Picture styles, or picture profiles, are settings that can be installed on an SLR to help achieve different looks for both videos and stills.
On default settings straight out of the box, Canon and Nikon SLRs usually produce an image with lots of contrast. This makes the image look more defined, but often means that detail recovery and grading becomes a lot more difficult in post, particularly for video work.
Canon SLRs have a few default picture settings already loaded. They are called Standard, Portrait, Landscape, Neutral, Faithful and Monochrome. Nikon SLRs have a similar range, including Standard, Neutral, Vivid, Monochrome, Portrait and Landscape. Within each of these existing settings, you can make more precise alterations to parameters, such as saturation and contrast.
If you want to move beyond the presets, custom picture profiles can be used to give different effects. Some picture profiles will be designed to emphasise and flatter skin tones in the grading process, while others are more suited to landscapes.
Installing a picture profile is reasonably simple. For Canon SLRs, you will need EOS Utility, which is a Canon-specific program that comes with the camera. You will also need an interface cable to connect the SLR to a computer. Canon has provided a simple how-to on its website here.
For Nikon cameras, you will need to unzip the picture profile into the root directory of the memory card from a computer, load the card into the camera and enter into the Manage Picture Control option in the shooting menu. Load the picture profile into an empty slot.
There are fewer third-party profiles available for Nikon cameras, so you may want to read up on the ways to customise your own styles.
Mostly, picture profiles are referred to in the context of video. Many profiles 'flatten' the image, which can optimise the dynamic range by giving the editor more flexibility during colour grading.
Here are some of our favourite free picture profiles you can download, focusing primarily on video use.
Technicolor CineStyle
One of the most popular custom profiles out there, CineStyle produces an incredibly flat-looking image straight out of the camera, but holds much more detail in the shadow and mid-tones. It was designed specifically for the 5D SLRs, but works just as well on other Canon bodies.
You will probably find that the CineStyle is so flat that you will have trouble determining the correct exposure. To get around this, either use an external monitor or switch to a picture profile that more closely matches the final graded output you desire, determine the exposure and then switch back to CineStyle.
Technicolor Health Care from Preston Kanak on Vimeo.
Canon Picture Style Files
Though Canon SLRs have become some of the most popular tools for film-makers, the company is a little late to the party when it comes to dedicated video profiles. The new 'X Series' look is designed to emulate the results from Canon's range of professional video cameras, without having to fork out cash for another body.
This profile has a little less contrast, and lower saturation than the default styles.
While you're downloading the video style, it's worth grabbing the other profiles, which include Studio Portrait, Nostalgia, Clear, Emerald, Twilight and Autumn Hues. These are arguably more useful for stills than for video.
Canon's Video Camera X-Series Picture Style from Patrick Zadrobilek on Vimeo.
Marvels Cine Picture Style
This profile doesn't require grading, but the video image does benefit from a touch of correction. It's based on the existing Neutral style from Canon, but preserves luminance linearity in skin tones. There's also a little extra contrast than the Technicolor profile, which might be useful if you don't want to do too much in post.
Technicolor CineStyle vs Marvels Cine Style Test with S-curve LUT from Mike Staniforth | Filmmaker on Vimeo.
Flaat Picture Styles
Using a broader part of the codec's colour space, the Flaat style produces an image with less noise than the Technicolor profile. The Flaat_10 profile, which is the most popular, gives users just over 10 stops of dynamic range.
The Flaat styles are available for both Canon and Nikon SLRs, as well as the Blackmagic Camera and Sony NEX-5N.
Flaat video tests from Samuel Hurtado on Vimeo.
Alvaro Yus Flat
Specifically for Nikon SLRs, this profile produces a very flat, even image with similar results to the Technicolor profile for Canons. This makes it ideal for grading in post.
The profile has been designed for the D7000, but should work fine in other Nikon SLRs.
Nikon D7000 Video Tricks - Picture Control from Alvaro Yus on Vimeo.
TassinFlat
Another flat profile designed for the D7000, this profile tends to preserve more detail in the highlight areas. This means you should be able to save blown-out areas, and bring back detail in the sky, more than you would normally be able to when shooting on the regular Neutral setting.
550D (Cinestyle) vs D7000 (TassinFlat) part1 from Ulysse Tassin on Vimeo.
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Philip: I haven’t used the new “Cinema” picture profile, yet, but Preston has and he has written this post looking at it and other ones he likes.
