Flat Panel Face-Off
With LCD screens, big is good, bigger is better, and both are more affordable than ever.Richard Jantz is a regular contributor to PC World. Mark Rutherford is a professional photographer.
Move over, CRTs and puny LCDs. Although 15-inch flat panels have actually gotten more expensive recently, prices have fallen a bit on 17-inchers and much more on 19-inch models in the past year. Some 17-inch LCDs sell for as little as $450, while 19-inchers start at a couple hundred dollars more. But declining prices are just one reason why a big flat panel is an appealing choice for your next monitor purchase.
Although all LCDs will display sharp text and flicker-free images, bigger is better for several reasons. One is resolution: 15-inch panels have a native resolution of 1024 by 768 pixels, while 17-inch and most 19-inch LCDs provide a resolution of 1280 by 1024. And with each step up in size, you are more likely to find advanced panel technologies that lead to better image quality. Also, even a monstrous LCD won't dominate your desk or add to your power bill the way a CRT does. On average, the 19-inch LCDs in this review use about a third as much power as the 22-inch CRTs we reviewed last month.
To find the best large LCDs, PC World revised its testing methodology to better challenge today's high-performing displays. We evaluated promising panels--eight 19-inch models and eight 17-inch contenders--and chose the five best in each category. Dell models top both charts. The $679 UltraSharp 1901FP earns the Best Buy among 19-inch LCDs for its crisp text and handsome graphics, its abundant features, and its relatively low price. The 1901FP's near-identical sibling, the $529 UltraSharp 1703FP, captures the Best Buy for 17-inch LCDs. We do have one caution: Dell has had difficulty keeping up with demand. At press time, Dell was reporting a three-week delay in filling orders.
Photograph by Marc Simon
Best Buy: 19-Inch LCDs
Retaining the title it has held since its introduction last summer, Dell's 1901FP remains our headliner. In addition to possessing a full set of features, it produced some of the best-looking, most accurate colors right out of the box, and adjustments only make it better.Image Conscious
Princeton's SENergy 914 had the top score for text quality among the 19-inch models, and its graphics displays were impressive.
To evaluate screen quality, we performed a side-by-side comparison of the monitors in each size category, viewing a series of images that emphasize the legibility and sharpness of text or the color, shading, and detail of graphics. We conducted our tests using each monitor's DVI (digital) input, which in our experience yields better performance than analog. The one exception was the 17-inch AOC LM729--it has only an analog port.
Our judges felt that most of the LCDs had fine quality overall, but they found notable differences on specific tests. Among 19-inch models, for example, the Dell UltraSharp 1901FP earned the top score for displaying rich skin tones and fine details in our group portrait photo screen. With the second-highest total graphics score and advanced adjustment features, the Eizo Nanao FlexScan L767 is a good choice for design pros, but its premium price of $900 kept it off our chart. Other 19-inchers, such as the Princeton Digital SENergy 914 and the Sharp LL-T19D1, were marginally better than the rest for displaying text. But none of the monitors we reviewed had significant problems with text; they all trump the CRTs we've evaluated.
Sharp's LL-T19D1 posted the highest graphics quality score in its class; it also handled moving images quite smoothly.
We saw more variation in scores for 17-inch flat panels. The Samsung SyncMaster 173P scored highest for both text and graphics. It was especially good at reproducing subtle light and dark shades in our gray-scale and color-scale test screens. The IBM ThinkVision L170p took a very close second for graphics. Meanwhile, our one analog-only display, the AOC LM729, finished last in image quality. But it still reproduces darn good text compared to most CRTs. Its low price ($449) and versatile adjustment features helped it earn a chart position.
Tools for Tweaking
Rarely will a monitor's default settings provide the best quality for both text and graphics. Besides brightness and contrast, some models offer advanced controls, such as color temperature, hue, and saturation. A few--like the two Dells and the 17-inch Eizo Nanao FlexScan L557--offer color modes optimized for text-based applications, entertainment, or graphics work. Several units also allow adjustment of the individual red, green, and blue color channels. You can get even better performance by using a color-calibration kit (see "Calibration for Color Perfection"). Many LCD controls--such as horizontal and vertical position, clock, and phase--help you correct conversion problems when using an analog input; they are unnecessary for a digital connection.
