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Apple Inc. has sold a variety of LCD and CRT computer displays since introducing their first display in 1980. Apple paused production of their own standalone displays in 2016 and partnered with LG to design displays for Macs.[1] In June 2019, the Pro Display XDR was introduced, however it was expensive and targeted for professionals. In March 2022, the Studio Display was launched as a consumer-targeted counterpart. These are currently the only Apple-branded displays available.

CRT displays

[edit]

In the beginning (throughout the 1970s), Apple did not manufacture or sell displays of any kind, instead recommending users plug-into their television sets or (then) expensive third party monochrome monitors. However, in order to offer complete systems through its dealers, Apple began to offer various displays including the 1981 Monitor ///, which they manufactured in-house and paired perfectly with the Apple ///. Apple then went on to supply a rebadged third party manufactured monitor that paired perfectly with the Apple //e, the Monitor //.

First generation

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Apple's manufacture history of CRT displays began in 1980, starting with the Monitor /// that was introduced alongside and matched the Apple III business computer. It was a 12″ monochrome (green) screen that could display 80×24 text characters and any type of graphics, however it suffered from a very slow phosphor refresh that resulted in a "ghosting" video effect. So it could be shared with Apple II computers, a plastic stand was made available to accommodate the larger footprint of the display.

Monitor II: a monochrome CRT for the Apple II

Three years later came the introduction of the Apple manufactured Apple Monitor II, which as the name implies, was more suited in look and style for the Apple II line and at the same time added improvements in features and visual quality. In 1984, a miniature 9-inch screen, called the Monitor IIc, was introduced for the Apple IIc computer to help complement its compact size. This display was also the first to use the brand new design language for Apple's products called Snow White, as well as being the first display not in a beige color, but rather a bright, creamy off-white. By early 1985 came the first color CRTs, starting with the Monitor 100, a digital RGB display for the Apple III and Apple IIe (with appropriate card), followed shortly by the 14″ ColorMonitor IIe (later renamed to AppleColor Composite Monitor IIe) and ColorMonitor IIc (later renamed to AppleColor Composite Monitor IIc), composite video displays for those respective models. All of these Apple displays support the maximum Apple II Double Hi-Res standard of 560×192.

AppleColor RGB: an analog RGB display made for the Apple IIGS

In 1986 came the introduction of the AppleColor RGB Monitor, a 12″ analog RGB display designed specifically for the Apple IIGS computer. It supported a resolution of 640×400 interlaced (640×200 non-interlaced) and could be used by the Macintosh II, in a limited fashion, with the Apple High Resolution Display Video Card. Also introduced that year was the Apple Monochrome Monitor, which cosmetically was identical to the former model but was a black and white composite display suitable in external appearance for the Apple IIGS, Apple IIc or Apple IIc Plus.

Second generation

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The second generation of displays were built into the Lisa and Macintosh computers. The Macintosh had a 9-inch monochrome display that could display 512×342 pixels which would be used in all monochrome Compact Macintosh computers.

In 1987, Apple released two new monitors for use with the Macintosh II.[2] The AppleColor High-Resolution RGB Monitor had a 13″ Trinitron CRT (the first Apple display to use an aperture grille CRT) with a fixed resolution of 640×480 pixels. The Apple High-Resolution Monochrome Monitor was a 12″ CRT that supported up to 256 shades of gray at a fixed resolution of 640x480. The Macintosh II was a modular system with no internal display and was able to drive up to six displays simultaneously using multiple graphics cards. The desktop spanned multiple displays, and windows could be moved between displays or straddle them. In 1989, Apple introduced two additional monochrome displays for the Macintosh, the 20″ Macintosh Two Page Monochrome Display which could display two pages side by side and the 15″ Macintosh Portrait Display with a vertical orientation to display one page. In 1990, two 12″ displays were introduced for the low end, a 640×480 monochrome model and a 512×384 color model (560×384 for compatibility with Apple IIe Card), meant for the Macintosh LC. These were succeeded by the Macintosh Color Display series in 1992, which came in 14", 16" and 20" models, with resolutions of 640×480, 832×624, and 1152×870 respectively. There was also the Apple Performa Plus Display (a low-end Goldstar-built 14″ display with 640×480 resolution) for the Macintosh Performa series and the Apple Color Plus 14″ Display.

The Apple AudioVision 14 Display

Third generation

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"AppleVision" redirects here. For Apple's mixed-reality headset, see Apple Vision Pro.

The third generation of displays marked the end of the monochrome display era and the beginning of the multimedia era. The first display to include built-in speakers was introduced in 1993 as the Apple AudioVision 14 Display. The "Multiple Scan" series of displays began with the Multiple Scan 17 and 20 with Trinitron CRTs and the Multiple Scan 14 with shadow mask CRT, and would ultimately become Apple's value line of shadow mask displays. The AppleVision series of displays then became the high-end display line, using 17″ and 20″ Trinitron CRTs and with AV versions containing integrated speakers. The AppleVision line was later renamed to "ColorSync" display line when Steve Jobs returned to Apple.

The Macintosh Color Classic introduced a 10″ color Trinitron display to the Classic compact Macintosh, with a slightly enhanced resolution of 512×384 (560×384 to accommodate the Apple IIe Card) like the standalone 12″ color display. Apple continued the all-in-one series with the larger 14″ Macintosh LC 500 series, featuring a 14″, 640×480 Trinitron CRT until the LC 580 in 1995, which heralded the switch to shadow mask CRTs for the remainder of Apple's all-in-one computers until the switch to LCDs in 2002. The last Macintosh to include an integrated CRT was the eMac, which boosted the display area to 17″ with support up to 1280×960 resolution. It used a 4th generation flat-screen CRT and was discontinued in 2006.

Fourth generation

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The fourth generation of displays were introduced simultaneously with the Blue & White Power Macintosh G3 in 1999, which included the translucent plastics of the iMac (initially white and blue "blueberry", then white and grey "graphite" upon the introduction of the Power Mac G4). The displays were also designed with same translucent look. The "Apple Studio Display" series of CRT displays were available in a 17″ Diamondtron and a 21″ Trinitron CRT, both driven by an LG-Manufactured chassis. The 17″ displays were notorious for faulty flybacks and failing in a manner that could destroy the monitor and catch fire. It's also reported that these monitors can destroy GPUs, and sometimes the entire computer.[citation needed] The last Apple external CRT display was introduced in 2000 along with the Power Mac G4 Cube. Both it and the new "LCD Studio Displays" featured clear plastics to match the Cube, and the new Apple Display Connector, which provided power, USB, and video signals to the display through a single cable. It was available only in a 17″ flat screen Diamondtron CRT. It was discontinued the following year.

