Gareth Pon

About Gareth Pon >>
As someone who spends countless hours a day working with digital content, I need to ensure that I’m using monitors that give me the truest colors possible. Having a dual 31" MultiSync PA311D-BK setup at my workstation is a game changer. I can confidently work on my images, knowing that the color clarity is always on point! This gets rid of any guess work so I can craft my images for various applications. Having these monitors has made my entire post-production process more enjoyable and with the additional on screen real estate I’m able to maximize my multi-tasking as I bounce between different projects.

John Paul (JP) Caponigro

About John Paul (JP) Caponigro >>
"Investing in a high quality monitor is one of the most important things we can do to ensure our digital files and prints achieve the highest quality. Visual artists who don't invest in a great monitor are like audiophiles who don't invest in good speakers. The monitor is what we look at; the speaker are what they listen to."

"NEC's LCD2690WUXi monitors are among the monitors that achieve the widest gamuts available today, making it possible to see more of the color contained in your digital files and more accurately represent the saturated colors that are printable with today's fast-evolving digital printing media."

"Simulating print brightness and contrast with monitors has always been one of the most challenging tasks. NEC's unique combination of hardware and software solutions are the most sophisticated solutions available for setting monitor white, far exceeding the accuracy of the vast majority of other LCD monitor's too bright results. As a result, predictions of print quality are significantly more accurate, saving time and media."

"The image on screen looks gorgeous and so do the prints made based on it. Excellent results are achieved more quickly. And, I enjoy the whole process more."

"It wasn't easy to recommend an LCD monitor to the thousands of people who read my columns, attend my seminars, and participate in my workshops - until the NEC LCD2690WUXi monitors were released. Now, the choice is clear."

Michael Grecco

About Michael Grecco >>
"We rely on our NEC MultiSync PA271W-BK to get us the accuracy in color I require for my work. In two major projects, converting all my Lighting and the Dramatic Portrait book images for an eBook and a composite image for a major client, our NEC display gave me the confidence to know that I am delivering the best product possible. My work rides the edge of both mood and color and the NEC is the most neutral, yet vibrant, monitor I have ever used."

Michael Grecco
Photographer & Director

Seth Resnick

About Seth Resnick >> Q & A >>

What advice would you give people just starting their color critical workflow editing process?

The ultimate goal of most photographers is to capture a great shot and produce a print, book, blog, social media or some other form of output and do so as efficiently and as accurately as possible. Many photographers spend enormous amounts of time and money on their cameras and lenses but often neglect to consider the actual workflow, which can be a huge mistake. For the workflow to flow the color management must match as the image moves from through the chain from camera to output and it all really starts with with an accurate color profiled monitor. Folks fail to realize that the monitor as just as important as the camera and lens. Maintaining accurate color not only insures quality but in the long term in lowers the amount of time and money you will spend because with accurate color management you can produce a print or any other output faster, cheaper and more efficiently.

What do you currently use to edit your work?

I use Lightroom and Photoshop with two NEC MultiSync PA302W monitors.

When photographers are searching for new equipment, what would you suggest to them before buying?

I think the most important thing for photographers to do when searching for new equipment is to understand what their goals are and to fully understand the process to get their. For example if you want to make a print and you spend $50,000 on camera gear and use an old monitor without proper color management you simply won’t succeed at your goal. Read books from trusted authors and take the time to take workshops and then talk with other photographers and finally shop around and buy from a reputable vendor.

How did you get started in photography?

I wanted to be a photographer since high school. Back in the Kodachrome days I was just starting my career as a newspaper photojournalist in Syracuse, New York. Syracuse, according to the Farmers Almanac, ranks fourth among the rainiest cities in the U.S. and cloudy 212 days annually. One might think that I would be unhappy in Syracuse but gray is a wonderful background for color and images standout against a dark sky.

My career has changed dramatically over time based on what inspires me. My inspiration in Syracuse was photojournalism and I completed what is still one of my most rewarding stories ever in Syracuse. The story was about a little girl who was burned and it ran on the cover of Empire Magazine. I continued photographing Renee and photographed her college graduation and even her wedding 20 plus years after working on that story. Finishing that story also made me realize that I had accomplished what I wanted to do with journalism and the publishing of that story led to my conclusion that it was time to move on.