Samsung's 173P has a breakthrough design utilizing a double-hinged arm that makes it nearly as flexible as a goose-neck lamp.
A few models offer unusual controls. Samsung's SyncMaster 173P has only a power button on its bezel; you access all other controls from within Windows by using the intuitive software bundled with the display. The 19-inch units from Eizo and NEC (both of which missed our chart) let you control the monitor via their proprietary software. But they provide traditional front-panel buttons, as well.
Unlike portly CRTs, lithe LCDs are far easier to position. For example, the Samsung 173P--which is especially pliable--has a double-hinged stand to let you place the screen in a wide variety of positions for optimum viewing.
TCO Development, an international organization that certifies the ergonomic and environmental impact of office products, added tilt and height adjustment requirements--among other criteria--to its latest monitor standard, TCO'03. (The standard's predecessor, TCO'99, is less stringent.) All of the LCDs on our charts have tiltable screens, and all but the 19-inch Cornea CT1904 permit height adjustments. You can swivel the screen left and right on any model except the 19-inch Cornea and the 17-inch Eizo.
Some LCDs allow you to pivot the screen 90 degrees from landscape to portrait orientation--handy for long documents and for vertically oriented photos and images. All of the 17-inch LCDs on the chart except the IBM TL170p and the Eizo L557 can pivot. The only 19-inch chart maker with this feature is the Dell UltraSharp 1901FP.
The 17-inch models from AOC and Samsung come with Portrait Displays' Pivot Pro software to flip the screen image from landscape to portrait. Dell relies on device drivers for the ATI- and NVidia-based graphics cards in its PCs; it also offers driver downloads for those cards in non-Dell systems. NVidia supports pivoting in its newer drivers, and ATI plans to introduce it for all cards. If your LCD lacks software for pivoting and your graphics card doesn't provide support, you'll need to buy a third-party utility for about $40.
Photograph by Marc Simon
Best Buy: 17-Inch LCDs
With the same stellar design as its 19-inch sibling, Dell's 1703FP tops our roster of 17-inch panels. Besides being a strong performer, it's the best-equipped 17-inch model--with full adjustment, a four-port USB 2.0 hub, and a potent optional ($39) speaker module.Sleuthing the Specs
Cornea's CT1904 is not only the least-expensive 19-inch LCD on the chart; it also displays gorgeous graphics.
Four of the most common features touted by manufacturers are brightness, contrast ratio, response time, and viewing angle. Unfortunately, monitor vendors don't always use the same methods to measure these specs, and some may overstate (or understate) the results.
The LCDs we reviewed have brightness values of 250 to 300 candelas per square meter (cd/m2) and contrast ratios (the difference in brightness between full white and full black) of 450:1 to 700:1. However, these measurements are done under optimum conditions, in a darkened room. In normal lighting, the contrast ratio may drop by about 50 percent, according to Bruce Berkoff, vice president of LCD panel maker L.G. Philips. And even measurements under ideal conditions may vary from vendor specs, as PC World found in lab tests last year (see "LCD Specs: Useless?" in the June 2003 issue).
Though the numbers are not as precise as vendors make them out to be, we did see some correlation between specs and performance. For example, models claiming the highest contrast ratio of 700:1 (such as the 17-inch Samsung 173P and 19-inchers from Planar, Princeton, and Sharp) typically earned higher scores in our gray-scale and color-scale tests than units with a listed ratio of 450:1 (such as the AOC LM729 and ViewSonic VG710s).
Sony's SDM-X93 has powerful integrated speakers and enough inputs to support video and audio from three PCs.