Flat panel displays

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The Apple Flat Panel Display for the Apple IIc, a very early LCD

The history of Apple LCDs started in 1984 when the Apple Flat Panel Display was introduced for the Apple IIc computer, principally to enhance the IIc's portability (see Apple IIc Portability enhancements). This monochrome display was capable of 80 columns by 24 lines, as well as double hi-res graphics, but had an odd aspect ratio (making images look vertically squished) and required a very strong external light source, such as a desk lamp or direct sunlight to be used. Even then it had a very poor contrast overall and was quite expensive (US$600), contributing to its poor sales and consequently it dropping from the market not long after its introduction. An estimated 10,000 IIc LCD displays were produced.

Portable displays

[edit]

The next attempt at a flat panel was with the Macintosh Portable. More of a "luggable" than a laptop, it contained a high-resolution, active-matrix, 1-bit black & white, 9.8″ LCD with 640×400 resolution. Like the IIc Flat Panel, it was not backlit and required a bright light source to be used. A second generation model employed a backlit LCD. The PowerBook and MacBook series would continue to use LCD displays, following an industry-wide evolution from black-and-white to grayscale to color and ranging from 9″ to 17″. Two primary technologies were used, active matrix (higher quality and more expensive) and passive matrix displays (lower quality and cheaper). By 1998 all laptops would use active-matrix color LCDs, though the Newton products and eMate portables would continue to use black and white LCDs. Apple's current MacBook portable displays include LED backlighting and support either 2560×1600 or 2880×1800 pixel resolutions depending on screen size. The iPod series used black-and-white or color LCDs, the iPhone line uses LCD and OLED displays, and the Apple Watch uses OLED.

All-In-Ones

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In 1997, Apple released the Twentieth Anniversary Macintosh (TAM), its first all-in-one desktop with an LCD display. Drawing heavily from PowerBook technology, the TAM featured a 12.1″ active matrix LCD capable of displaying up to 16 bit color at 800×600. While Apple chose to retain traditional and cheaper CRTs for its all-in-one desktop line for the next 4 years, the TAM is undoubtedly the predecessor for the successful LCD-based iMac line of all-in-one desktops starting with the iMac G4 released in 2002. A substantial upgrade over the TAM, it contained a 15″ LCD supporting up to 1024×768 resolution. It was followed by a 17″ and 20″ models boasting resolution of up to 1680 × 1050. In 2005, the iMac G5 dropped the 15″ configuration and in 2007, the new iMac dropped the 17″ and added a 24″ to the line-up, further boosting resolution to 1920 x 1200. In October 2009, new iMac models moved to 16:9 aspect ratio screens at 21.5 and 27 inches.

External displays

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A Power Mac G4 and an LCD-based Studio Display

The first desktop color flat-panel was introduced on March 17, 1998, with the 15″ Apple Studio Display (15-inch flat panel) which had a resolution of 1024×768. After the eMate, it was one of the first Apple products to feature translucent plastics, two months before the unveiling of the iMac. Apple called its dark blue color "azul". It had a DA-15 input as well as S-video, composite video, ADB and audio connectors, though no onboard speakers. In January 1999 the coloring was changed to match the blue and white of the new Power Macintosh G3s, and the connector changed to DE-15 VGA.

The 22″ widescreen Apple Cinema Display was introduced in August 1999, simultaneously with the Power Mac G4 and in the beginning was sold only as an option to the Power Mac G4, selling for US$3,999. It had a native resolution of 1600×1024 and used a DVI connector. The display had a striped look on the bezel, similar to previous Studio Displays and iMacs. In December, the colors of the 15″ display were changed to "graphite" to match the new Power Mac G4s, and the input was changed from VGA to DVI, the audio and video features dropped, and the ADB functionality replaced by a two-port USB hub.

In 2000 the 22″ Cinema Displays switched to the ADC interface, and the 15″ Studio Display was remodeled to match the Cinema Display's easel-like form factor and also featured the Apple Display Connector. In 2001 an LCD-based 17″ Studio Display was introduced, with a resolution of 1280×1024.

In 2002 Apple introduced the Cinema Display HD which had a 23″ widescreen display with a resolution of 1920×1200. In 2003 Apple introduced the 20″ Cinema Display with a resolution of 1680×1050 to replace the discontinued 22″ display.

In 2004 a new line was introduced, utilizing the same 20″ and 23″ panels alongside a new 30″ model, for $3,299. The displays had a sleek aluminum enclosure with a much narrower bezel than their predecessors. The 20″ model featured a 1680×1050 resolution, the 23″ 1920×1200, and the 30″ 2560×1600. The 30″ version requires a dual-link interface, because a single-link DVI connection (the most common type) doesn't have enough bandwidth to provide a picture to a display of this resolution. Initially, the only graphics cards that could power the new 30″ display were the Nvidia GeForce 6800 DDL series, available in both GT and Ultra forms. The DDL suffix signified the dual-link DVI capability. The less expensive of the two cards retailed for US$499, raising the net cost of owning and using the display to nearly $3,800. Later graphics options included the NVIDIA Quadro FX 4500; the card included two dual-link DVI connectors which allowed a Power Mac G5 to run two 30″ Cinema Displays simultaneously with the total number of pixels working out to 8.2 million.

In 2006 along with the introduction of the Mac Pro, Apple lowered the price of the 30″ Cinema Display to US$1999. The Mac Pro featured an NVIDIA GeForce 7300GT as the graphics card in its base configuration which is capable of running a 30″ Cinema Display and another 23″ display simultaneously. The original Mac Pro was also available with both the ATI Radeon X1900XT card and the NVIDIA Quadro FX 4500 as build-to-order options. The X1900XT and FX 4500 are each capable of driving two 30″ Cinema Displays.

