BenQ SW321C monitor review
Review: BenQ SW321C monitor
PhotoVue 32″ 4k UHD display
...Get our Newsletter for new articles/reviews and why not subscribe to Keith's YouTube Channel
...Keith's book about how to use tilt/shift lenses is now available.
Our site contains affiliate links - these help support the site. See our Advertising policies for more
Keith has been looking at the newest BenQ PhotoVue SW321C monitor. The 32″ 4k UHD display is aimed at photographers and introduces a new print soft proofing mode.
Keith has previously reviewed several of BenQ’s high end monitors including their 4k 32″ SW320 model The 321C adds input ports and USB C input with power delivery, along with a wider range of calibration options.
There are two videos looking at the setup and basic use of this monitor
Jump to Full specifications
Superficially, the SW321C looks very similar to the previous BenQ monitor of this sort, however there are a number of changes and improvements that make it somewhat more flexible in its options than the SW320C, as well as having improved specs.
I’ll work from BenQ’s list here since several of these are beyond the capabilities of the kit I edit my work on.
- 4K & 32” photographer’s monitor for photo-editing
- Wide gamut space: 99% Adobe RGB / 95% DCI-P3 & Display P3
- 16-bit 3D LUT, ΔE ≤ 2
- Brightness & Colour Uniformity: the color and the brightness at hundreds of
sub-regions are fine-tuned to achieve screen-wide precise color
- Video format support with HDR technology: HDR10 & HLG
- IPS panel for wide viewing angle
- Hardware Calibration
- Paper Color Sync Technology
- Hotkey Puck G2
- USB-C for video/audio/data transmission and 60W power delivery
- GamutDuo to support dual colour space on one screen
- Pantone Validated and Verified by CalMAN
I should note that my own use of the monitor challenges and relies on a few key aspects, namely, its wide gamut, the hardware calibration, display uniformity and sheer size. Most of the photos here are not taken in my office, which is lit at lower levels.
There’s a good range of connectivity at the back.
With testing on my older MacBook Pro I used the USB B uplink (right) and DisplayPort connections.
If I had a newer laptop, I could use just the single USB cable.
The USB Power Delivery quite happily worked for recharging battery packs and my EOS RP since it supports higher voltages for charging.
The monitor works as a USB 3.1 hub, with two USB sockets at the side, along with an SD Card reader.
The control puck is a USB device, but not externally visible.
Setting up the SW321C
The monitor is exceedingly well packed in avery solid cardboard box – coming in at 26kg total
I’ve an ‘unboxing/assembly’ video on YouTube
The black patch is the envelope with the individual calibration report for the SW321C
The base is just two parts – note the array of cables.
The vertical part of the stand just locks into the base plate.
There’s a screw to lock it in place. The stand has about 6 inches of height adjustment.
The rear of the screen is a standard mount. The stand clicks into place very solidly.
Here’s the panel attached to stand.
The first thing I noticed was how dark the screen is – this is noticeably less reflective than older BenQ monitors.
The screen comes with a monitor hood, which just clicks together.
The parts left over are the ones used if you want the hood to fit when using the monitor in portrait mode (it can auto detect rotation).
Using the monitor
For the assembly and overview videos and photos, I’ve connected the monitor to my MacBook Pro. This won’t quite manage the full resolution, but is of acceptable quality for initial testing.
The leads tidy away nicely through the hole in the back of the stand – note the very convenient lifting handle.
The control puck now has a dial. After using a previous version with just buttons, I find that I don’t actually use it very often – mainly to occasionally switch between calibration modes, such as REC709 for video editing, as opposed to my normal Adobe98 setting for photo editing and occasional use of sRGB for checking how a brightly coloured image will look on the web.
You can customise the operation of the puck and default actions for the on-screen display buttons to quite some extent.
I’d suggest using the monitor controller at its default settings for a while until you find what options you make use of more often.
Picture in Picture
With all the inputs, the monitor can handle multiple inputs at the same time. A second input can be displayed as a small window (PIP) or Picture by Picture (PBP) where the entire display is shown as a small version, beside the second image.
What’s more, the second image can be displayed using a different calibration – or you can have the same input displayed in both windows. This can really show up the difference between colour spaces. This matrix shows the range on input sources.