Canon DSLR’s: My favourite Picture Profiles
by Preston Kanak
Introduction
With the introduction of the new Cinema Picture Profile, I wanted to do a quick post on MY favorite picture styles as well as how to use/install them. Picture Profiles/Styles (PP) are meant to optimize the dynamic range in the image. One of the hardest parts about them though is picking the right one for the right job. I find that it all depends on shooting conditions and final output.
For the longest time, I had no idea that you could load PP’s onto your camera that were not pre-loaded. I also did not really think that the results would be much different. Wow, was I ever wrong!
For some shooting conditions, I find that some of the PP’s perform worse than others. At any given time, I will have three PP’s loaded on my camera to switch between.
Final output also determines which PP I will be using. For all projects that I am producing, I always shoot the flattest image I can get. However, when shooting for others, if the turn around time does not allow for colour timing/correction, I will shoot less flat (typically neutral).
Now you ask, why is a flat profile important? Well, when you bake-in the color/contrast settings into an image (pre-set PP’s), you are unable to retrieve information that would be available if you had shot flat. Say your sky is blown out, but you wish you could see some of the clouds that were there on the day. With a baked-in image style, you are not able to recover it. With a flat image, you have a much better chance of recovering the clouds — OR if you under or over-expose something, you have a better chance to recover information that would otherwise be lost.
Comparing Picture Profiles (Cinestyle, Cinema, Marvel & Neutral)
Vimeo has developed a support group for DSLR shooters. I recommend that you have a look at some of the videos that have been added as they will definitely help!
DSLR Support Channel
How to Use/Install
Installing your PP’s is very simple and only takes a few minutes. For the process, you will need your camera, a USB cable, and the EOS Utility software.
Here are some short step-by-step instructions:
1. Install or update the latest version of Canon’s EOS Utility for your PC or Mac. Make sure that you have updated the software so you don’t run into problems!
2. Connect your camera to your computer via USB and switch it on.
3. Start the EOS Utility and click the menu button “Camera Settings / Remote Shooting”
4. Select the camera icon (red) and ‘Picture Style’.
5. Click ‘Detail set’.
6. In the new window that appears, Select one of the User Def. items from the drop down menu at the top of the screen, and then click the ‘Open’ button.
7. In the dialog window that opens, select the Picture Style file you have previously downloaded. This will transfer the style to your camera.
8. The uploaded profile will now reside under the selected User Def (1.3) picture profile on your camera.
9. Disconnect your camera and you should be good to go!
2. Connect your camera to your computer via USB and switch it on.
3. Start the EOS Utility and click the menu button “Camera Settings / Remote Shooting”
4. Select the camera icon (red) and ‘Picture Style’.
5. Click ‘Detail set’.
6. In the new window that appears, Select one of the User Def. items from the drop down menu at the top of the screen, and then click the ‘Open’ button.
7. In the dialog window that opens, select the Picture Style file you have previously downloaded. This will transfer the style to your camera.
8. The uploaded profile will now reside under the selected User Def (1.3) picture profile on your camera.
9. Disconnect your camera and you should be good to go!
Special Note: Installing on 600D / t2i
ASH commented below that the 600D / t2i installation is a little different. I have included his comments below.
“For 600D it is slightly different. I loaded the picture style onto the camera using canon utility while in the P (or M) setting (in movie setting it wont let you load them).
Then once the profile is loaded, disconnect the camera from the computer, set the camera to movie mode on the dial, press the menu button and navigate to the picture style option. Click on the picture style option using the set button, scroll to the user def that you saved the picture profile to (1,2 or 3), press info, click on where it says picture style user def 1 (or your relevant user def number)using the set button, then you get two arrows up and down, using the up down buttons on your camera scroll to the saved picture profile that you desire then click set”.
General Tips
One of the toughest things once you have uploaded your PP’s is to set exposure and focus. Shooting with ‘dull’ or ‘flat’ images makes focus much harder and you are more likely to need an external monitoring system (EVF or Monitor) to ensure that you have sharp focus. Also, exposure is also much more difficult as you have no true black point as reference and have a higher chance of either under or over exposing your image.