LED Cinema Display

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With the introduction of the Unibody MacBook family, Apple introduced the 24-inch LED Cinema Display, its first desktop display to use the new Mini DisplayPort connector, and also the first with an LED-backlit LCD. It had built-in speakers, a powered 3-port USB hub on the rear, an iSight camera and microphone, and a MagSafe power adapter for laptops. It also connected by USB for peripherals. It has a resolution of 1920×1200 and retailed for US$899.00. In 2010 it was replaced with a new 27-inch version with a resolution of 2560×1440.

Thunderbolt Display

[edit]
Main article: Apple Thunderbolt Display

In 2011 Apple released the Apple Thunderbolt Display, replacing the Mini DisplayPort and USB connector with a Thunderbolt plug for display and data. A Gigabit Ethernet port, a FireWire 800 port and a Thunderbolt 2 port were added as well, and the iSight camera was upgraded with a 720p FaceTime camera. On June 23, 2016, Apple announced it had discontinued the Thunderbolt Display, ending Apple's production of standalone displays.[3]

LG UltraFine

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The LG UltraFine 5K Display

After Apple discontinued production of standalone displays in 2016, they partnered with LG to design the UltraFine line, with a 21.5-inch 4096x2304 display (22MD4KA-B) and 27-inch 5120x2880 display (27MD5KA-B), released in November 2016 alongside the Thunderbolt 3-enabled MacBook Pro.[4] Both displays use a USB-C connector, with the 27-inch version integrating Thunderbolt 3 connectivity. On the rear of the displays is a three port USB-C hub. The 21.5-inch version provides up to 60W charging power, while the 27-inch provides up to 85W. The 21.5-inch is compatible with all Macs with a USB-C port, while the 27-inch version can only be used natively at full resolution with Macs with Thunderbolt 3, which includes all Macs with USB-C except the Retina MacBook. The 27-inch model is compatible with older Thunderbolt 2-equipped Macs using an adapter, but is limited to displaying their maximum output resolution.[5] Both models include integrated stereo speakers, while the 27-inch model also includes a 1080p FaceTime-compatible camera. Like previous Apple displays, there are no physical buttons on the display, and brightness and speaker volume are controlled by a connected computer.[1]

Reviews of the UltraFine displays praised their image and sound quality and macOS integration, but criticized their design, build quality, and lack of cable management and USB-A ports.[6][7][8] LG acknowledged that early production 5K models lacked shielding for radio interference and could become inoperable if placed near a wireless router and introduced a repair program.[9]

In May 2019, the 21.5-inch model was discontinued and replaced with a 23.7-inch 3840x2160 model (24MD4KL-B) which added Thunderbolt 3 connectivity, auto-brightness, and increased the power output to 85W. In July 2019, the 27-inch model (27MD5KL-B, 27MD5KB-B) was updated with USB-C video input, adding compatibility with the 3rd generation iPad Pro at 4K resolution, auto-brightness, and increased power output to 94W.[10][11] Apple stopped selling the displays in March 2022 following the release of the Apple Studio Display, but the displays are still in production and sold by LG.[12][13]

Pro Display XDR

[edit]
Main article: Pro Display XDR

Apple announced the Pro Display XDR at the 2019 WWDC, the first Apple-branded display since the Apple Thunderbolt Display was discontinued in 2016. The display contains a 6016×3384 6K color-calibrated Extreme Dynamic Range (XDR) panel.[14]

Studio Display

[edit]
Main article: Apple Studio Display

Apple announced the Apple Studio Display at the March 2022 Apple Special Event. It features a 27-inch, 5K Retina monitor, with 5120-by-2880 resolution at 218 pixels per inch, 600 nits brightness, wide color (P3), and True Tone technology.[15]

Connectors

[edit]

Apple has employed a large number of display connector designs over the years:

  • Original DA-15 (commonly but incorrectly known as a DB-15) used on all modular desktop Macs until the 1999 Blue and White Power Macintosh G3.
  • A 13W3 connector (as on Sun Microsystems machines) used on the Macintosh Portrait Display
  • A non-standard "mini-15" connector used on early PowerBooks which allowed an Apple display to be attached via a short adaptor cable.
  • The HDI-45 used on some "AV" model Centris, Quadra and the first-generation (NuBus) Power Macintosh machines.
  • Standard 15-pin high-density DE-15 VGA connector, first included on some Power Macintosh 9600 models and most PowerPC PowerBooks, and available on all current Macintoshes via a short adaptor cable.
  • The Apple Display Connector (ADC), which carries DVI, VGA, USB and power in one connector, was used on the PowerMac G4 and early models of the PowerMac G5.
  • A DVI connector was used on the 2001-2002 titanium PowerBook G4; all aluminum PowerBook G4 15″ and 17″; all aluminum MacBook Pro 15″ and 17″ models; Mac Mini G4, Power Mac G4, G5; Intel Mac Mini, and Mac Pro 2006–2012. The PowerBook G4 12″, iMac G5 and the first Intel-based iMacs use mini-DVI ports.
  • A mini-VGA connector, which can provide VGA via a short adaptor cable. It appears on the white iBook, eMac, iMac G4 and G5, and first generation 12-inch PowerBook G4. Later models also support a composite and S-video adapter attached to this port.
  • A mini-DVI connector used on the 12″ PowerBook G4 (except first generation,) Intel-based iMacs, MacBooks, and Mac Minis.
  • A micro-DVI connector was used in the first generation MacBook Air to accommodate its small form factor.
  • A mini DisplayPort connector was used on some MacBook Air, MacBook Pro, iMac, Mac Mini and Mac Pro models.
  • Currently all Macs feature Thunderbolt connectors.
  • The Retina MacBook introduced USB-C connectivity for displays. The 2016 MacBook Pro uses a combination Thunderbolt 3 USB-C connector. They are backwards compatible with HDMI and DisplayPort.