These are the on-screen display settings available for the PIP/PBP mode (with the main display at Adobe98)
Here are two examples using my 5Ds to provide an HDMI signal, using its liveview mode. The screen and surroundings have been processed at different white balance settings to give a picture more closely showing what the setup looks like to the eye.
With PIP mode, I’ve changed the position of the inset window, using the on-screen display (OSD).
One note for the OSD is that I increased its default timeout, since it vanishes quite quickly if you pause whilst searching round for options or thinking about what to do.
When connected to my old MacBook Pro, the laptop can’t quite handle full 4k, and is displaying at 2640×1440, rather than the full 3840×2160. Whilst this is fine for showing example images and the videos I’ve made, which include the display, it’s not what I really want for my photo editing. For that, my Mac Pro comfortably handles full 4k.
This chart covers the full range of display sizes (click to expand)
My video work is currently only at HD, but the display supports multiple 4k UHD signal formats
Calibration and Profiling
Now I know this from previously looking at BenQ monitors and it has always worked very well.
The SW321C takes a few minutes to run a full calibration, and does seem a little faster in uploading data.
I’m using an i1Display Pro colorimeter from X-rite, but as you can see from the list here, it supports a wide range of devices.
The software also supports spectrophotometers, including the now discontinued i1Pro and ColorMunki Photo.
It’s important to note that whilst you might install the X-Rite or Datacolor calibration software for use with any other monitors, you need to use the BenQ software in order to access the features of the monitor.
So, for my test system here, I’d need to use the BenQ software for the SW321C and i1Profiler for the MacBook screen – you can’t use the BenQ software on other monitors.
There is a Basic and Advanced mode of using the software.
For the Basic mode you can just set a typical usage scenario and use the suggested settings.
Selecting the ‘photographer’ mode gives me an Adobe98 based colour space, a screen brightness of 120 cd/m2 and a gamma of 2.2.
All quite reasonable settings, although in my office, with its relatively dim lighting I might normally choose a slightly darker 100cd/m2
The SW321 has three calibration ‘slots’ for your own choices of settings.
Each calibration can be quite different, so I have a general working one at the A98 setting and luminance of 100.
Other slot settings really do depend on what work you want to do with the monitor. I’ll have a REC709 one for HD video editing.
I’ll use the preset ones as well every so often. The B&W mode is OK for occasional quick checks of how things look for B&W, and I keep a lower colour temperature one (D55) for some (but not much) print work.
The ‘Advanced’ mode for the software offers bigger target patch sets and more detailed controls of settings.
One thing I’d note is that unless you know why you want to change a default setting, take it as a hint to leave alone (or read up on colour management).
On an older Mac I change the default ICC profile version to V2 and use Matrix profile types for greater compatibility.
One day I’ll get a newer setup, but not for a while in the current work circumstances (Mar 2021)
The software also allows for validation of the profile – once again if you understand the numbers, it’s worthwhile., but don’t forget that the process is only as accurate (in some respects) as the colorimeter you use
Whilst the X-Rite display verification functionality refuses to work with non X-Rite profiles, the Datacolor Spyder monitor calibration software will happily help evaluate any screen. Here’s a ‘color ‘accuracy’ report using a Spyder X sensor.
Now, in general, this confirms pretty good colour reproduction by the monitor
I provide the info here for no more than illustration. I have no idea how accurate the sensor is and there is no real context or explanation for the numbers. The software is quite good for a comparative check and shows just how hopeless my MacBook Pro display is in comparison… Just remember this if you see other ‘reviews’ using the data in anything other than an illustrative manner.
I do have reviews of the Spyder X for monitor calibration if and i1Display Pro Plus – for all related reviews and articles, see the Monitor Calibration section of the site
Paper Color Sync
An interesting feature available for the SW321C (and some other monitors) is a screen special calibration mode designed to match a paper colour for better proofing.
This needs some software running which will set the monitor to a specific display setting to go with a paper and printer.
There is a guide to setup, and the process is simple to run.
The image below has been processed with a different white balance for the screen and the room to try and give a feel for what the screen looks like. In this case it’s for a Canon PRO-100 printer and Canon Matte paper.
