Highland Thin

The same frame, one tap apart. Drag any handle and the scene goes back to the way it looked before Plateaublue touched it.

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Every preset in the pack is here, on the same four photographs. Nothing below is a sample. Open one and drag.

1. No. 01Plateau BlueThin air scatters less, so the zenith sky is deep and the shade is unfilled: blue luminance is dropped and the shadows opened together. see it

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   Drag the handle. Left is the original, right is Plateau Blue. Rendered from the preset's own settings, not a Lightroom export, so the real thing carries a little more bite.

2. No. 02Rare AirAt low air pressure the Rayleigh path is short, which darkens the sky without touching saturation. see it

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   Drag the handle. Left is the original, right is Rare Air. Rendered from the preset's own settings, not a Lightroom export, so the real thing carries a little more bite.

3. No. 03Airless NoonFor a high plateau near local noon, where the beam is nearly unattenuated and the highlights are pulled hard. see it

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   Drag the handle. Left is the original, right is Airless Noon. Rendered from the preset's own settings, not a Lightroom export, so the real thing carries a little more bite.

4. No. 04Hard ShadeUnfilled shade at altitude is close to black, so the blacks set deep and the shadow slider does the recovery. see it

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   Drag the handle. Left is the original, right is Hard Shade. Rendered from the preset's own settings, not a Lightroom export, so the real thing carries a little more bite.

5. No. 05Sun StingThe direct beam at altitude carries more short-wave energy, and this grades the resulting cool bite. see it

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   Drag the handle. Left is the original, right is Sun Sting. Rendered from the preset's own settings, not a Lightroom export, so the real thing carries a little more bite.

6. No. 06Cobalt SkyA thin-atmosphere sky runs toward violet, which is why the blue hue is turned that way and purple given saturation. see it

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   Drag the handle. Left is the original, right is Cobalt Sky. Rendered from the preset's own settings, not a Lightroom export, so the real thing carries a little more bite.

7. No. 07Scree FieldLoose rock under brutal light, graded on red and aqua luminance to keep the stone from going flat. see it

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   Drag the handle. Left is the original, right is Scree Field. Rendered from the preset's own settings, not a Lightroom export, so the real thing carries a little more bite.

8. No. 08Altitude BurnFor the extreme range of a high plateau, with the highlight parametric band held and the toe left deep. see it

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   Drag the handle. Left is the original, right is Altitude Burn. Rendered from the preset's own settings, not a Lightroom export, so the real thing carries a little more bite.

9. No. 09Void ShadeShade at altitude is lit only by a deep sky, so the shadow grading wheel is lowered and cooled. see it

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   Drag the handle. Left is the original, right is Void Shade. Rendered from the preset's own settings, not a Lightroom export, so the real thing carries a little more bite.

10. No. 10Ultraviolet EdgeShort-wave energy is higher up here; the purple and blue bands carry that rather than the saturation slider. see it

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    Drag the handle. Left is the original, right is Ultraviolet Edge. Rendered from the preset's own settings, not a Lightroom export, so the real thing carries a little more bite.

11. No. 11Granite GlareBare stone in unfiltered sun, where clarity and texture separate the surface that colour cannot. see it

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    Drag the handle. Left is the original, right is Granite Glare. Rendered from the preset's own settings, not a Lightroom export, so the real thing carries a little more bite.

12. No. 12Blue ZenithThe sky overhead is the darkest part of a high-altitude frame, and this grade preserves that inversion. see it

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    Drag the handle. Left is the original, right is Blue Zenith. Rendered from the preset's own settings, not a Lightroom export, so the real thing carries a little more bite.

13. No. 13Sun CutA hard-edged beam makes hard-edged shadows, so the curve is set for the transition rather than the tone. see it

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    Drag the handle. Left is the original, right is Sun Cut. Rendered from the preset's own settings, not a Lightroom export, so the real thing carries a little more bite.

14. No. 14Shade WellFor the deep shade beside a rock face, opened by the shadow slider and cooled by the grading wheel. see it

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    Drag the handle. Left is the original, right is Shade Well. Rendered from the preset's own settings, not a Lightroom export, so the real thing carries a little more bite.

15. No. 15Peak GlareAt altitude the specular return from wet or icy rock is intense, so the highlights are held far down. see it

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    Drag the handle. Left is the original, right is Peak Glare. Rendered from the preset's own settings, not a Lightroom export, so the real thing carries a little more bite.

16. No. 16Stark RidgeAn exposed ridge under thin air, with the aqua luminance dropped so distance does not go pale. see it

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    Drag the handle. Left is the original, right is Stark Ridge. Rendered from the preset's own settings, not a Lightroom export, so the real thing carries a little more bite.

17. No. 17Indigo SkyA violet-leaning sky is a physical consequence of a short scattering path, and the midtone wheel places it. see it

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    Drag the handle. Left is the original, right is Indigo Sky. Rendered from the preset's own settings, not a Lightroom export, so the real thing carries a little more bite.

18. No. 18Bare SlopeFor open ground at altitude, graded cool on the white balance and restrained on global saturation. see it

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    Drag the handle. Left is the original, right is Bare Slope. Rendered from the preset's own settings, not a Lightroom export, so the real thing carries a little more bite.