PRE|SETS
Every drawer is a treatment. Colour systems are the named palettes and the harmony schemes, worked in hue, saturation and luminance per band. Moods are tone and colour together with a stated intent: Austere Distance floors every hue, Deep Calm compresses the range, Held Tension crushes the mid-shadows under a green tint, Open Joy bows the curve up, Warm Nostalgia lifts the upper midtones, Single Lamp puts one warm source in deep dark. Film and darkroom are the emulsion and the print: negative, slide, instant, matte, cine glass, bleach bypass, then proof sheet, platinum, toners, press black and silver gelatin.
The rescue drawer is corrective and nothing else: Backlit Save, Blown Highlight, Bright Key, Flash Harsh, Green Cast, High ISO, Mixed Source, Old Digital, Room Light, Scanned Frame, Screen Glow, Underexposed, Wide Latitude and Gentle Lift, each a ladder of strengths with the colour work near zero. Workflow bases are what you apply before the grade: Flat Base, Grade Ready, Dodge Burn Base, Retouch Flat, Composite Match, Pano Prep, Stack Prep, HDR Return, Firm Contrast, Deep Shadow, Micro Detail, Split Tone, Video Still, Plain Document, and Proof Check, the deliberately unflattering pass that shows the dust.
Output and print set the file for the surface it will land on: Baryta Gloss for Dmax, Cotton Rag with the blacks lifted for matte paper, Canvas Wrap with micro-contrast up, Metal Panel for dye-sublimation, Gloss Magazine inside the CMYK gamut, Newsprint Set for dot gain, Backlit Film for the lightbox, Small Screen for the phone.
Not on this bench: the exclusive treatments, Warm Cool Split, Cross Signal, Faded Print, Soft Pictorial, Graphic Black, Orthochromatic, Sepia Archive and the Infrared Look, each sold on one specialist page only. Film and Darkroom, Colour Systems, the Film Archive, the Darkroom and the Palette Set are drawers of this bench sold on their own. Nothing here is filed by subject; the subject libraries are elsewhere in the network.
