The problem is always the same. A window meters as the brightest thing in the building, the camera clips it to white, and the stone around it falls to a solid block. Every preset here starts with that: the highlight rolled off hard, the exposure pulled down, the shadows opened just enough that the aisle reads around the light.
The folio is set in departments. Windows are the whole opening, from a lancet to a rose to the clerestory high in the wall, each one a different exposure problem with its own answer. Panes go to the colour itself: cobalt lifted and taken down in luminance so it reads deep, ruby held off clipping, amber quarries kept warm, a jewel of purple darkened until it sits like a stone.
Lead and Paint keep the drawing. Tracery Line and Pane Lead firm the contrast and raise the texture so the cames stay as line work. Grisaille Panel and Saint Panel hold the painted brushwork through the backlight.
Apply one, then check the darkest stone. If it has gone solid, open the shadows a touch. The window will hold.