Shane Hurlbut states that, when shooting with DSLR’s, it is key to have a PP that you want your film to look like dialed into your camera. He states that it is key to have this ‘mock PP’ to light and expose with. Before you start rolling, once you have set exposure, roll your slide over to the flat PP that you plan on using (be it Marvel, Cinema, or Cinestyle). By doing this, you will have more wiggle room in post. Great word of advice!
If you are still a little confused, watch the video below.
How To Increase Dynamic Range by Luka
Picture Profile’s: My USER DEFINED SETTINGS
I am aware that the list below is not the complete list and varies from person to person, but they are the ones that I use on a frequent basis. I would love any recommendations for USER DEFINED settings that you may use!
NEUTRAL FLAT
Before the release of the Cinema PP, Neutral flat was one of my three defined settings. Although neutral flat is perceived differently by many, here are the settings I used.
NEUTRAL
Sharpness: 0
Contrast: -4
Saturation: -2
Color Tone: 0
Sharpness: 0
Contrast: -4
Saturation: -2
Color Tone: 0
Sample Video Shot using Neutral Picture Profile
Marvel’s Cine
Release Date: January 19th 2011
Another PP I use is Marvel Cine. It was one of the first ones that I tried out when I started to use PP’s, and I was very pleased with the results. It is definitely not as flat as Technicolor’s Cinestyle but offers a great alternative in some situations.
About Marvel Cine
Marvels Cine uses 10 curve nodes and is based on the Standard style as a base instead of the Neutral style. The style is slightly more colourful than other flat styles, because it uses the Standard style as a basis. I find that this profile comes in handy when shooting indoors.
Marvel Cine vs. Technicolor’s Cinestyle by Mike@Indieshorts
I know a lot of people have adopted the Cinestyle PP for virtually all shoots, but I find that Marvel’s Cine still comes in handy in some situations, especially when there is no time for grading on a project (although it should be graded!). Also, for footage that I pass off to others to colour correct, I tend to shoot with Marvel’s Cine as it is easier to bring out the colours for people unfamiliar with the Cinestyle profile on DSLR’s. That’s just my experience though and may differ for others! To download the Marvel-Cine picture style, click here.
Technicolor – Cinestyle
Release Date: April 30th, 2011
For virtually all of my shoots that I produce, the Technicolor PP is my first choice, especially when matching 5D footage with other flavours of Canon DSLR’s (7D, 60D, etc). It gives you the most flexibility out of all profiles, and I find that it comes in handy especially when shooting landscapes (ability to maintain detail in both sky and foreground).
Dan Chung interviews Joshua Pines at NAB 2011
About Cinestyle
The Technicolor CineStyle™ is a Picture Style (profile) for Canon EOS DSLR cameras that optimizes the dynamic range in the image by leveraging the capabilities of the Canon imaging chipset. To download the Technicolor Cinestyle picture style, click here.
Technicolor Footage Raw vs Corrected
Comparison video between Technicolor PP and Neutral by swissfilmmakers
Cinema Picture Profile
Release Date: September 7th, 2011
The Cinema Picture Profile (previously known as EPIC) is the newest of the bunch and although providing a flat image, it is unique in how it deals with contrast. Personally, I am very happy with the results so far. Will it replace my Cinestyle PP? Probably not yet, but it will definitely replace the Marvel Cine PP that I have been using for some shoots!
However, the CINEMA picture style is not free. It is priced at $19 which is not much at all and I personally think it is worth the money! (It is only $19!) To purchase the Cinema picture style, click here.
Cinema Picture Profile Sample Footage by John Hope
About Cinema PP
– Great perceived latitude, but with a nice contrasty image.
– Keeps details on shadows and highlights while remaining quite contrasted.
– Vivid colors on low saturated areas, no greyish or monochromatic casts.
– Analog like colors on high saturated areas.
– Sharp image.
– Kodak Ektachrome colorimetry.
– Doesn’t need color correction, but feel free to grade it.
– Keeps details on shadows and highlights while remaining quite contrasted.
– Vivid colors on low saturated areas, no greyish or monochromatic casts.
– Analog like colors on high saturated areas.
– Sharp image.
– Kodak Ektachrome colorimetry.
– Doesn’t need color correction, but feel free to grade it.
Cinema Picture Profile Sample Footage by John Hope
Other Picture Profiles
I have added this section to the post that I will keep adding to as PP’s are recommended. If you have any questions, please let me know!