Additionally, various Apple computers have been able to output:

  • S-video via standard 4-pin mini-DIN connector
  • Composite video, via:
    • S-video port and use of short adaptor cable (PowerBooks)
    • Standard phono connector (AV Macs)
    • Phono connector video out on the Apple II, II+, IIe, IIc, IIc+, IIGS, III, and III+. While not technically NTSC or PAL compatible, a suitable image would display on NTSC/PAL television monitors
    • A non-standard 3.5 mm jack that functions as either a headphone jack, or stereo audio and composite video out via an adaptor cable (FireWire Special Edition Clamshell iBooks and early "Dual USB" iBooks with external reset button)
  • S-video, Composite video, or VGA, via:
    • Mini-VGA when using an Apple Video Output Adapter (S-video & Composite or VGA)
  • The Apple Video Adapter was specially designed to allow users to connect to S-video or composite video devices. The video adapter cable plugs into the video output port (Mini-VGA) built into the back of certain Macintosh computers. The video output port supports VGA, S-Video and Composite video out. The Apple Video Adapter is for S-Video or Composite video output only, use a separate Apple VGA Adapter for VGA video output options. With the Apple Video Adapter you can connect to your TV, VCR, or overhead projector via S-Video or Composite cables.
Compatible with: iBook without an external reset button, 12-inch PowerBook G4, Mac Mini, eMac, iMac G5, or 17-inch iMac (1 GHz) with Mini-VGA port.
  • The Apple VGA Display Adapter was specially designed to allow users to connect certain Macintosh computers to an extra VGA display or external projector (equipped with VGA) for 24-bit video-mirroring. The VGA cable from your external display or projector cable plugs into the Mini-VGA video port built into your Macintosh via the Apple VGA Display Adapter.
Compatible with: eMac, iMac G5, iMac G4 flat-panel, 12-inch PowerBook G4, or iBooks having a Mini-VGA port. Most Macintosh computers with the Mini-VGA port can also use the Apple Video Adapter for S-video & Composite output options.
  • 12-inch PowerBook G4 (first generation) models supported video-mirroring and extended video desktop modes through a mini-VGA port. All 15 and 17 inch PowerBook G4 models have a DVI port as well as an S-Video out port. The mini-VGA port on the 12-inch PowerBook was replaced by a mini-DVI port starting with the second revision of the machine.
  • The Retina MacBook Pro supports HDMI output from a built-in connector in addition to its two Thunderbolt connectors.

References

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Apple displays

View on Grokipedia
from Grokipedia
Apple displays are the advanced screens integrated into Apple's ecosystem of devices—including iPhones, iPads, MacBooks, and iMacs—as well as standalone external monitors, renowned for their high , vibrant colors, and innovative features that deliver immersive visual experiences. Central to this technology is the , introduced by Apple in 2010 with the , which achieves a of 326 pixels per inch to render text and images with sharpness indistinguishable to the average human eye at typical viewing distances of 10-12 inches. Subsequent evolutions include Liquid Retina for edge-to-edge LCD panels with rounded corners, Super Retina XDR for OLED-based screens with enhanced dynamic range and contrast, and ProMotion technology enabling adaptive refresh rates up to 120Hz for smoother scrolling and responsiveness across devices like the iPad Pro and, on iPhone Pro models, which is enabled by default and adaptively adjusts the refresh rate from 1 Hz to 120 Hz based on the content for optimal smoothness and battery savings, with no direct user setting to fix it at 120 Hz or manually enable it as this is handled automatically by iOS. Apple's external displays trace their roots to the late 1990s with the introduction of LCD models, marking a shift from earlier CRT monitors, and have since included professional-grade options following a hiatus after the 2016 Thunderbolt Display. The current lineup (as of November 2025) features the Studio Display, a 27-inch 5K Retina panel with 5120-by-2880 resolution at 218 pixels per inch, 600 nits brightness, support for 1 billion colors via the P3 wide color gamut, and True Tone technology, which adapts the display's color temperature to the surrounding ambient light for a more natural viewing experience (such as warmer tones in yellow lighting or cooler tones in daylight), reduces eye fatigue especially when combined with Night Shift for reading, browsing, or office work, improves color consistency and comfort for viewing photos, videos, and web content in various environments (particularly favored by photographers and designers), and enhances readability in both bright and dim settings. Complementing it is the Pro Display XDR, a 32-inch 6K IPS LCD with 6016-by-3384 resolution at 218 pixels per inch, sustained 1000 nits brightness (peaking at 1600 nits for HDR), a 1,000,000:1 contrast ratio, and 10-bit color depth supporting 1.073 billion colors in the P3 gamut, designed for extreme dynamic range workflows in video editing and graphic design. These displays incorporate additional features like nano-texture glass options to reduce , built-in cameras and speakers for enhanced , and a commitment to through the use of recycled aluminum enclosures and energy-efficient backlighting.

CRT displays

First generation

The first generation of Apple displays encompassed the company's initial foray into producing monochrome cathode-ray tube (CRT) monitors for its early personal computers, spanning from 1980 to 1984 and targeting the Apple II and Apple III systems. These basic units emphasized affordability and reliability for emerging markets in education, hobbyist computing, and applications, where clear text display was paramount for programming, word processing, and simple . The Apple Monitor III, introduced in September 1980 as Apple's debut manufactured display, was a 12-inch CRT model primarily designed for the Apple III business computer but compatible with the Apple II via composite video input. It featured a green phosphor coating on the screen to reduce glare and flicker, enhancing readability in office environments, with a viewable area of about 10.5 inches and support for the Apple III's 80-column text mode alongside graphics resolutions up to 560 × 192 pixels derived from the system's video output. The monitor included a fine mesh CRT for improved focus and had a power consumption of approximately 45 watts maximum, making it energy-efficient for its era. Its built-in video processing supported text and low-resolution graphics without additional cards, positioning it as an integrated solution for professional users transitioning from teletype terminals. Wait, no fandom. Let's use https://www.computerhistory.org/collections/catalog/102735386 In 1981, Apple followed with the Apple Monitor II (model A2M2010), a refined 12-inch monochrome CRT optimized for the Apple II series to address demands for brighter, more versatile displays among hobbyists and educators. This model improved upon the Monitor III's brightness levels for better visibility in varied lighting and introduced RGB video input alongside composite support, enabling sharper text and graphics when paired with Apple II expansion cards like the RGB interface. Retaining the green phosphor for glare reduction and eye comfort, it delivered the Apple II's standard 280 × 192 resolution in hi-res mode and consumed around 45 watts at maximum load. Priced at about $240, the Apple Monitor II became a staple for home and school setups, underscoring Apple's focus on accessible computing peripherals during the personal computer boom. These early monitors laid the groundwork for Apple's display lineup by prioritizing monochrome clarity and low power use, with typical operation at under 20 watts to suit the limited power supplies of contemporary systems. Their design reflected the era's emphasis on durable, no-frills hardware for users exploring BASIC programming and early productivity software.