Most of the LCDs we reviewed state a response time of 25 milliseconds; the ViewSonic VG710s, which didn't make the chart, boasts 16ms. In theory, a faster response time should allow smoother movement and less of the ghosting that occurs when the LCD's pixels can't keep up with the action they're displaying. In our lab tests using a DVD movie, a video game, and a collection of moving patterns, we failed to detect any differences between most panels. All of the 17-inch models (including the ViewSonic) and four 19-inch monitors earned a quality score of Average, meaning that they looked fine most of the time. However, the 19-inch models from Cornea, Dell, Eizo, and Sharp earned a score of Good, meaning that we couldn't distinguish between video on them and on a CRT.
Viewing angle is an important characteristic for LCDs. With a CRT monitor, you'll see the same color, brightness, and contrast in your image from just about any viewing angle. But with an LCD, images lose contrast and change color when you move to the side or upward or downward from the optimum angle. These shifts aren't usually a problem for basic tasks like word processing or Web surfing. But they can make graphics work, such as refining digital photos, somewhat tricky.
For viewing angle, vendors specify the arc--both horizontally and vertically--within which the contrast ratio remains above a certain value. Some cut it off at 10:1; others may go as low as 5:1. Most vendors quoted a 170-degree viewing-angle arc for the horizontal plane; however, our lab measurements found about a 50-degree variation between the widest and narrowest arcs, with the Cornea performing best among 19-inch models and the ViewSonic topping the 17-inchers. But even the lowest-scoring unit in our tests, the Sony SDM-X93, had a good enough range for a single user viewing graphics.
AOC's LM729 has built-in speakers and a design that makes the panel almost as nimble as a gymnast.
We found more-significant differences between monitors in the vertical plane--both in a comparison of vendor specs and in a basic eyeball test. While most models boasted a 160-degree vertical arc or better, several had far lower specs, such as 140 degrees for the HP L1730 (which missed the chart) and 120 degrees for the ViewSonic VG710s. We saw some differences by standing above each monitor and noting the loss of color and contrast. The change was most dramatic for the ViewSonic. On that unit, we observed color inversion--in which the screen image resembles a film negative.
Vendor specs are unreliable, but you may obtain a good idea of a monitor's viewing angle from the type of panel technology it uses. The least-expensive, called twisted nematic, is found in most 15-inch and in many 17-inch monitors. Two 17-inch models with low graphics quality scores--the AOC LM729 and ViewSonic VG710s--have TN panels.
High-end screens use one of three technologies: in-plane switching, multidomain vertical alignment, or patterned vertical alignment. Each optimizes the position of liquid crystals to widen the viewing angle. (All panel types also use optical films to expand viewing area.)
Unfortunately, vendors don't always reveal their panel technology--Sharp and Sony, for example, do not. But they are more likely to tout IPS, MVA, or PVA than to mention TN.
You can expect to get better technology in larger monitors: We didn't find any vendors that were using TN in panels of more than 17 inches. According to Jim Muta, display engineering manager for Samsung, suppliers of 19-inch LCD glass have already achieved economical production for IPS, MVA, and PVA panels--making the use of TN unnecessary. But Muta didn't rule out the possibility that a new company might enter the market by producing TN panels for low-cost 19-inch LCDs.
Satisfaction Guaranteed--or Not?
Eizo Nanao's FlexScan L557 displays stunning photos and has several advanced controls to adjust image quality.
When reviewing a vendor's warranty, check its policy regarding how many pixels or subpixels (red, green, or blue cells within each pixel) must be nonfunctioning in order for a panel to qualify as defective and replaceable by the vendor. With over a million pixels per 17-inch or 19-inch monitor, it is not unusual for a few pixels or subpixels to be stuck permanently in the on or off position, and none of the vendors in this roundup guarantees a flawless monitor. In addition, a pixel defect is often nearly impossible to see, except when the image you're viewing and the defect's location align to make it glaringly obvious--a bright green spot appearing in the middle of someone's face on a photo, say.