Flat PP by Jorgen Escher
Notes From Jorgen
I have developed a new type of flat picture profile for the Canon “d” series video DSLR cameras. This profile has been devised and tested using the Canon 5DmkII, a MacBeth colour card, two different calibrated light sources (3200k & 5600k soft floods), Adobe Color, Adobe Photoshop and a few software tools I have developed myself. This picture profile uses 10 S-curve node points and mathematically wraps correctly around the existing build-in Standard Profile S-Curve.
Goals were striving for correct colorimetric reproduction (no weird chroma artifacts), no gaps or bumps in the resulting curve, linear behaviour in the skin-color-exposure range and a few more points that are described in more detail by Martin Beek on his weblog http://marvelsfilm.wordpress.com. There you can download the picture profile and read about it’s uses for video shooters (I’m a colorist and mathematician, not a film maker…).
Go have a look and use it for free in your camera – happy shooting!
Crooked Path Flat
Notes from Crooked Path
– Based of the FAITHFUL profile. Faithful is just like NEUTRAL only adds a touch more saturation to the highlights and midtones, and also pulls the midtone and highlight exposure down very slightly.
– Curve is not extreme, and is very gradable in post.
– Totally removes any muddy/terracotta/plastic look to faces.
– Totally removes any noise issues (assuming you’re properly exposed).
– Default Sharpness is set at 2. This is a very subjective area. In our testing, we noted that any setting below +2 seems to almost blur the image. Anything above +2 seems to be artificial looking. +2 seems to be perfect. We’ve also noted that the in-camera sharpness is much cleaner and un-artificial looking when compared to using the unsharp mask in after effects. It is recommended that you lower only if seeing moire issues.
– Default Contrast is all the way to the left. We don’t recommend changing this.
– Default Saturation is at zero. In 8bit 4:2:0 colorspace, it’s best to keep it here and adjust in post. Lowering will cause lost information.
– Default Tone is +2. In our testing the 5d seemed to bias toward red in the skin tones. This is to compensate for that. Adjust to fit your needs.
– Curve is not extreme, and is very gradable in post.
– Totally removes any muddy/terracotta/plastic look to faces.
– Totally removes any noise issues (assuming you’re properly exposed).
– Default Sharpness is set at 2. This is a very subjective area. In our testing, we noted that any setting below +2 seems to almost blur the image. Anything above +2 seems to be artificial looking. +2 seems to be perfect. We’ve also noted that the in-camera sharpness is much cleaner and un-artificial looking when compared to using the unsharp mask in after effects. It is recommended that you lower only if seeing moire issues.
– Default Contrast is all the way to the left. We don’t recommend changing this.
– Default Saturation is at zero. In 8bit 4:2:0 colorspace, it’s best to keep it here and adjust in post. Lowering will cause lost information.
– Default Tone is +2. In our testing the 5d seemed to bias toward red in the skin tones. This is to compensate for that. Adjust to fit your needs.
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Canon’s Digital Photo Professional (DPP) is a free, and surprisingly powerful, image organising and editing application that ships in the box with every EOS camera. You’ll find DPP on the EOS Digital Solution Disk alongside other very useful Canon developed software, such as EOS Utility. CPN writer George Cairns takes a closer look at the capabilities of the DPP software up to version 3.13.0.
If you consider your RAW images files as digital negatives then, like traditional negatives, they need to be processed in order to reveal their true colours and tones. DPP has all the digital darkroom tools you’ll need to claw back highlight or shadow details, banish colour casts and crop to improve composition.
Digital Photo Professional is specially designed to work closely with your Canon EOS camera and lenses, thus enabling you to correct more challenging problems such as chromatic aberration and lens-related artifacts such as distortion and vignetting. In this article we’ll take you on a comprehensive tour of the powerful features of this Canon image processing software.
Keeping up to date and setting up
© George Cairns
You can ask Digital Photo Professional to open specific file types – such as JPEGs, RAW files and TIFFs – after EOS Utility has imported them.
At the time of writing the latest incarnation of Digital Photo Professional software is version 3.13.0, but it’s well worth keeping DPP up to date. The latest version supports new Canon lenses and recognises RAW format files from the more recent Canon EOS DSLR cameras. If you’ve got an older version of DPP already installed on your computer it’s free to update it. Indeed, if you’ve lost your software disk, you can download and install DPP for free.