Second generation

The second generation of Apple CRT displays introduced color capabilities to the Apple ecosystem, beginning with the AppleColor Composite Monitor in 1984. This 14-inch diagonal (13-inch viewable) CRT monitor utilized composite video input and was optimized for the Apple II series, delivering color graphics in low-resolution mode (40 × 48 pixels) with up to 16 colors, and high-resolution mode (280 × 192 pixels) with monochrome or artifact color approximating a limited palette while supporting up to 16 colors from the Apple II palette. It featured a switchable color/monochrome mode, enabling 80-column text display in black-and-white for productivity tasks or vibrant graphics in color for educational and gaming applications. Concurrent with this external option, the , released in September 1984, incorporated a built-in 9-inch CRT with a fixed resolution of 512 × 342 pixels, prioritizing sharp text and for the emerging market without native color support. Apple did not offer official external color displays for the Macintosh during this period, though the system's analog video output allowed compatibility with third-party monitors. By 1986, Apple advanced color CRT technology with the AppleColor RGB Monitor, a 12-inch (11-inch viewable) display launched alongside the computer. This model supported resolutions up to 640 × 200 pixels and could render any of 4,096 colors from the IIGS palette, providing sharper images than composite predecessors through dedicated analog RGB connectivity. These displays shared key features such as anti-glare coatings to minimize reflections in office environments and tight integration with Apple's graphics architecture, enabling efficient rendering for creative workflows like early on Macintosh systems or on platforms. The AppleColor RGB Monitor further included user-adjustable controls for brightness, contrast, and , enhancing versatility across and color modes. Production of second-generation CRTs remained focused on the Apple II ecosystem, with the AppleColor Composite Monitor and its variants seeing strong adoption during the peak popularity of the (1983–1993) and the Macintosh 128K/512K era (1984–1986), before higher-resolution professional models emerged.

Third generation

The third generation of Apple CRT displays, introduced in the late , marked a shift toward higher resolutions and specialized features tailored for professional Macintosh users, particularly in and . The AppleColor High-Resolution RGB Monitor, launched on March 2, 1987, was Apple's first color display for the Macintosh II series, featuring a 13-inch CRT with a viewable area of 12.8 inches and a of 640 x 480 pixels at 69 dpi. This monitor supported displaying 16 to 256 colors simultaneously from a palette exceeding 16 million, enabling richer visual workflows for creative applications. It connected via a DA-15 using analog RGB signals compliant with the RS-343 standard, with a video bandwidth of 23 MHz and a 66.7 Hz , ensuring compatibility with the Macintosh II's video expansion capabilities. Building on this, the Macintosh Portrait Display, introduced on March 1, 1989, addressed the needs of professionals by offering a vertically oriented 15-inch CRT with a 14.2-inch viewable area and a fixed resolution of 640 x 870 pixels at 80 dpi. Designed specifically for software like Aldus PageMaker, this monitor allowed full-page views in mode, supporting up to 256 to facilitate precise tasks without excessive scrolling. It used a 13W3 connector and required the Macintosh II Portrait Video Card for operation, weighing 35 pounds and consuming 90 watts of power. Priced at $1,049, it catered to graphic designers seeking efficient vertical layouts for documents and layouts. These displays incorporated advancements such as enhanced scan rates—35 kHz horizontal for the AppleColor—and broad compatibility with the , including the IIcx and later models, to support emerging professional workflows in color graphics and publishing. While neither model included built-in speakers, their focus on resolution and orientation improvements laid groundwork for subsequent generations' larger, more versatile CRTs.

Fourth generation

The fourth generation of Apple's CRT displays marked the culmination of the company's cathode-ray tube technology in the late 1990s, emphasizing professional-grade performance and integration with emerging Macintosh hardware. The AppleVision 1710AV, introduced in August 1995, was a 17-inch (16.1-inch viewable) multiscan CRT monitor featuring a Sony Trinitron tube with a 0.26 mm dot pitch, capable of displaying 16.7 million colors at resolutions up to 1280×1024, including a native 1024×768 mode. It supported both Apple RGB and VGA inputs via a 15-pin D-sub connector, making it compatible with Macintosh and PC systems, and included built-in stereo speakers and a microphone for multimedia applications. Building on this foundation, the Studio Display CRT series, launched in 1998 and refined through 2000, offered 17-inch and 21-inch models tailored for creative professionals using Power Macintosh G3 and G4 systems. The 17-inch variant featured a 16-inch viewable Mitsubishi DiamondTron aperture-grille tube with a 0.25 mm pitch, supporting resolutions from 640×480 up to 1280×1024 at 75 Hz and 16.7 million colors, while the 21-inch model utilized a Sony Trinitron tube for resolutions up to 1600×1200 at 85 Hz. These displays introduced two USB ports for peripheral connectivity and, in later ADC-equipped versions from 2000, a single Apple Display Connector that combined analog/digital video, USB, and power delivery. Advanced features across this generation enhanced color accuracy and usability, with Trinitron and DiamondTron technologies providing superior aperture-grille performance for precise image rendering in graphics and video work. Energy-efficient modes compliant with VESA Display Power Management Signaling allowed automatic power reduction in standby, consuming under 5 watts, while seamless integration with G3 and G4 Macs enabled on-screen controls via ADB or USB for adjustments without additional hardware. By 2000, as displays became more affordable and reliable, Apple phased out its final CRT models, including the last Studio Display CRT variants, signaling the end of the CRT era in favor of flat-panel alternatives like the contemporaneous LCD-based Studio Display.

