Joanna and others on this forum have advocated an initially flat image as the better starting point for subsequent processing.
She recently summarized her approach:
“I set my camera to AdobeRGB because it affects the JPEG shown on the rear screen, for much the same reason as I choose the flattest possible “Picture Setting”. That philosophy carries over to using PL, where my default preset is my custom Optical Corrections only, to which I have added the Adobe DCP profile that matches the camera’s picture setting. The result of all this is the I get the flattest possible rendering, upon which I can build the tonal range and contrast that I want, rather than having to “dial back” somebody else’s idea of a default rendering.”
I use a slight variant of this approach and am generally happy with it, and I’m sure others have their own specific takes as well. But if flat is better, what if we started flatter still?
Guenterm, Ian18, and probably others have referred to the articles and videos (and the online buzz) produced by Tony Kuyper and Dave Kelly who extoll the virtues of camera-specific linear profiles.
These linear profiles (DCP) are simple to make using the DNG Profile Editor (September 2012),
as described by Andy Astbury in an (agnostic) video.
These profiles can be selected in DxO PL 6E and earlier versions via the Color Rendering palette like any other DCP profile. If you begin with Optical Corrections only, the resulting image will be extremely flat and darker than the Joanna et al. approach.
Does anyone have experience with these linear profiles? Do they offer any advantage beyond the general Joanna et al. approach, perhaps for a certain class of images? Or is this mostly hoopla?