To download an update for DPP (or install it from scratch) just click here for the Canon Europe Download Centre, then select your product type and camera model details and select the software option. The menu will offer a variety of downloads such as ImageBrowser EX, EOS Utility and EOS Digital Solution Disk Software, so scroll down and click on the appropriate link to download DPP for Mac or Windows. While you’re there, you can also download a copy of the EOS Utility software. You will also find a copy of DPP’s manual, which will help you to further maxmise all of the functionalities of the software.
Once DPP and the EOS Utility have been installed, plug your Canon EOS camera into your computer. If you’ve already opened DPP you can choose ‘Tools > Start EOS Utility’ from the main window’s menu. In EOS Utility, go to ‘Preferences’ and choose ‘Linked Software’ in the drop-down menu. In the ‘Linked Software’ menu, choose ‘Digital Photo Professional’. Click ‘Register’, choose the file types that you want DPP to open as soon as the EOS Utility has imported them, then Click ‘OK’.
© George Cairns
The Quick Check view in DPP enables you to assign Check marks or Ratings that enable you to organise your photographs. Note that you can check AF points and metadata in Quick Check.
Quality control – ratings and check marks
As your digital collection continues to grow it can be an increasing challenge to manage it. By default most image processing apps display photos according to shooting date and DPP is no exception. However, DPP enables you to sort imported images by assigning ratings or check marks to them.
In DPP browse to a folder of imported shots in order to view them as thumbnails. You can choose ‘View > Large Thumbnail’ for a closer look, but to get a better idea of a shot’s quality choose ‘Tools > Start Quick Check tool’ (or click the ‘Quick Check’ icon). Here you can zoom in to check the focus – and even discover which autofocus point was used when capturing the shot. You can summon the shot’s metadata too, which helps you discover if a fast ISO speed setting is likely to add noise, for example.
© George Cairns
Use the Sort menu in DPP to display files hierarchically according to their assigned star rating.
You can use Quick Check to indulge in some quality control. Add a star rating (from 1 to 5) to highlight your favourite photographs, or assign a numerical check mark to sort shots by theme or type (such as landscape or portrait). Assign ratings and check marks to thumbnails in DPP’s main window.
Once you’ve rated or check marked your imported shots you can then use the ‘Sort’ menu to display the highest rated images at the top of the main window, or display them by their numerical check marks. You can also choose ‘View > Thumbnail with information’ to list metadata alongside each image. The handy histogram enables you to spot any images that might need exposure adjustment. You can also save specific files from any folder into the ‘Collection’ tab so they can be easily found later.
Processing your RAW pictures
After sorting through your photographs you’ll discover that some images may need a bit of processing to make them look their best. Although DPP will happily edit JPEG files you’ll get the best results by working with RAW files.
© George Cairns
Common photo fixes, such as cropping and straightening, can be performed from the Tools menu in DPP.
© George Cairns
You can manually hide artifacts such as sensor spots by using DPP’s ‘Stamp’ tool to clone adjacent patches of pixels over them. Alternatively, use Apply Dust Delete Data if you’ve set that function up in-camera.
If you’re faced with a particular problem, such as a tilted horizon, then you can choose ‘Tools > Start Trimming/Angle Adjustment’. This enables you to quickly crop the shot using a variety of preset aspect ratios, as well as using the Angle slider to straighten any uneven horizons. An optional overlay grid enables you to see true horizontal and vertical lines so that you can adjust the angle with precision. When editing in RAW format you can restore cropped detail at any time, as DPP makes non-destructive changes to the original RAW files.
To access more of DPP’s RAW processing tools, click on the ‘Edit image’ window icon and then click on the ‘Tool palette’ icon. In the Tool palette you’ll find four tabs – RAW, RGB, NR/ALO and Lens – that will unleash a host of powerful image processing tools.
© George Cairns
The RAW editor mode in DPP enables you to change the camera’s White Balance or Picture Style settings with ease and see the results in real time on the screen.
© George Cairns
If you can’t find a suitable White Balance preset, you can use DPP’s ‘Click white balance’ eyedropper to sample an area that should be a neutral white.
The RAW tab enables you to adjust the camera settings. The White Balance or Picture Style preset that you used to capture the shot is indicated by a little camera icon. You can use drop down menus to experiment with other White Balance or Picture Style presets and change the colours and tones of your shot in a couple of clicks. You can also manually tweak properties such as colours, tones and sharpness using the RAW tab’s sliders. Alternatively, you can warm up or cool down a shot and banish colour casts by clicking an eyedropper on an area that should be white.