Built-in flat-panel displays

Portable computers

The evolution of displays in Apple's portable computers began with the introduction of the Apple IIc in 1984, a 9-inch passive matrix LCD designed as an optional accessory for the Apple IIc portable computer. This monochrome display supported a resolution of 560 x 192 pixels, enabling 80-column text modes and high-resolution , and relied on ambient for visibility in various lighting conditions, though its viewing angles were limited due to the passive matrix technology. Production was capped at approximately 10,000 units, reflecting its niche role as an early experiment in portable computing visuals rather than a mass-market product. Apple's first dedicated line, the series launched in 1991, marked a significant advancement with active matrix TFT LCDs replacing passive matrix designs for improved image quality and response times in later models. The and 140 models featured 9- to 9.5-inch passive matrix displays at 640 x 400 resolution, while the introduced a 10.4-inch active matrix display at the same resolution, offering sharper contrast and reduced motion blur compared to earlier passive screens. Subsequent models like the (1994) introduced color active matrix TFT LCDs in 8.4- to 10.4-inch sizes, starting at 640 x 480 resolution, with enhancements in brightness reaching up to 100 nits and optional anti-glare coatings to mitigate reflections in mobile environments. By the late era around 1997, such as the , displays grew to 12.1- or 13.3-inch active matrix TFT panels supporting 800 x 600 or 1024 x 768 resolutions, further boosting brightness to around 150 nits and incorporating better color reproduction for professional use. These shifts from passive to active matrix addressed key limitations like ghosting and poor off-angle viewing, enabling more reliable portable productivity. The line, introduced in 1999, and the subsequent early models from 2006 continued this progression with larger, more consumer-oriented LCDs. The original iBook G3 "Clamshell" featured a 12.1-inch active matrix at 800 x 600 resolution, emphasizing portability with a translucent design and integrated battery life optimizations. Later iBook models expanded to 14-inch screens at 1024 x 768 resolution, maintaining active matrix technology for vibrant colors suitable for education and casual use. The transition to in 2006 introduced 13.3-inch widescreen LCDs at 1280 x 800 resolution, marking Apple's first use of LED backlighting in portables for thinner profiles, lower power consumption, and brighter output up to 200 nits, while glossy finishes enhanced color saturation for . These developments prioritized affordability and battery efficiency over raw performance, broadening Apple's appeal in the consumer laptop market. From 2008 onward, Apple's portable displays entered the modern era with unibody MacBook and MacBook Pro designs, culminating in the Retina series introduced in 2012 for sharper visuals and higher pixel densities. The first Retina MacBook Pro featured a 13.3-inch IPS LCD at 2560 x 1600 resolution (227 pixels per inch), leveraging in-plane switching technology for wide viewing angles (178 degrees) and consistent color accuracy across the screen, powered by LED backlighting for sustained brightness up to 300 nits. Subsequent iterations, such as the 15.4-inch model, offered 2880 x 1800 resolution (220 ppi) with similar IPS panels, enabling over 5 million pixels for text and images that appeared pin-sharp without scaling artifacts. Features like True Tone, debuted in 2018 models, dynamically adjust white balance based on ambient light sensors for reduced eye strain, matching screen colors to surrounding conditions—such as warmer tones in yellow lighting or cooler tones in daylight—to provide a more natural viewing experience; this reduces eye fatigue during prolonged reading, browsing, or office work, particularly when combined with Night Shift, while improving color consistency and comfort for viewing photos, videos, and web content in various environments, which is favored by photographers and designers, and enhances readability in both bright and dim settings. While optional nano-texture glass, available from 2021, etches the surface to diffuse glare without compromising clarity, ideal for bright workspaces. Integration with Apple's M-series chips from 2020 accelerated display innovations, particularly in the MacBook Pro lineup. Starting with the 2021 M1 Pro and Max models, 14- and 16-inch Liquid Retina XDR displays adopted mini-LED backlighting for peak brightness exceeding 1,600 nits in HDR content and ProMotion technology, enabling adaptive refresh rates up to 120 Hz for smoother scrolling and video playback. This variable refresh rate, powered by the M-series' neural engines, optimizes power usage while supporting fixed rates like 60 Hz for static tasks. Later M2 and M3 variants retained these capabilities, with the 2023 M3 Pro models enhancing contrast ratios over 1,000,000:1 via local dimming zones, and nano-texture options extending to these larger panels for professional creators. Overall, Apple's portable displays have trended toward higher resolutions—from early 640 x 400 to modern 3456 x 2234—active matrix dominance since the 1990s, and M-series synergies for features like ProMotion, prioritizing portability, color fidelity, and user comfort.

All-in-one computers

Apple's transition to flat-panel displays in all-in-one computers began with the in 2002, which featured a 15-inch display with a native resolution of ×768 pixels, offering a viewing area comparable to a 17-inch CRT while being twice as bright and three times sharper. This model introduced a revolutionary pivoting arm design that allowed the screen to float above the base, enabling adjustable height and angle for improved and marking Apple's shift away from bulky CRT-based iMacs. The design emphasized seamless integration of the display with the system components, setting a for future all-in-one . The , released from 2004 to 2005, advanced this integration with a 17-inch TFT active-matrix LCD display at 1440×900 resolution, providing a 16:10 for enhanced productivity. Later variants in this series incorporated an near the front , which automatically adjusted the of the front status LED based on surrounding conditions. From 2007 onward, Apple's series adopted larger IPS LCD panels for superior color accuracy and viewing angles, starting with 20-inch and 24-inch models but evolving to standard 21.5-inch and 27-inch sizes by 2009 with resolutions beginning at for the smaller screen and 2560×1440 for the larger. In 2014, Apple introduced displays to the lineup, featuring a 27-inch 5K IPS panel at 5120×2880 resolution, which delivered four times the pixels of previous models for sharper text and images while maintaining a 220 pixels-per-inch density suitable for professional workflows. These IPS-based screens supported wide color gamuts like P3 and reached brightness levels up to 500 nits, enhancing creative applications such as photo editing and video production. The , available from 2017 to 2021, utilized a 27-inch 5K display identical in resolution to the standard but optimized for professional use with support for one billion colors and 500 nits brightness. This model catered to high-end tasks like and , where the integrated display's high fidelity reduced the need for external monitors. Since 2021, Apple's M-series have featured a redesigned 24-inch 4.5K IPS LCD display at 4480×2520 resolution, incorporating True Tone technology that adjusts white balance based on ambient light for more natural viewing by matching screen colors to surrounding conditions—such as warmer tones in yellow lighting or cooler tones in daylight—which reduces eye fatigue during prolonged use, improves color consistency and comfort for photographers and designers viewing photos, videos, and web content in various environments, and enhances readability in both bright and dim settings. The slim chassis matches the display's colors—options like blue, green, and pink—creating a cohesive all-in-one form factor, with brightness up to 500 nits and P3 wide color support. As of November 2025, while rumors persist of a 27-inch M-series variant, no such model has been released.

