 04: Una representación del espacio impreso (Terciopelo en una impresora Epson 3800 inkjet) trabajada con el espacio de color Adobe RGB




3. La precisión del color se consigue haciendo que la pantalla emule el procesamiento de 10 bits. El panel IPS SW2700PT se ha mejorado con la electrónica de control de velocidad de fotogramas. Esto proporciona una emulación de 10 bits, lo que garantiza que el monitor puede renderizar degradados tonales suaves. Las pantallas verdaderas de 10 bits están disponibles, pero no en este punto de precio, y tienden a utilizarse en imágenes médicas. La LUT 3D de 14 bits se refiere a cómo el monitor indexa los valores de entrada y salida. Al igual que con el procesamiento de 10 bits, cuanto mayor sea el número de bits, mayor será la cantidad de valores utilizados. 8 bits es 28 o 256 valores la misma cantidad de tonos por canal (R, G y B) en una imagen JPEG. 10 bits es 210 o 1024 valores. Al comparar las especificaciones del monitor, esta información puede ayudar. En una tangente completa de 14 bits es también la profundidad de tono de imágenes en bruto en la mayoría de las réflex digitales. Eso es 16.384 tonos por canal. Para concluir cuanto mayor sea la profundidad tonal de su pantalla, mejor será la rendición de degradados tonales. El último elemento es el valor delta E, que se refiere a la diferencia de color. Al comparar la especificación del monitor, sepa que cuanto menor sea el valor, mejor será la pantalla para traducir los colores con precisión. Para mí tener una reproducción de color fiable es esencial.

Figure 05: Bright cloudless skies can present some difficult gradient problems. Whether in colour or monochrome, achieving a smooth gradient when adjusting tone can be difficult, and sometimes impossible. Banding may appear, also known as posterisation, only with a display such as the SW2700PT can gradients be assessed reliably.




4. The proprietary Palette Master Element Calibration Software is easy to use and essential when setting up your SW2700PT to display colour reliably. It is very important to note that the setting up and regular re-calibration and profiling of the SW2700PT requires one of the following calibrators, i1Pro, i1Pro2, i1DisplayPro, i1Display2, Spyder4, or Spyder5.

I’ll run through the set up process using the Palette Master Element later.

5. BenQ has put its Black & White mode front and centre. The SW2700PT ships with a USB On-screen Display (OSD) controller. The controller has three preset buttons set up to display Adobe RGB, sRGB, and Black & White. The controls can be customised, or you could run with the factory presets to quickly switch settings without going through complicated menu options.

The factory preset for Black & White is intended to allow users to preview colour photos in black-and-white before adding effects. This function is interesting, I create lots of monochrome images, but monochrome for me involves a colour tone, whether that’s sepia or a cool tone. Also, I often push channel mixing in Photoshop to the limits, so I need to see my monochrome preview in Photoshop or Lightroom.

The sRGB preset is of more interest to me. Swapping from Adobe RGB to sRGB using the OSD controller gives instant soft-proofing, the emulation of what the vast majority of internet users will see on their devices when viewing images.

6. Individual factory-testing of the monitors colour calibration is a vital part of quality control. I’ve lots of experience of teaching in classrooms where the monitors were bought with price winning over quality. The variance in quality has been astounding, and no amount of calibration would help align the tone and colour of the displays. All BenQ SW2700PT’s include a colour calibration report.

7. The SW2700PT has plenty of input and connection options built in the monitor, and ships with a DVI-DL, DP to mini DP, and USB cable. The USB cable is used for upstreaming; to connect the display to your computer when calibrating.

I hope the jargon busting section will help you decode the technical specifications. Let me draw a few conclusions now.

The BenQ SW2700PT is a good display. On paper it meets industry requirements for colour managed workflows. As a numbers game the SW2700PT looks like a winner, and make no mistake it is a really great display. BenQ has done a great job producing a monitor at a pleasing price, for better soft-proofing there are other displays on the market, but they cost a lot more.

This doesn’t mean the SW2700PT is deficient. For many photographers colour management workflows are affected by their studio environment, perhaps subliminally. Getting colour right means having the appropriate hardware set-up in the correct environment. Not knowing this will negate the effort to soft-proof. Also long hours of image processing changes our colour perception. For photographers printing in- house, and for those with a proper working relationship with a professional photo-lab, the limitations of the SW2700PT should not be an issue. Therefore I’m happy to recommend the BenQ SW2700T as a photographer’s monitor.

As the very mention of colour management can leave some people cold, we are going to take a look at the Palette Master Element software being used to set-up a SW2700PT. Before moving to that, here’s a few notes on assembling the display.

The SW2700PT comes securely packed in the standard polystyrene and cardboard packaging. The assembly instructions are simple and clear, though please note I’ve no fear of flat-pack furniture. I was immediately struck by the attractive design of the monitor. It looks great from all angles. Once assembled adjusting the height and tilt feels simple and secure; the height adjustment range is considerable.