Noise Reduction and Auto Lighting Optimizer
© George Cairns
The Noise Reduction/Auto Lighting Optimizer option of DPP allows you to alter chrominance or luminance image noise in either RAW or compressed images, and offers control over correction of brightness or contrast in images.
In the Edit Image window you’ll find a handy Noise Reduction/Auto Lighting Optimizer (NR/ALO) tab. This enables you to reduce chrominance or luminance image noise in either RAW or compressed images by tweaking slider settings.
There’s also an Auto Lighting Optimizer control that enables you to quickly auto correct problems with brightness or contrast. This tool does the same job as the ALO feature in your Canon DSLR (it is in all current EOS DSLRs), which is designed to even out contrast by selectively adjusting areas of the image. It is especially useful when using flash or with backlit subjects as it can detect faces in the frame and brighten those areas to achieve a better result.
ALO analyses contrast in captured images and modifies both shadows and highlights via tone curve adjustments to minimise loss of detail in contrasty light conditions. In-camera there are three levels of setting strength – Standard, Low and Strong – which can be used at any ISO speed, as well as the ability to turn the setting off (known as Disable). The in-camera ALO results can be further fine-tuned in DPP.
RGB and tone curves
© George Cairns
In DPP’s Edit window you can use the RGB tab’s curve tool to improve contrast (or restore tonal details) by manually re-shaping the curve.
One of DPP’s most powerful image adjustment tools can be found in the ‘Edit image’ window’s RGB tab. Here you can place points on a tone curve and then drag them up or down to change the shadows or highlights in an image. It’s quite easy to go over-the-top when manually editing points on a curve, so you can try and improve contrast automatically by clicking on the tone curve assist icons.
Compositing Tool
Digital Photo Professional’s relatively new Compositing tool (first seen in DPP 3.11) opens up some creative layering possibilities. After selecting your main image you can import a background shot and then use the Composite Method drop down menu to adjust the way the photos mix together (in a similar way to Photoshop’s layer blending modes).
© George Cairns
Using the Compositing Tool of DPP software you can quickly and easily import and mix multiple shots together to produce creative composite images.
Available from the Tools menu of DPP, the Compositing Tool allows multiple images to be combined with specific controls to determine how each individual layer will build on the ones lower in the overall composite. There are four fixed types of composites: Add, Average, Lighten and Darken, plus the useful Weighted option that provides precise control over which layer of the composite is more or less transparent.
In practice the Weighted option is often the most flexible setting. Image layers can be individually adjusted for position relative to other image layers, if required. You can use the Weighted slider to make one image more dominant than the other and adjust the position of the overlapping images by tapping on arrows. You can build up multiple layered effects by clicking ‘Continue’ and importing new shots.
High Dynamic Range (HDR) image processing
With some of the newer EOS DSLR cameras featuring built-in High Dynamic Range (HDR) imaging functions (first introduced in the EOS 5D Mark III in 2012), DPP additionally offers HDR image processing for all EOS camera owners. Similar to the in-camera HDR processing of the EOS 5D Mark III, the HDR command in DPP processes and combines three images to create an HDR composite. The source images for the HDR process can be captured using the camera’s auto-exposure bracketing function.
- Under
- Correct
- Over
Canon Picture Profiles Download Windows 10
© George Cairns
By shooting a series of bracketed shots you can capture both highlight and shadow detail in a high contrast scene and merge the shots together using DPP’s High Dynamic Range (HDR) command.
DPP’s HDR menu command has controls that allow fine-tuning of brightness, colour and details. It takes the chosen images and processes them using the default ‘Natural’ profile to produce quite subtle results. If the images were taken with the camera mounted on a tripod then they should all be aligned, but if the camera was handheld then the HDR Tool can be set to automatically align the frames.
Brightness, saturation and contrast sliders can be used to adjust tone and colour, plus strength, smoothness and fineness alter the detail enhancement, so there’s plenty of control over the final image. You can also select from different presets such as Art Standard, Art Vivid, Art Bold and Art Embossed. Since the presets change the settings of each of the six sliders they let a photographer quickly achieve their intended results. You can fine-tune any of the sliders once the preset has been applied.
© George Cairns
In DPP’s HDR menu you can start off with presets, such as Art Vivid, and then fine-tune the slider settings to tweak tone, colour, details and alignment.