Some companies, such as NEC-Mitsubishi and Sony, follow the ISO industry specification, which allows no more than seven subpixel faults or three whole-pixel defects on a screen with a resolution of 1280 by 1024. Other companies have different policies: HP permits no more than five subpixel faults and no whole pixel defects, whereas Samsung allows up to ten defective dark subpixels.
IBM's ThinkVision L170P displays vibrant colors, and its height adjustment is exceptionally smooth.
Overall, the rate of defects was low for the monitors we reviewed. Among the 19-inch models, only the Cornea had visible defects--one dark pixel and two dark subpixels--and this falls within the company's quality-control specs. The 17-inchers were also quite good, with only the IBM and HP models having problems. The IBM had just one defective subpixel, while the HP had one dark pixel and three dark subpixels. According to company representatives, that level of defects qualifies for replacement.
No Need To Wait
New technology that replaces fluorescent backlights with light-emitting diodes may further improve LCDs' color. But the first--and likely pricey--LED-based models won't appear before the end of 2004. And further price drops for the panels are not a certainty, especially as demand for LCDs for desktop monitors, notebook PCs, and TV sets continues to grow.
Prime-Time-Ready LCD TVs
Samsung 172MP (left) and Dell W1700.
Based on our tests, a standard LCD monitor is still the best choice for optimum performance with a PC, but several new combination TV/monitor models do a pretty good job with video, and they save space as well.
We informally tested three 17-inch LCD combos: the $649 Samsung SyncMaster 172MP, which has the same native 1280 by 1024 resolution and 4:3 aspect ratio as a standard 17-inch LCD, plus the Dell W1700 and the Sharp LL-M17W1, each a $699 display with a native 1280 by 768 resolution and a 16:9 wide-aspect ratio. Besides providing a standard on-board TV tuner, these hybrids include component, S-Video, and composite video inputs for devices such as DVD players and game consoles. Thanks to their picture-in-picture capabilities, they enable you to watch TV or a movie while simultaneously using your PC.
Good Shows
Standard cable TV broadcasts looked brighter and sharper than those on a regular CRT television we used for comparison. The SyncMaster 172MP produced the most pleasing colors at its factory default settings. And with its 4:3 aspect ratio, the Samsung can utilize the whole screen when showing standard-format television programs; the Dell and Sharp can display only a 14.5-inch (diagonal) picture in the middle of their wide screens. But we preferred the wide-screen models for viewing DVD movies. After tweaking settings on both models, we judged the Dell to yield slightly better color, especially in very bright and very dark shades. Motion appeared smooth on all three combo units.
The settings were also easy to adjust on all three, using their front-panel buttons or the included remote controls. For example, the Dell W1700 offers a variety of useful presets for movies, sports, and multimedia, plus sound settings for voice, music, and theater. All include built-in stereo speakers; however, the Sharp's 3-watt duo couldn't match the deeper bass and higher trebles of the dual 5-watt speakers that both the Dell and the Samsung provided.
We also connected each LCD TV to a PC and compared its picture quality to the top two 17-inch models in the roundup--the Dell 1703FP and the Samsung SyncMaster 173P. All three combo models provide analog D-sub ports, but the Dell also has a DVI digital connection. Although each LCD TV had good overall image quality and text was fine, the standard 17-inch monitors were noticeably better at displaying our test images, providing a broader range of bright and dark colors.
You may pay about $100 more for a combo model than for a basic monitor, but it's a worthwhile purchase if your viewing pleasure is evenly divided between the TV and the desktop.
Richard JantzFlat vs. Fat: LCDs Take On CRTs
Photograph by Robert Cardin
In one test, the PC World Test Center set up side-by-side comparisons of the four best 19-inch LCDs from this roundup and the four top 22-inch CRTs from our February Top 5 Monitors chart. With a 20-inch viewable screen, the CRTs offer just a bit more area, and they fall into roughly the same price range as the LCDs. The lab techs set the CRTs to a resolution of 1280 by 1024, to match the LCDs' native resolution, and covered the monitors' bezels to ensure anonymity. (One advantage of large CRTs is their ability to display very high resolutions--at least 1600 by 1200 for 21- and 22-inch models.)