I’ve activated the on screen display to show that the paper color mode has been selected (by the software)
From the original RAW photo I’ve white balanced it on the grey desktop, and noted the whitepoint that’s been set
This shows that the screen has been set to a very warm white point.
Whilst I welcome any attempt to make printing easier, I have to note that four printers supported (Epson P600/800 and Canon PRO-10/100) were all replaced with new models in 2020 and there is a very limited range of OEM papers available.
Just one thing to note, is that the Paper Color Sync software changes your monitor profile to match that of the image displayed. Ok, part of the process, but after I finished using the software, it didn’t change it back (on my Mac – win systems not tested).
It’s a good idea – I hope to come back to it when the software is updated to cover more printers/papers.
Thoughts on using the SW321C
The monitor is extremely nice to use for editing, with a uniformity that gives confidence in editing images across wide areas of the display. Even a fully black, there is little ‘glow’ visible even in my darkish office.
Compared to the older SW320 the case/bezel and hood look identical. The base is however noticeably larger (~40x29cm vs ~38x21cm). As to styling… it looks just fine by me. If a razor thin edge and ‘designer’ look are important for your monitor choice, well… what can I politely say? ;-)
The screen coating is noticeably less reflective than previous BenQ monitors, giving deeper blacks in brighter lit surroundings. That said, I edit photos in my office at fairly low levels of lighting and go to some trouble to avoid strong light sources that could reflect. The cleaning roller is a nifty device. Take care to note the cleaning instructions (just use plain water).
The ports at the side are useful. although their deeply recessed nature means that unless you have good access to the rear of the monitor, they are not ones you’ll probably want to change often – more for a wired mouse or perhaps a suitably long lead for connection to other items – I’ve tried with two cables to different USB plugs for connecting up to profiling devices such as my i1iSis or i1iO.
Previously I looked at the SW320 and whilst superficially quite similar, the SW321C does feel like a second generation. I get a general impressions that the internal processing power of the monitor is greater. This is in addition to the increase in speed and variety of input and interface connections. This is one of those things difficult to measure, but the increase in speed for calibration is just one aspect.
The Paper Color Sync setting for the monitor is an interesting approach to print matching, but is currently limited to only a few printers and a very limited set of OEM (only) papers. What I’d like to see is to be able to tie this new mode to an arbitrary paper profile, in particular ones I’ve created myself.
In many ways, I’m not challenging the performance of this monitor, however the key areas that matter to me are the quality of the image displayed, and its accuracy, and there it does well.
Choosing a monitor for your work
Every photograph I edit and send to a client is influenced by the quality of my monitor. Every print I make is first seen on my monitor. Those two things have always been my guiding principle in choosing equipment. That tells me not to skimp on such an important part of my workflow.
Of course, there are some very high end monitors available, but just as my photography business won’t (if I’m honest) justify the expense of medium format cameras and lenses, it doesn’t need reference level monitors.
I need good reliable and capable kit that I have confidence in. I don’t have the equipment to give laboratory standard measurements and tests, but what I do have suggests that the specs for the SW321C are pretty good and it would work well for my business and personal photography.