© George Cairns
After mixing tones and colours from the source images you can create a composite HDR image which takes the detail from highlight and shadow areas.
Lens corrections
In the Lens tab of DPP, there are two different tools that are designed to overcome a host of lens-related aberrations. Older versions of DPP feature a handy Lens aberration correction panel that targets and fixes problems relating to Peripheral illumination (darkened corners), Chromatic aberration (colour fringing around high contrast edges), Colour Blur (noticeable red or blue blurs at the edge of bright areas) and Distortion (curved lines at the edge of wide-angle shots).
© George Cairns
You can use the Lens aberration correction tools of DPP to counteract common lens-induced artifacts such as distortion and vignetted corners.
Digital Lens Optimizer (DLO)
The newer versions of DPP software (from 3.11 onwards) also include the Digital Lens Optimizer in the Lens tab, thus enabling you to counteract a wider range of lens aberrations and, in turn, produce better looking shots. The Digital Lens Optimizer is a special kind of image processing that achieves ideal optical characteristics by processing optical aberrations, image softening due to lens diffraction and the effects of using a low-pass filter with a CMOS image sensor. Currently 64 different lenses are supported, in combination with many Canon EOS cameras. To get the Digital Light Optimizer (or the Lens aberration correction feature) to work, you first need to download your lens profile to DPP. Canon advises you to turn off any sharpening in the RAW tab before applying the DLO. You can then sharpen the shot, but you won’t need to sharpen it as much thanks to the improvement produced by the DLO.
Working with RAW images, the Digital Lens Optimizer is designed to correct seven types of lens aberration:
- Spherical aberration – image blur that occurs in the centre of the image.
- Field curvature – blurring at the edge of the image produced by the lens’ curved focal plane.
- Astigmatism – blurring in the radial and circular directions at the image periphery.
- Comatic aberration – colour blurring appearing at the edge of the image in a radial direction (like a comet’s tale).
- Sagittal halo – this appears in the periphery of the image as a circular blur.
- Chromatic aberration of magnification – misaligned and blurred colours at the periphery of the image.
- Axial chromatic aberration – this is mainly purple coloured blur that occurs in the centre of an image where there are strong specular highlights.
- You can apply the DLO by clicking ‘Tune’, ticking the Settings box and then increasing the strength of the slider. Click ‘Save’ when you’re happy with the results.
© George Cairns
Mummy games free download. To get DPP’s Digital Lens Optimizer and Lens aberration correction tools to work, you’ll need to download your camera lens data by clicking ‘Update’ and ticking the appropriate box for each lens you own.
© George Cairns
The Digital Lens Optimizer does a better job than the Lens aberration correction tool at removing axial chromatic aberration.
Lenses compatible with DPP’s Digital Lens Optimizer function
Wide-angle lenses
- EF14mm f/2.8L USM
- EF14mm f/2.8L II USM
- EF20mm f/2.8 USM
- EF24mm f/1.4L USM
- EF24mm f/1.4L II USM
- EF24mm f/2.8 IS USM
- EF28mm f/1.8 USM
- EF28mm f/2.8 IS USM
- EF35mm f/1.4L USM
- EF35mm f/2 IS USM
Standard and medium telephoto lenses
- EF40mm f/2.8 STM
- EF50mm f/1.4 USM
- EF50mm f/1.2L USM
- EF85mm f/1.2L USM
- EF85mm f/1.2L II USM
- EF85mm f/1.8 USM
Telephoto lenses
- EF135mm f/2L USM
- EF300mm f/2.8L IS II USM
- EF300mm f/4L IS USM
- EF400mm f/2.8L IS II USM
- EF500mm f/4L IS II USM