When I finished the burn story I had grandeur ideas of changing journalism. My first assignment when I went back on the street after that story was an assignment photographing a woman with a very large cucumber in Baldwinsville, NY. It was great to get that assignment because I realized that it was time to move into my next phase. Sometimes we can get very comfortable in an uncomfortable place and we need a kick in the pants to move forward.

The moving on led to magazine journalism and eventually onto corporate annual reports and then to teaching and self generated assignments and fine art. Each phase of my life has come naturally but I would have never guessed that I would be teaching and traveling the world while I was in Syracuse. If I had to do it all over again I would take the exact same path. Working at a newspaper provided an excellent foundation for my future and I cherish that experience to this day.

Do you have any current projects that you would like to share with us?

For projects involve teaching…teaching is part of the growth process for me and I love it. I have the ability to work one on one with students and watch them grow. We tend to have many repeat clients and there is an immense amount of joy is witnessing the growth that takes place when you have the opportunity to work with someone over and over again. As a teacher I strive to engage, challenge, and inspire growth in my students. It is my hope that every student is capable of the same passion that I feel for photography and with that philosophy in mind, I teach within a structure which I believe fosters critical thinking both creatively as well as technically.

My teaching philosophy revolves around the idea of being as well-balanced of a photographer as possible. Technical skills must be mastered as well as conceptual skills but it must start with a solid image. No matter how accomplished you are technically, if your ideas are weak, then your images simply won’t work, and, conversely, no matter how good your ideas are, if your technical skills are lacking your images can’t work. No matter how innovative the idea is, it is not worth showing if it is done poorly. My teaching philosophy is to enable each photographer to create their own vision—to see things others would not see if they were standing right next to them. In this way, you learn how to see the subject matter that you might otherwise overlook. We all see color, but no two of us experience it exactly the same way; my shade of red is not what you’re seeing. Yet as a photographer, I want you to see what's in my mind's eye, which is where the challenge lies to capture and render a particular vision.

My second goal is to hone in on a students personal aesthetic point of view. We examine the choices that we make when producing a photograph, the choices that differentiate a great photograph with a lasting impression from a mere snapshot. I want to enhance their vision into the world of reflections, patterns, gestures, tone, abstractions, movement, and texture to name a few.

I want to extract their personal creativity and bring it to a new level.
I believe that photography is best learned by immersion. To challenge and be challenged by my students is my third goal. I begin with the belief that every student possesses unique capabilities that can be shared with others if given the appropriate supports. I challenge my students to share opinions with and to mentor one another. I also expect to be challenged by my students. I encourage my students to ask questions, and I am straightforward about not having all of the answers. When I become “stuck” I seek the input of my colleagues. Above all else, I challenge my students to understand that I am open to their thoughts, eager to hear their opinions, and thrilled to learn with and through them.

Finally, I attempt to inspire growth in my students.
For myself, teaching provides an opportunity for continual learning and growth. One of my hopes as an educator is to instill a love of learning in my students, as I share my own passion for learning with them. Teaching is never stagnant and it is a constant process of learning about new philosophies and new strategies, learning from fellow photographers and colleagues.

I believe in a flexible manner of instruction, responsive to the unique atmosphere of a given class. I am aware of students’ different experiences and temperaments in hopes of developing their strengths while ameliorating their weaknesses. Every student, regardless of background, can improve his or her abilities and be emboldened to push beyond their own experience expanding their skills and their vision.

My schedule for teaching and workshops is always available at

My workflow mandates absolute critical color and my two NEC Multisync PA302W monitors deliver in every conceivable way. The monitors are incredibly sharp and deliver edge to edge accuracy. I am able to find details that would have been lost on other monitors.

The gamut of these screens is among the widest of any monitor and the color is bold and rich and accurate. I have two monitors with an exact match allowing me to really take advantage of utilizing a grid of my selects on one screen and a loupe view on the other.

With precision control over contrast and brightness my prints match my screen which is a big time saver and ultimately financially more advantageous and ecologically better, because I am using less paper. I also love the ergonomic adjustments which allow me sit at my monitors for hours without strain.

There are a lot of monitors on the market but NEC is a clear winner for my workflow.