NikonGear'23
Gear Talk => Processing & Publication => Topic started by: Termite on September 19, 2021, 13:36:15
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I'm about to upgrade my laptop, and I'm hesitating between a matte and a glossy screen. Most laptop reviews are written for gamers or people who watch films on the screen; I would like to hear the opinions and experiences of photographers - that's why I'm asking you.
With a glossy screen - will I see reflections of myself when I'm editing dark photographs?
The laptop I'm considering (an HP Zbook Studio) is available with both IPS and OLED displays. Which type of display do you prefer for photography work?
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Glossy and an appropriate lighting and background. Matte screens wipe out the dynamic of the image. My feeling at least.
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Glossy and an appropriate lighting and background. Matte screens wipe out the dynamic of the image. My feeling at least.
I agree with glossy screen. The editing environment is very important. Dim color corrected light matched to monitory helps considerably. No sunlight.
Dave
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My best experience so far is with a glossy one (M$ Surface Pro 4). Glossy, and hi-res.
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Just to balance this a bit, always non-glossy screens for me. I have a window situated across the room in the direction behind my work station, and glossy screens would have caused annoying reflections.
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I now swear by monitor hoods. Like night and day!
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I have a window situated across the room in the direction behind my work station, and glossy screens would have caused annoying reflections.
A window that is not covered, e.g. Venetian blinds means the color temperature of the light in the room changes during the days skewing your perception of light. I strongly suggest covering the window and excluding all light in the room other than a dim, perhaps single 40w 48" high color rendering tube. You want all light in the room to match your monitor. None of this is my idea. I'd give some links but it's been so long.
Based on what I read I use a single tube over my head and a bit forward in such a position that it does not cast light on my monitor. I wear a baseball cap or visor to keep that light out of my peripheral vision.
Without any changes try covering that window as the changing color temp of the light outside messes with your color perception. Also you don't want any strong colors in front of you or even in peripheral vision. Try looking at a red poster board for a minute or so and then look at your monitor to see how this messes with your color perception.
None of this is my idea. I read several articles on how to setup a photo editing environment.
Dave
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I now swear by monitor hoods. Like night and day!
I agree.
Dave
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I now swear by monitor hoods. Like night and day!
Just to add to Snoogly and David's comments, when I've seen sports photographers editing the work during the day at outside events, they always have hoods around their laptop screens.
One further question Termite:
Unless this is just for occasional edits or use on the move, is there any reason you won't use an external monitor?
I've seen so many people develop neck, wrist and posture problems by trying to use a laptop in a desktop environment. Of course, if you're going to be doing this whilst working away from home, in cafes or hotels, I can understand though.
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"Unless this is just for occasional edits or use on the move, is there any reason you won't use an external monitor? "
I had this idea that I could buy a really good laptop that would do all I ever need (after all, there are laptops with 100 % Adobe RGB), but after a visit to the camera/computer store today, I realized that many pros use an external monitor.
Also - thanks for all your comments!
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This point may have come up in this discussion and I missed it, but a friend who is a painter once explained to me the benefit of northern light. My computer is in such a spot where the light is indirect and complements without fighting what’s on my screen/canvas (sic). Still should calibrate my screen more often.
At night/dusk/etc, small desk lamps properly situated.
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I recommend glossy and a controlled environment and lighting. I once had both thinking the matte would be preferable but I simply never got used to it. Sure, if the glossy is turned just right, or has specific lighting it can be a slight issue - however, there are ways to get around that. You can't un-matte a matte screen.
Regards,
Tom
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"Unless this is just for occasional edits or use on the move, is there any reason you won't use an external monitor? "
I had this idea that I could buy a really good laptop that would do all I ever need (after all, there are laptops with 100 % Adobe RGB), but after a visit to the camera/computer store today, I realized that many pros use an external monitor.
Also - thanks for all your comments!
I’m travelling 160 days a year, for the moment. So, an external monitor would only be workable at home. But I prefer to do my editing on the same screen. Therefore I have an MBP calibrated to DCI-P3 color space, which is a good in between for what I am doing. I’m travelling with a DataColor Spyder X Pro probe for color calibration and brightness adjustment purposes.
I see some of my colleagues using hoods, even in the media room. But I suspect it’s more for confidentiality purposes than for editing.
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Matte screen with Screen Hood and a black T-Shirt.
I would not edit important stills or video on a laptop.
N.B. Check your output to make sure the colour profile is embedded.
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Matte screen with Screen Hood and a black T-Shirt.
I would not edit important stills or video on a laptop.
N.B. Check your output to make sure the colour profile is embedded.
Black T-shirt, balaclava, and gloves when taking pictures in an airplane cockpit. You know my position with regard to matte screens.
In the era of social media, real-time publication, there is little alternative to a laptop. The best edited picture, published a day late, lost all its value. But if I’m preparing a book, definitely other tools.
Yes. ;)
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I would choose a matte surface to minimize reflections.
Some photographers are very particular about gamut, i.e. how large a range of colours the display can accurately render (in % of colour spaces such as sRGB and Adobe RGB).
Gamut of laptops are reported by some websites, e.g.,
https://www.notebookcheck.net/The-Best-Notebooks-with-the-Best-Displays.120541.0.html
Personally I think the rendering of shadows is very important as many modern displays are designed to produce a bright image and the dynamic range is not sufficient to render shadows accurately. A very bright display may be difficult to calibrate and may not be accurate for preparing images for printing.
I use an Eizo monitor on my main desktop computer for editing. My laptop isn't particularly good with regards to gamut but it's adequate for editing (with the caveat that it may not be as accurate as the separate, specialized monitor). I would say the laptop screen is intemediate after calibration.
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There are monitors that are essentially glossy with an anti-reflection coating that may be the best of both worlds. I don't consider these to be matte screens while others may. These monitors may be a good compromise between matte and glossy particularly for laptop computers.
Dave
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It depends. I own both glossy and matte displays. Glossy offers better picture quality but suffers from glare/reflections. Matte diffuses the light across the surface, which reduces glare/reflection.
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I've changed my mind over summer. Moved to a MacBook pro (M2 Max) and a "nanotextured" Apple Studio Display, rather than a glossy one, and not looking back. This monitor is expensive but flawless: very evenly lit, for one thing. And finally, Lightroom is as responsive as a text editor.
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Matte might be better if you are making inkjet prints. Prints are my highest priority, so matte has been good for me. For those whose final product is web display, glossy makes sense. Note: Matte surfaces still reflect bright objects behind you, but the reflections are vague shapes and not mirrored, exact shapes. Best to have no bright light sources reflecting in the monitor.
My recently acquired Eizo CG2700S monitor is a very nice matte surface monitor.