Nikon Flat Picture Control with ARC/LR

[dwswager]

I typically use ACR/LR5 to develop raw images and have found that if you do not have a custom camera profile for the shooting conditions of the image, the Nikon Flat picture control is the easiest/best starting point as opposed to the Adobe Standard setting or any of the other listed Nikon Picture Controls.  It takes stronger adjustments, especially with contrast, but seems to make it easier to pull shadow detail and maintain highlights.

Wondering what others that use ACR/LR and a D810 are finding?

[David Eckels]

I just started using Camera Standard because of a cyan hue in my blues. Didn't realize it could make such a difference. I don't have a Nikon Flat as a profile choice, but then I use the 800E and also LR5.7.

[kers]

I start out with Neutral most of the time... standard less
But the first thing i do in ACR is choose the best profile for the photo

[mouse]

What is the "Nikon Flat Picture Control"?  And how does one access it via LR or ACR?
The only Nikon Picture Controls I am aware of are those selectable in-camera and which apply only to the jpeg image.

[dwswager]

What is the "Nikon Flat Picture Control"?  And how does one access it via LR or ACR?
The only Nikon Picture Controls I am aware of are those selectable in-camera and which apply only to the jpeg image.

In the Camera Calibration tab in ACR.  If you open a JPEG, then in the Camera Profile name it will use Embedded.  But if you open a RAW file, it will list Adobe Standard and all the picture controls you can set in the camera or any other profiles you have loaded into ACR/LR. 

Most people pass over the Camera Calibration tab which is a big mistake.  It probably should be the 1st place you start on a file, especially a RAW file.  All the other controls become calibrated to that initial starting point that is set by the Camera Profile.  You can also adjust the color balance of the Shadows, Greens, Reds and Blues.  For example, I find Nikons tend to over saturate the greens and Canons over saturate the reds.  So you can adjust these for your camera and then save them so ACR starts using that profile.

This is also where if you have a Color Checker, you can shoot it in different light and you can build camera profiles to adjust the image out of the gate to a better state and then only have to tweak it instead of having to make large moves.  Again, with JPEG files, you are much better doing an in camera white balance since all the color data is hard coded into the JPEG file already.

[mouse]

In the Camera Calibration tab in ACR.  If you open a JPEG, then in the Camera Profile name it will use Embedded.  But if you open a RAW file, it will list Adobe Standard and all the picture controls you can set in the camera or any other profiles you have loaded into ACR/LR. 

Thanks for your reply.  I routinely shoot in raw.  Nikon D800.  ACR v8.7.  Always start with Camera Profile.  There I find the Adobe profiles for my camera (incl. landscape, neutral, portrait, vivid) as well as my custom made dcp profiles.  No profile is labeled "Nikon Flat".  Is this perhaps the same as "neutral"?

[alan_b]

Thanks for your reply.  I routinely shoot in raw.  Nikon D800.  ACR v8.7.  Always start with Camera Profile.  There I find the Adobe profiles for my camera (incl. landscape, neutral, portrait, vivid) as well as my custom made dcp profiles.  No profile is labeled "Nikon Flat".  Is this perhaps the same as "neutral"?

It's a new profile for the D810

[Simon Garrett]

Try here.

These are D810 profiles patched for D800 and D800E, including flat profile.  Instructions inside the zip.  They seem to be slightly different from the D800/E profiles, and may not be exactly right for the D800/E, but it will give you an idea of what the flat profile is like.  

I forget who created these patched profiles (not me) so I'm afraid I can't credit them.  

[Hans Kruse]

I have created a profile using the xrite colorchecker and the colorchecker passport software for each of my cameras. I find that it gives the best start for editing my pictures. But I do not check every picture to see how it looks using another profile. That's for most of what I shoot. I did shoot a wedding using the D810 and in this case I checked the Camera Neutral profile and I felt that it was a better fit with the look I wanted.

[dwswager]

I have created a profile using the xrite colorchecker and the colorchecker passport software for each of my cameras. I find that it gives the best start for editing my pictures. But I do not check every picture to see how it looks using another profile. That's for most of what I shoot. I did shoot a wedding using the D810 and in this case I checked the Camera Neutral profile and I felt that it was a better fit with the look I wanted.

I have the Xrite camera profile creating app and I agree that if you can shoot a color checker target under your lighting conditions, it will usually give the best starting point because it not only will account for the light temperature, but also the actual response of the camera to it.  I have some DUAL Illuminant profiles for each camera, but for a specific, special event, I might actually create a unique profile.

My point about the Flat control being a good generic starting point is based on the way ACR controls are calibrated to that start point.  There is only so much movement possible from the sliders and it is image dependent how much effect they have and it appears the effect is not linear.  Some other picture controls, may in fact be a better starting point for specific images depending on the content and exposure of the image itself.  I rarely find that the default Adobe Standard control is the best starting point.  My biggest self criticism with respect to my output is did I get any color cast neutralized, unless it is there for a reason.

[Hans Kruse]

I have the Xrite camera profile creating app and I agree that if you can shoot a color checker target under your lighting conditions, it will usually give the best starting point because it not only will account for the light temperature, but also the actual response of the camera to it.  I have some DUAL Illuminant profiles for each camera, but for a specific, special event, I might actually create a unique profile.

My point about the Flat control being a good generic starting point is based on the way ACR controls are calibrated to that start point.  There is only so much movement possible from the sliders and it is image dependent how much effect they have and it appears the effect is not linear.  Some other picture controls, may in fact be a better starting point for specific images depending on the content and exposure of the image itself.  I rarely find that the default Adobe Standard control is the best starting point.  My biggest self criticism with respect to my output is did I get any color cast neutralized, unless it is there for a reason.

I did understand your point I also have generated a dual illuminant profile and I use the same profile for all my landscape shoots. I have not found it useful to shoot a colorchecker for each landscape shoot. I have not experimented a lot on that. White balance is something I need to adjust to taste anyway in my landscape shots. Do you generate a profile per shooting location and lighting?

[dwswager]

I did understand your point I also have generated a dual illuminant profile and I use the same profile for all my landscape shoots. I have not found it useful to shoot a colorchecker for each landscape shoot. I have not experimented a lot on that. White balance is something I need to adjust to taste anyway in my landscape shots. Do you generate a profile per shooting location and lighting?

No, I do not generally shoot a colorchecker for each landscape.  However, since landscape/nightscapes is what I do for myself, that is a small part of what I get shoot.  I have a dual illuminant profile for our local sports stadiums that were made from daylight and night (under the lights).  And tonight I am shooting some pre-prom photos for a few couples in their dresses/tuxes outside.  So I will likely shoot a color check in that light.

My worst ability is being able to spot a subtle color cast in images when I am working on them.  I can see it and know what it is after an image hits screen or print, but in the working on it phase, sometimes I'm oblivious.   I normally throw up a screen resolution version of a representative printer target image to compare to ensure I am close.