Almost Black vs Iron Ore
Almost Black (Benjamin Moore) and Iron Ore (Sherwin-Williams) come from different manufacturers. These are both greys, so the question isn't which hue to choose — it's where within grey to land. The 4-point LRV gap — 9 for Almost Black vs 6 for Iron Ore — means Almost Black will open up a space more effectively. Where Almost Black leans blue and purple, Iron Ore reads neutral — a distinction that shifts noticeably depending on the light source and surrounding finishes. ΔE 6.8 means they're clearly different, but not dramatically so — they'd pair well in the same room. Below, 5 simulated room previews show how each color reads at scale — real-room photos will be added as they become available.
Color Details
Almost Black vs Iron Ore Simulated Comparison
5 simulated room previews — drag the slider on each to see Almost Black on one side and Iron Ore on the other.
Digital color is approximate. These simulations are generated from the manufacturer's hex values and overlaid on grayscale room photos — your screen's calibration, brightness, and viewing angle all affect how they render. Before committing to either color, test physical samples in your own space under the light you actually live with.
More Almost Black comparisons
See how Almost Black stacks up against other well-photographed colors across different brands and tones.
At LRV 83 vs 9, White Dove is decisively the brighter choice.
Ammonite reflects far more light (LRV 69 vs 9), opening up a space where Almost Black encloses it.
Purbeck Stone reflects far more light (LRV 52 vs 9), opening up a space where Almost Black encloses it.
Evergreen Fog reflects far more light (LRV 30 vs 9), opening up a space where Almost Black encloses it.
At LRV 52 vs 9, Mizzle is decisively the brighter choice.
Agreeable Gray reflects far more light (LRV 60 vs 9), opening up a space where Almost Black encloses it.
At LRV 58 vs 9, Accessible Beige is decisively the brighter choice.
At LRV 27 vs 9, Denim Drift is decisively the brighter choice.
French Gray reflects far more light (LRV 43 vs 9), opening up a space where Almost Black encloses it.
Almost Black reads slightly lighter (LRV 9 vs 4), a gap that shows most in low-lit rooms.
At LRV 55 vs 9, Tranquil Dawn is decisively the brighter choice.
A 4-point LRV gap (13 vs 9) makes Bancha the marginally brighter of the two.
At LRV 44 vs 9, Hardwick White is decisively the brighter choice.
Pure White reflects far more light (LRV 84 vs 9), opening up a space where Almost Black encloses it.
Artichoke reflects far more light (LRV 21 vs 9), opening up a space where Almost Black encloses it.
At LRV 66 vs 9, Balboa Mist is decisively the brighter choice.
At LRV 74 vs 9, Shoji White is decisively the brighter choice.
At LRV 83 vs 9, Snowbound is decisively the brighter choice.
Their light reflectance is nearly identical (LRV 12 vs 9), so neither reads brighter in a room.
At LRV 68 vs 9, Skimming Stone is decisively the brighter choice.
Dix Blue reflects far more light (LRV 41 vs 9), opening up a space where Almost Black encloses it.
Calamine reflects far more light (LRV 68 vs 9), opening up a space where Almost Black encloses it.
Treron reflects far more light (LRV 25 vs 9), opening up a space where Almost Black encloses it.
Their light reflectance is nearly identical (LRV 12 vs 9), so neither reads brighter in a room.
At LRV 45 vs 9, Saybrook Sage is decisively the brighter choice.
Pale Green reflects far more light (LRV 31 vs 9), opening up a space where Almost Black encloses it.
With LRVs of 9 and 7, the two reflect almost the same amount of light.
Cement grey reflects far more light (LRV 24 vs 9), opening up a space where Almost Black encloses it.
Guilford Green reflects far more light (LRV 57 vs 9), opening up a space where Almost Black encloses it.
Just Walnut reflects far more light (LRV 72 vs 9), opening up a space where Almost Black encloses it.