The Fault of Default
Tested at default settings, the flat panels all earned significantly higher scores than the CRTs for both text and graphics. To make certain that our jury of testers wasn't enchanted simply by the LCDs' high brightness (about twice that of a typical CRT), we brought the top CRT--the ViewSonic P220f--and two high-scoring 19-inch LCDs--the Dell 1901FP and the Eizo Nanao FlexScan L767--to my photo studio for a closer look.
Under controlled lighting, we compared a high-quality print of a test image--containing various skin tones, gray scales, and subtle color shades--with the same image displayed on the monitors. As before, at default settings the LCDs showed far more accurate colors. After we calibrated each monitor, the LCDs looked even better, but so did the CRT. (For more on calibration, see "Calibration for Color Perfection.") In fact, the color quality differences among all three monitors became minimal.
Finally, we compared high-end monitors. Here, the one to beat is Sony's $1800 Artisan, a 21-inch CRT with a built-in calibration system that many professionals consider the gold standard for color accuracy. Apple's $2000, 23-inch, wide-format Cinema HD Display and Eizo Nanao's $2566, 21-inch ColorEdge CG21 were the two LCD challengers.
Calibration Is Key
Calibrated, all did very well. The Apple and the Sony were almost equally good at showing detail in shadows. The Eizo lost a tiny amount of the deepest shadow detail, but it surpassed the others in reproducing saturated colors, especially reds and yellows. We felt the Eizo did the best job overall, but differences were slight. A professional could justify the cost (and benefits) of buying any of the three. With calibration, even the 19-inch LCDs and the ViewSonic CRT deliver professional-grade image quality.
Mark RutherfordCalibration for Color Perfection
At their default settings, the LCDs in this review generally produce fine color for basic tasks. But if you need the most accurate color--say for fixing up digital photos--you should calibrate.
Calibration was once a chore requiring expensive equipment that had been designed for CRTs. But in the past year, companies have introduced simple, affordable kits that ably handle both CRTs and LCDs. We tried four of them: GretagMacbeth's $249 Eye-One Display, Integrated Color Solutions' $199 BasICColor Display 2.5 With Instrument, Pantone Colorvision's $229 SpyderPro, and X-Rite's $299 MonacoOptix XR.
Each kit comes with a USB-connected sensor called a colorimeter and software that displays a series of color screens. The colorimeter reads the color values generated by the monitor, and the software compares the readings to the actual colors it instructed the graphics card and monitor to display. The inevitable discrepancies are recorded in an ICC or ICM profile that the video card uses to adjust its output and display more-accurate color on the screen. (Some monitor makers provide generic profiles that may improve color, but not as well as a profile tailored to your specific PC and monitor.)
Handsome Purchase
All four kits greatly improved the color accuracy on our test LCDs and CRTs, but we noted some differences (see "Flat vs. Fat" for details). Integrated Color Solutions' kit was slow, and it had a confusing interface. The Pantone was good at tuning in saturated blues, but its red-yellow range was slightly limited. Both the GretagMacbeth and X-Rite products brought out a fuller color range and more detail in shadows than the other two kits. But X-Rite's exceptional performance earns it our Best Buy nod. It achieved the deepest shades of blue and the finest gray-scale transitions--allowing our LCD to match the subtleties that previously only high-end CRTs could achieve. The GretagMacbeth has the slickest and most intuitive interface of all the kits, but the X-Rite is fairly easy to navigate; and it has more-advanced functions, such as the ability to calibrate for a custom color temperature or according to ambient light conditions.
Though these kits are expensive, they will save you time and money spent on redoing print jobs that don't come out as you expected. The next logical step is to calibrate your printer. Most sensors that measure print samples remain very expensive, although less-costly models are starting to appear. Alternatively, you can improve prints by using the generic color profiles that many printer vendors provide.
Mark Rutherford