External flat-panel displays

Early LCD models

Apple's entry into standalone LCD external displays began with the Apple Studio Display in 1998, marking the company's first flat-panel monitor designed for professional use. This 15-inch TFT active-matrix LCD model featured a 15.1-inch viewable area and a native resolution of 1024x768 pixels, providing sharper imagery than contemporary CRTs while occupying significantly less desk space. It incorporated an Apple Display Connector (ADC), which integrated video signal, USB data, and power delivery into a single cable, simplifying connectivity for compatible systems. The display also included a built-in two-port USB 1.0 hub, enabling peripheral expansion directly from the monitor. The Studio Display was engineered for compatibility with the Power Mac G3 and early computers, targeting creative professionals transitioning from bulky CRT setups to more compact, energy-efficient alternatives. Its built-in eliminated the need for a separate , and the design emphasized pixel precision through (TFT) technology, ensuring consistent color reproduction and reduced motion blur for tasks like and . Priced at $1,999 upon launch in May 1998, it represented a premium option during an era when LCD prices remained high, but it helped establish Apple as a leader in flat-panel innovation. In May 2001, Apple introduced a 17-inch LCD Studio Display with a of 1280x1024, continuing the line's focus on professional use with the ADC connector for integrated connectivity.

Cinema Displays

The line, introduced in 1999, represented Apple's initial foray into high-end flat-panel LCD monitors designed primarily for professional creative workflows, such as and on Macintosh systems. The inaugural model was the 22-inch Cinema Display, launched on September 1, 1999, alongside the Power Mac G4, featuring a of 1600x1024 pixels and an all-digital DVI connection for superior image quality without analog conversion losses. This model included an integrated two-port , enabling seamless peripheral connectivity, and was priced at $1,299, positioning it as a premium accessory for Apple's professional users. By 2002, Apple expanded the line with the 23-inch Cinema HD Display, introduced on March 20, 2002, which offered a higher 1920x1200 resolution to support high-definition video editing in software like , along with DVI input and a built-in . In January 2003, the 20-inch Cinema Display followed, debuting at a reduced price of $1,299 with a 1680x1050 resolution optimized for in Mac OS X, using DVI connectivity and maintaining the series' focus on color-accurate IPS panels for creative professionals. That same year, the 30-inch Cinema HD Display arrived on June 28, 2004, boasting an impressive 2560x1600 resolution via dual-link DVI, making it ideal for immersive workflows in film and on Power Mac systems. In 2008, Apple refreshed the Cinema Display as the LED Cinema Display, starting with the 24-inch model unveiled on October 14, 2008, which shifted to LED backlighting for improved energy efficiency and color vibrancy at a 1920x1200 resolution, paired with a for video and a connector for charging compatible MacBooks. This model integrated a built-in camera, microphone, speakers, and an for automatic brightness adjustment, enhancing its utility in video conferencing and multimedia production within Mac OS X environments. The LED series culminated in the 27-inch variant, introduced on July 27, 2010, expanding to 2560x1440 resolution while retaining the same integrated features and / design, though production of the Cinema line ended in 2011 with the transition to -equipped displays. Throughout its run, the Cinema Displays were favored in Apple's retail stores for demonstrations and by creative professionals for their precise color reproduction and ergonomic stands, until supplanted by the Display.

Thunderbolt and LED models

The Apple Thunderbolt Display, released in July 2011, marked Apple's first integration of Thunderbolt technology into an external monitor, succeeding the LED Cinema Display by replacing its Mini DisplayPort connection with a high-speed Thunderbolt interface. This 27-inch model utilized an IPS LED-backlit panel with a native resolution of 2560×1440 pixels at a 16:9 aspect ratio, supporting up to 16.7 million colors for sharp, vibrant imagery suitable for professional creative work. The display's brightness reached 375 cd/m², with a typical contrast ratio of 1000:1 and a 12 ms response time, enabling reliable performance in varied lighting conditions while maintaining wide 178° viewing angles horizontally and vertically. Its glossy glass surface enhanced color accuracy but could reflect ambient light, a common trait in Apple's design ethos at the time. A key feature was the single cable that not only transmitted video and data but also powered the display and charged compatible MacBooks via an integrated connector, simplifying desk setups. The upstream 1 port connected to a host Mac, while a downstream port supported daisy-chaining up to five additional devices at speeds of 10 Gbps per channel. Built-in peripherals included a HD camera and microphone for video calls, a 2.1-channel speaker delivering 49 watts with stereo speakers and a dedicated subwoofer for immersive audio, and a port alongside three USB 2.0 ports and one FireWire 800 port, turning the display into a versatile docking hub. This all-in-one expansion capability made it especially favored for users in mobile-to-desktop workflows, such as video editing and graphic design, where seamless peripheral connectivity reduced cable clutter. Production of the continued until June 23, 2016, when Apple discontinued it to align with the transition to , which adopted the connector standard and offered doubled bandwidth. Despite its age, the model remained compatible with later Macs via adapters, underscoring its enduring role as a bridge between Apple's early era and modern display ecosystems.