- EF600mm f/4L IS II USM
Zoom lenses
- EF16-35mm f/2.8L USM
- EF16-35mm f/2.8L II USM
- EF17-40mm f/4L USM
- EF24-70mm f/2.8L USM
- EF24-70mm f/2.8L II USM
- EF24-70mm f/4L IS USM
- EF24-105mm f/4L IS USM
- EF28-70mm f/2.8L USM
- EF28-135mm f/3.5-5.6 IS USM
- EF28-200mm f/3.5-5.6 USM
- EF28-200mm f/3.5-5.6
- EF28-300mm f/3.5-5.6L IS USM
- EF70-200mm f/2.8L USM
- EF70-200mm f/2.8L IS USM
- EF70-200mm f/2.8L IS II USM
- EF70-200mm f/4L USM
- EF70-200mm f/4L IS USM
- EF70-300mm f/4-5.6L IS USM
- EF70-300mm f/4.5-5.6 DO IS USM
- EF70-300mm f/4-5.6 IS USM
- EF100-400mm f/4.5-5.6L IS USM
- EF200-400mm f/4L IS USM EXTENDER 1.4x
Macro Lenses
- EF100mm f/2.8 Macro USM
- EF100mm f/2.8L Macro IS USM
EF-S lenses
- EF-S10-22mm f/3.5-4.5 USM
- EF-S15-85mm f/3.5-5.6 IS USM
- EF-S17-55mm f/2.8 IS USM
- EF-S17-85mm f/4-5.6 IS USM
- EF-S18-55mm f/3.5-5.6 II USM
- EF-S18-55mm f/3.5-5.6 USM
- EF-S18-55mm f/3.5-5.6 III
- EF-S18-55mm f/3.5-5.6 II
- EF-S18-55mm f/3.5-5.6
- EF-S18-55mm f/3.5-5.6 IS II
- EF-S18-55mm f/3.5-5.6 IS
- EF-S18-200mm f/3.5-5.6 IS
- EF-S18-55mm f/3.5-5.6 IS STM
- EF-S18-135mm f/3.5-5.6 IS
- EF-S18-135mm f/3.5-5.6 IS STM
- EF-S55-250mm f/4-5.6 IS
- EF-S55-250mm f/4-5.6 IS II
- EF-S55-250mm f/4-5.6 IS STM
EF-M lenses
- EF-M11-22mm f/4-5.6 IS STM
- EF-M18-55mm f/3.5-5.6 IS STM
- EF-M22mm f/2 STM
Cameras compatible with DPP’s Digital Lens Optimizer function
- EOS-1D C
- EOS-1D X
- EOS-1D Mark IV
- EOS-1Ds Mark III
- EOS-1D Mark III
- EOS-1D Mark II N
- EOS-1Ds Mark II
- EOS-1D Mark II
- EOS-1Ds
- EOS-1D
- EOS 5D Mark III
- EOS 5D Mark II
- EOS 5D *1
- EOS 6D
- EOS 7D
- EOS 70D
- EOS 50D
- EOS 40D
- EOS 60D
- EOS 700D
- EOS 100D
- EOS 650D
- EOS 600D
- EOS 30D *2
- EOS 500D
- EOS 450D
- EOS 550D
- EOS 1100D
- EOS 1000D
- EOS 400D
- EOS M
Note:
- EOS 5D requires firmware version 1.1.1 or higher to be installed.
- EOS 30D requires firmware version 1.0.6 or higher to be installed.
* Details of compatible lenses and cameras above correct as of 20 September 2013.
Output
Once you’ve organised your photographs and edited them to your satisfaction using DPP’s collection of image processing tools then it’s time to share them with colleagues or clients. You can export an edited RAW image as a JPEG or TIFF using the Convert and save command in the File menu. To speed up your output workflow DPP offers a Batch process tool icon in its main window toolbar. This enables you to take a folder of RAW files and output them to a more shareable JPEG or TIFF format. You can also re-size them en-mass, change their resolution and give them new file names too.
© George Cairns
You can print hard copies of your edited shots directly from DPP, as wells a creating contact sheets. The Print window also enables you to save a shot as a PDF.
© George Cairns
Via the Batch option you can convert multiple RAW files to re-sized JPEGS so you can put them online or share them easily via e-mail.
In conclusion
When working in tandem with the Canon EOS Utility software, Digital Photo Professional can empower you to organise, fix and share your images effectively. Because DPP is designed to work closely with your Canon EOS camera’s menu settings and lenses, you should be able to produce better looking results than you’d achieve with third party packages – especially thanks to the powerful Digital Lens Optimizer in the Edit image window’s Lens tab. If, for some reason, you’ve so far ignored the EOS Digital Solutions Disk that came in the box with your EOS DSLR it’s a good idea to download and take all of the available software for a test run. You will be pleasantly surprised by how powerful and useful it is.
Related links
Software
Digital Photo Professional Video TutorialsTechnical
Inside DPP 4.5 software