It’s enough that I’m happy adding the SW321C as a suggestion for photographers who might have been considering spending a lot more, and definitely for those considering spending a lot less…
For more about the SW321C see the SW3231C Product info page
See also, Keith’s other reviews of BenQ equipment
|Backlight Technology||LED backlight|
|Resolution (max.)||3840 x 2160|
|Viewing Angle (L/R;U/D) (CR>=10)||178 / 178|
|Response Time||5 ms (GtG)|
|Display Colours||1.07 billion colours|
|Colour Gamut||99% AdobeRGB, 95% P3, 100% sRGB|
|Display Area(mm)||708.48 x 398.52|
|Pixel Pitch (mm)||0.1845|
|DCR (Dynamic Contrast Ratio) (typ.)||20M:1|
|Colour Mode||Adobe RGB / sRGB / Rec.709 / DCI-P3 / Display P3 / M-book / B+W / HDR / Calibration 1 / Calibration 2 / Calibration 3 / Custom / Paper Colour Sync / DICOM|
|HDR||HDR10 / HLG|
|Display Mode||Full, Aspect Ratio, 1:1|
|Colour Temperature||5000°K / 6500°K/ 9300°K / Custom / User Defined|
|Gamma||1.6 – 2.6, sRGB|
|OSD Language||18 Languages (English / French / German / Italian / Spanish / Polish / Czech / Hungarian / Romanian / Dutch / Russian / Swedish / Protuguese / Japanese / Chinese / S-Chinese / Arabic/ Korean)|
|VESA Wall Mount||100x100mm|
|Display Screen Coating||Anti-Glare / Anti-Reflection|
|Delta E||<= 2 ( avg)|
|Video Format Support||Yes|
|Black & White mode||Yes|
|Hotkey Puck G2||Yes|
|Factory Calibration Report||Yes|
|HDMI||HDMI (v2.0) x 2|
|USB 3.1 Hub||USB Downstream x 2|
|USB 3.1 Hub||USB Upstream x 1|
(PD60W, DP Alt mode, Data)
|Card Reader||SD/MMC type
Support Format: SD/SDHC/SDXC/MMC
|Power Consumption (on mode.)||170W|
|Power Consumption (based on Energy Star)||52W|
|Power Consumption (stand by mode)||0.5W|
|Power Consumption (sleep mode)||0.5W|
|Dimension and Weight|
|Dimensions (HxWxD mm) (w/o Base) (with shading hood)||453.45 x 759.4 x 257.89|
|Dimensions(HxWxD mm) (without shading hood)||Landscape: 502.25-652.25 x 747.2 x 223.61
Pivot: 798.6 x 448.15 x 223.61
|Dimensions (HxWxD mm) (w/o Base)||448.15 x 747.2 x 77.82|
|Dimensions (HxWxD mm)||Landscape: 513.65-663.65 x 759.4 x 340.53
Pivot: 811.5 x 460.35 x 340.53
|Net Weight (kg) (without shading hood)||11.8|
|Net Weight (kg) (without stand)||Landscape: 9.1
|Net Weight (kg)||Landscape: 13.2
|Gross Weight (kg)||25.6|
|Tilt (down/up)||-5˚/- 20˚|
|Height Adjustment (mm)||150mm|
|Palette Master Element||Yes|
|Calibrators supported||X-Rite il Display Pro / il Pro /il Pro 2 /il Studio/ ColourMunki Photo, Datacolour Spyder 4/ Spyder 5/ Spyder X
* Note. MacOS 10.15 update:
(a) Spyder 4 / il Display 2 not supported by macOS 10.15
(b) Spyder 5 will be supported macOS 10.15 in future PME software update
|Video Signal Data|
|Hor. Frequency (kHz)||27~140 kHz|
|Ver. Frequency (Hz)||24~76 Hz|
|Video Bandwidth (MHz)||600 MHz|
|Other Accessories||Shading hood, CD, QSG, Factory Calibration Report ,Hotkey Puck G2|
|Signal Cables||USB type-C cable(1m)
mDP to DP cable (1.8m)
HDMI 2.0 cable (1.8m)
USB 3.1 cable (Gen 1)(1.8m)
|MTBF(hr, exclude backlight)||60000|
|Operating Temperature||0˚C – 40˚C|
|Operating Humidity (non-condensing)||10% – 90%|
|Backlight Life (hr) Typical||30000|
|Windows Compatible||Windows10, Windows8.1, Windows8, Windows7|
|Verified by CalMAN||Yes|
All the latest articles/reviews and photo news items appear on Keith's Photo blog
Keith explains tilt and shift lenses
Keith has written a book that looks at the many ways that tilt/shift lenses can benefit your photography from a technical and creative point of view.
There is also a specific index page on the site with links to all Keith's articles, reviews and videos about using tilt and shift.
We've a whole section of the site devoted to Digital Black and White photography and printing. It covers all of Keith's specialist articles and reviews. Other sections include Colour management and Keith's camera hacks - there are over 1200 articles/reviews here...
Articles below by Keith (Google's picks for matching this page)
We're an Amazon.com affiliate, so receive payment if you buy via Amazon US