PRE|SETS
Snow is white and the camera makes it blue. The sky lights the shade, the meter darkens the whole frame, and the shadows go navy. Snow Neutral is the reference. It moves temperature and a warm shadow split just far enough to cancel the cast, and no further. Clean Snow cuts blue and aqua saturation to the far end for the cleanest white. Crisp White cuts saturation instead of warming, for people who dislike warm snow.
Cast entries handle the colour. Cold Powder lifts blue luminance hard so shaded powder stops reading navy. North Snow makes the largest temperature move in the set, against a high-latitude midday sky. Ice Shade and Bright Freeze push the warm toning toward the shadows, where the cast actually sits. Whites entries handle exposure. White Drift and Pale Drift lift toward a true white behind a soft shoulder. Snow Glare is the strong highlight recovery for snow shot into the sun. Snow Hold keeps an exposed field just under clip. Ice Plain and Winter Flat rebuild the curve from the middle when the scene has no separation of its own. Ski Noon balances the slope at midday.
Surface entries are for the ground. Frost Field raises texture so crystals survive. Frozen Track leads with clarity so ruts show their direction. Fresh Powder keeps the surface soft and white. Thaw Light drops saturation so slush stays grey, not blue.
Apply at the top of the run. Check the whites, then ski.