Fitting the shading hood was the most challenging part of the assembly. I found that fitting the side panels first, then building the three part top panel before attaching it worked best for me. I welcome the inclusion of the shading hood in the box. With other manufacturers shading hoods can be expensive optional extras, but for colour management they are crucial, as they eliminate unwanted reflections and light. Let me explain: If you’ve used a tablet device, or a display with a high gloss surface you’ll have noticed reflections from windows disrupting your view of the screen, especially when dark images are being displayed. The SW2700PT has a matt surface to cut down these unwanted reflections, but more subtle reflections may still occur, fitting the shading hood will cut out all but the most direct light. This improves your ability to assess tone and colour.

Now for the Palette Master Elements software, which is available online. I favour downloading applications directly from manufactures’ websites to ensure I’m loading the latest version. BenQ specify the application requires Windows 7, 8, or 10 on a PC, or OS X 10.6.8 through to 10.11 on a Mac. Once installed here’s a run through the application, first in Basic mode, then in Advanced.



1.Switch off your screen saver and operating system’s energy saving functions. If either start whilst calibrating, the process will be invalid.

2.The splash screen for the application appears shortly after launching the Palette Master Element software. It confirms that the monitor and calibrator are connected; if an error message appears check your USB connections. With the Basic button selected the Start button was clicked.

Figure 06: The Palette Master Element splash screen




3. The Display Settings window is used to select the White Point and Luminance that best suits your type of work, the options are Photographer, Web Design, and Graphics. Choosing Photographer sets the White Point to D65 and the Luminance to 160 cd/m2. These are appropriate settings, though you might find some colour management texts that suggest 120 cd/m2. The Palette Master Elements application lets you choose this setting if you wish. I currently use 160 cd/m2.


Figure 07: The Palette Master Element Display Settings screen




4. The Measurement window has options for two calibration settings, these can be accessed later and even set as presets on the OSD. The profile name created by the application is rather convoluted, but descriptive. It’s easy to key in your own name choice here.

I’m using a Mac and I like to have the profile created by Palette Master Elements available to all users on my computer, therefore I select the Profile Distribution to be on the System Level, I also select the v4 profile type as I have no need to create a backwards compatible profile. The Profile Type defaults to Matrix, though setting this to 16 bits LUT should create better calibration. Clicking Start Measurement moves you to the next screen.


Figure 08: The Palette Master Element Measurement screen




5.If you are using an X-Rite i1 Display Pro a helpful illustration appears to remind you how to configure the calibrator.

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Figure 09: For X-Rite i1 Display Pro users, the Palette Master Element provides clear illustrations of how to configure the calibrator.

Figure 10: An on-screen graphic appears indicating where the calibrator should be placed. Palette Master Elements also cautions you to have the displayed tilted back to ensure the calibrator sits properly on the monitor, with no light leaks.

6.The next step is to position the calibrator on your screen, be sure to have the display tilted back. Calibrators will have some form of counter weight to help the calibrator to sit securely and evenly on the surface of the monitor.

7.The final screen is a simple calibration report. Closing this window quits the Palette Master Elements application.


Figure 11: The calibration process ends with a simple report screen.




Now let’s take a look at the Advanced Mode. It’s not complex, but does offer more options that might only make sense to someone with colour management experience. I’ll explain which options to choose.

1.To choose the Advanced mode click that button on the Palette Master Elements splash screen. Then click Start.

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Figure 12: A crop of the Palette Master Element splash screen showing that the Advanced button has been selected.

Figure 13: On the second screen in Advanced Mode, the Profiling workflow should be selected. Validation is used to verify a previous calibration.

2.The next screen is workflow. Click Profiling, then click Next.

3.The Display Settings are headed with a drop-down menu, as with the Basic mode, these are for Photographer, Web Design, Graphics. Choosing Photographer will set the most appropriate options. Leaving these on the defaults works well. Click Next.


Figure 14: The Palette Master Element Display Settings in Advanced Mode.




4. The Measurement window, should be changed from the default. The calibration preset can be left on Calibration 1, this or Calibration 2 can be selected after calibration using the OSD. Like the Basic setting the default profile name can be changed to something more recognisable, if you wish.

Having the profile available to all users is a good idea, so should be selected. However, if you are setting up a display in a shared studio environment you will need system administration privileges to distribute the profile at system level. If that last sentence made little or no sense, please ask for help from your IT support when setting things up.

Changing the Profile Type to 16bit LUT and Patch set size to Large should create a more reliable calibration and profile.


Figure 15: The Palette Master Element Measurement screen in Advanced Mode, can be set to a Large set of measurement patches. This is the recommended option, it will add to the time required for calibration.




5. Clicking Start Measurement will begin the calibration process. When complete a Validation Report appears, this is more detailed than the Basic report, and can be exported. Much of the report would only make sense to someone steep in colour management practice.

To quit Palette Master Elements either close the window or Choose > File > Quit.

Figure 16: The Palette Master Element report screen in Advanced Mode.




In Conclusion: BenQ has done a great job with the SW2700PT, which can be calibrated to display colour reliably; do note the types of calibrator listed by BenQ. It’s a monitor that should suit a photographer with a limited budget who cares about colour. Having a colour capable monitor is essential for all serious photographers. Take a look at the BenQ SW2700PT I’m sure you will like it as much as I do.

SW2700PT

●27”W 2560x1440 QHD Resolution
●99% Adobe RGB with IPS technology
●Hardware Calibration with accurate color
●Palette Master Element color calibration software
●Black-and-White photo mode
●Shading Hood / OSD controller

Click Here to product page

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