Camera settings (EXIF data)
Raw EXIF data
Raw XMP data
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IPTC
Photoshop
Adobe Lightroom edits
.lrtemplate Preset
old preset format
Download Full XMP Settings
This file may not work as a preset. It contains all settings
exported by Lightroom (XMP sidecar file).
Basic
| Profile | Camera CLASSIC CHROME | |
| White Balance | As Shot | |
| Temperature | 4600 | |
| Tint |
|
+12 |
| Tone | ||
|---|---|---|
| Exposure |
|
-0.2 |
| Contrast |
|
+20 |
| Highlights |
|
-48 |
| Shadows |
|
+42 |
| Whites |
|
+19 |
| Blacks |
|
-1 |
| Presence | ||
|---|---|---|
| Texture |
|
0 |
| Clarity |
|
0 |
| Dehaze |
|
0 |
| Vibrance |
|
0 |
| Saturation |
|
0 |
Tone Curve
| Region | ||
|---|---|---|
| Highlights |
|
0 |
| Lights |
|
0 |
| Darks |
|
0 |
| Shadows |
|
0 |
Color Mixer / HSL
| Hue | ||
|---|---|---|
| Red |
|
0 |
| Orange |
|
0 |
| Yellow |
|
-3 |
| Green |
|
+19 |
| Aqua |
|
0 |
| Blue |
|
0 |
| Purple |
|
0 |
| Magenta |
|
0 |
| Saturation | ||
|---|---|---|
| Red |
|
0 |
| Orange |
|
-12 |
| Yellow |
|
-59 |
| Green |
|
-75 |
| Aqua |
|
-30 |
| Blue |
|
-47 |
| Purple |
|
-53 |
| Magenta |
|
-63 |
| Luminance | ||
|---|---|---|
| Red |
|
0 |
| Orange |
|
0 |
| Yellow |
|
0 |
| Green |
|
0 |
| Aqua |
|
0 |
| Blue |
|
0 |
| Purple |
|
0 |
| Magenta |
|
0 |
Split Toning / Color Grading
| Midtones | ||
|---|---|---|
| Hue |
|
0 |
| Saturation |
|
0 |
| Luminance |
|
0 |
| Shadows | ||
|---|---|---|
| Hue |
|
210 |
| Saturation |
|
14 |
| Luminance |
|
0 |
| Highlights | ||
|---|---|---|
| Hue |
|
0 |
| Saturation |
|
0 |
| Luminance |
|
0 |
| Global | ||
|---|---|---|
| Hue |
|
0 |
| Saturation |
|
0 |
| Luminance |
|
0 |
| Blending |
|
100 |
| Balance |
|
0 |
Detail
| Sharpening | ||
|---|---|---|
| Amount |
|
40 |
| Radius | +1.0 | |
| Detail |
|
25 |
| Masking |
|
0 |
| Noise Reduction | ||
|---|---|---|
| Luminance |
|
25 |
| Smoothness |
|
0 |
Effects
| Grain | ||
|---|---|---|
| Amount |
|
30 |
| Size |
|
30 |
| Roughness |
|
50 |
Camera Calibration
| Shadows | ||
|---|---|---|
| Tint |
|
0 |
| Red Primary | ||
|---|---|---|
| Hue |
|
0 |
| Saturation |
|
0 |
| Green Primary | ||
|---|---|---|
| Hue |
|
0 |
| Saturation |
|
0 |
| Blue Primary | ||
|---|---|---|
| Hue |
|
0 |
| Saturation |
|
0 |
Other Adjustments
| Crop | Image was cropped | |
| Spot removal | No information | |
| Red eye fix | No information | |
| Radial filter | No information | |
| Graduated filter | No information | |
How this look was made
The edit creates a muted, film-like wildlife image with a warm reddish squirrel standing out against cool, heavily subdued surroundings. Strong natural sunlight is preserved, but highlight recovery and shadow lifting keep detail in the bright fur and dark pavement. Classic Chrome, selective desaturation, cool shadow toning, a matte contrast curve, and visible grain provide the vintage documentary character.
Overall look
The Camera CLASSIC CHROME profile establishes the restrained palette and documentary-style contrast. Rather than making the scene broadly colorful, the edit preserves the squirrel’s red-brown fur while suppressing most competing colors. This makes the animal feel visually isolated within the dark pavement and scattered leaves.
Light and tone
Exposure was lowered slightly and contrast raised by +20, reinforcing the dramatic patch of direct sunlight and the deep surrounding shade. Highlights were reduced substantially (-48) to hold texture in the squirrel’s illuminated fur and pale chest, while shadows were lifted (+42) so the shaded side does not become completely featureless. Whites were raised to retain bright sparkle in the sunlit fur and leaves, while blacks changed only minimally. The custom tone curve lifts the absolute black point but pulls much of the lower tonal range downward, producing mildly faded deepest blacks alongside dense, moody shadows. Its lowered white endpoint also softens the brightest extreme. The result is contrasty without having harsh digital endpoints.
Color
An as-shot white balance of 4600K with +12 tint gives the neutral areas a slightly magenta-warm bias, complementing the reddish fur. HSL saturation reductions are central to the look: green is reduced by 75, yellow by 59, blue by 47, and aqua, purple, and magenta are also strongly muted. Orange receives only a modest reduction and red is untouched, so the squirrel retains much more color than the environment. Green hue is shifted by +19, helping any remaining foliage color move away from a vivid natural green. A subtle blue shadow tone at hue 210 and saturation 14 cools the dark pavement and shaded fur. The RGB curves also gently favor cooler blue values in parts of the range, supporting that cool-shadow separation without obvious stylized color grading.
Detail and texture
Moderate sharpening at 40 with a 1.0 radius adds definition to fur, whiskers, and pavement. There is no added Texture, Clarity, or Dehaze, so the image avoids an overly crisp or processed microcontrast look. Color noise reduction is set to 25, while luminance noise reduction is absent. At the captured ISO 200, heavy luminance cleanup was likely unnecessary, allowing natural fine detail—and the added grain—to remain visible.
Film grain and optical treatment
Grain is deliberately prominent at amount 30 and size 30, giving the smooth and dark areas a tactile film texture that fits the Classic Chrome palette. No post-crop vignette was added; the strong dark framing comes from the original lighting and tonal treatment rather than an artificial vignette. Automatic lateral chromatic-aberration correction is enabled, but no lens profile or manual distortion correction is applied.
Composition
The crop trims a small amount from the top and both sides, with no rotation or perspective correction. This is a restrained cleanup rather than a major reframing, keeping the squirrel surrounded by enough dark ground and shadow to preserve the scene’s graphic, high-contrast composition.
What mattered most
- Classic Chrome and broad HSL desaturation create the subdued film palette.
- The squirrel remains prominent because reds are preserved while greens, yellows, blues, and other secondary colors are heavily muted.
- Highlight recovery and lifted shadows protect fur detail within the naturally high-contrast sunlight.
- A raised black point, compressed white endpoint, cool shadow tint, and visible grain produce the vintage documentary finish.
- The dramatic dark areas are driven by the scene and tonal shaping, not by added vignette, Clarity, or Dehaze.