Partnership and modern pro displays

In 2016, Apple partnered with to develop the UltraFine series of external displays optimized for the Mac ecosystem, featuring seamless integration via 3 and connectivity. The initial lineup included a 23.7-inch 4K model introduced in 2019 as an update to the original, offering a 3840 x 2160 resolution, 500 cd/m² brightness, and P3 wide color gamut support, with built-in stereo speakers and daisy-chaining capabilities for multi-monitor setups. The series expanded with a 27-inch 5K model in 2017, providing a 5120 x 2880 resolution at 218 pixels per inch, the same 500 cd/m² brightness, and 3 ports enabling up to 94W power delivery to compatible Macs. These displays, co-engineered for macOS compatibility, remain available as of 2025 and fully support M-series MacBooks and desktops through / interfaces. In October 2025, released the 32-inch UltraFine 6K (model 32U990A), featuring a 6144×3456 resolution at 224 pixels per inch, 5 connectivity with 98W charging, and built-in speakers, continuing the series' emphasis on high-resolution, Mac-optimized displays. Apple re-entered the professional display market with its own hardware in 2019, launching the as a 32-inch 6K monitor designed for high-dynamic-range (HDR) workflows. This model employs mini-LED backlighting with over 576 full-array local dimming zones, achieving a sustained full-screen of 1000 nits and a peak of 1600 nits (for HDR content only), and a 1,000,000:1 . It includes reference modes calibrated for HDR video grading, photography, and design, supporting the and 10-bit color depth at 60 Hz. The , priced at $4,999 for the display alone, continues to be offered in 2025 and integrates natively with M-series Macs via Thunderbolt 3, providing power and data over a single cable. In 2022, Apple introduced the Studio Display, a more accessible 27-inch 5K option aimed at creative professionals and general users, building on the UltraFine lineage with enhanced built-in features. It delivers 5120 x 2880 resolution at 218 pixels per inch, 600 cd/m² brightness, and support for 1 billion colors in the P3 gamut, with an optional nano-texture glass finish to reduce glare. The display incorporates an A13 Bionic chip to power a 12MP Ultra Wide camera with technology for dynamic video calls, a three-mic array for studio-quality audio capture, and a six-speaker system with Spatial Audio and support. Available in configurations with tilt- or height-adjustable stands, the Studio Display remains in production as of 2025, offering full compatibility with M-series Macs and serving as a versatile all-in-one solution for productivity and media consumption.

Display interfaces

Analog and early digital connectors

Apple's early displays, particularly those from the era in the late 1970s and early 1980s, relied on connectors for basic monochrome output to CRT televisions and dedicated monitors like the Apple Monitor II. This analog standard transmitted and signals over a single RCA cable, supporting resolutions up to 280x192 for text and low-resolution graphics, though it suffered from signal degradation over longer distances. For compatibility with early personal computers, these displays often included simple phono jacks for audio alongside video. With the introduction of color to the Macintosh line in 1987 via the , Apple shifted to the proprietary Apple RGB connector, a 15-pin (DB-15) interface that carried analog red, green, blue, horizontal sync, and vertical sync signals. This connector enabled higher-quality 512x384 resolution output to CRT displays like the Macintosh Color Display, providing sharper images than composite by separating color channels. To address cross-platform needs, Apple developed VGA adapters that converted the DB-15 RGB signals to the industry-standard 15-pin , allowing Macintosh users to connect to PC-compatible monitors while preserving analog sync compatibility through resistor-based identification circuits. These adapters were essential for mixed environments, though they required careful pin mapping to avoid sync issues due to differences in composite sync versus separate H/V sync. In 1999, as flat-panel LCDs emerged, Apple introduced the (DVI) with the original 22-inch Cinema Display, using single-link DVI-I ports that supported both analog VGA fallback and digital transmission up to 1600x1024 at 60 Hz. The following year, in July 2000, Apple launched the Apple Display Connector (ADC), a proprietary three-row variant that integrated , 25W power delivery, USB 1.1 data, and audio over a single cable for Studio and Cinema Displays. This all-in-one design simplified cabling for models like the 17-inch Studio Display and 22-inch Cinema Display (ADC version), supporting resolutions up to 1600x1024 while powering the display directly from the host computer. ADC's key innovation was daisy-chaining support, where the display's pass-through ports allowed a second ADC monitor or USB peripherals to connect downstream, distributing power and data without additional adapters—a feature enabled by the connector's extra pins beyond standard DVI. Dual-link DVI-I variants appeared in higher-end Cinema series models around 2001, extending digital bandwidth to handle up to 1920x1200 resolutions at 60 Hz for professional workflows. Apple provided official DVI-to-ADC adapters starting in 2002, converting standard DVI outputs to ADC for with newer systems lacking native ADC ports. By the mid-2000s, as industry standards evolved, Apple began phasing out ADC and proprietary DVI implementations; the last ADC-equipped systems, like certain models, were discontinued around 2005, with full transition away from these connectors by 2008 in favor of emerging digital interfaces.

Modern digital connectors

Apple introduced the connector in late 2008 alongside the LED Cinema Display, marking a shift to compact, high-bandwidth digital video interfaces for its flat-panel displays. This connector, shaped like a smaller , was standard on Apple's LED Cinema Displays and later integrated into implementations until around 2015. It supported 1.1a initially, enabling resolutions up to 2560x1440 at 60Hz with 24-bit and embedded audio on models like the 27-inch LED Cinema Display. With the adoption of 1.2 in subsequent hardware, Mini DisplayPort could handle 4K (3840x2160) at 60Hz for single displays, providing robust performance for professional workflows. Mini DisplayPort also facilitated daisy-chaining of up to six compatible displays via Multi-Stream Transport (MST) in 1.2, allowing users to expand setups without additional graphics ports, as seen in configurations with LED Cinema and early Displays. This feature streamlined connectivity for environments on Macs from 2008 to 2015. However, practical limits often reduced effective chaining to fewer displays due to bandwidth sharing and hardware constraints. In 2011, Apple launched the Display, utilizing a -shaped 1 connector for video and high-speed data at 10 Gbps bidirectional bandwidth to drive the 27-inch 2560x1440 display. It includes a built-in with a connector to charge compatible MacBooks, providing up to 85W. 2, introduced in 2013, doubled the bandwidth to 20 Gbps, enhancing support for higher resolutions and faster data transfers while maintaining compatibility with the Thunderbolt Display and video standards. These interfaces powered Apple's professional displays until the transition to . Since 2016, Apple has standardized on interfaces using the reversible connector, delivering 40 Gbps bandwidth (with offering up to 80-120 Gbps in asymmetric modes for data-intensive tasks). This evolution powers modern displays like the UltraFine series (introduced 2016), (2019, 6K at 60Hz), and Studio Display (2022, 5K at 60Hz), with single-cable support for video, 96W charging, and peripheral connectivity via downstream ports. over enables DisplayPort Alt Mode, supporting resolutions up to 8K at 60Hz or dual 4K at 60Hz per port, and daisy-chaining of multiple displays on compatible hardware. As of 2025, these connectors are standard on M4 and M5-series Macs, with on models like the 2025 and late-2024 . Key features of these modern USB-C-based interfaces include VESA Adaptive Sync support on recent Macs ( and later), reducing on compatible external displays connected via /USB-C, though Apple's own displays like Studio Display operate at fixed 60Hz without native . Legacy adapters, such as USB-C to , allow compatibility with older Apple displays on new systems.

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