Anni Graham presets are not one interchangeable product. Yosemite and Glacier provide editing looks; Lumine adds light-and-shadow effects and has different software requirements. Identify the pack you own before following an installation guide or judging a demonstration.
This guide uses creator product pages and Adobe documentation checked in September 2026. The comparison images are Anni Graham's published examples, not our own preset test. The editing checklist below is a suggested workflow, not a promise that one click will match the creator's portfolio.
Know which pack you are buying
Yosemite: color and black-and-white looks
The creator's Yosemite page lists four color and two black-and-white presets, with desktop, mobile, and bundle choices. Its examples include warm tones, cooler shadows, and a green-focused variation. Read the specific edition's contents and installation guide; an older interview about a single available pack does not describe the whole current catalog.
Glacier: a base with modifications
The Glacier bundle listing includes a base preset, modifications for colors such as green and blue, grain and lens-correction options, plus two black-and-white presets. Desktop and mobile installation guides are listed. Choose variations by the image in front of you, rather than assuming that every forest or snow scene needs the same treatment.
Lumine: placed light-and-shadow effects
Meridian's Lumine listing describes 15 light-and-shadow effect brush presets and a Lightroom-only plug-in. It specifies Lightroom Classic 7.5 or later and Camera Raw 10.5 or later, and does not promise Lightroom mobile functionality. Those are the seller's stated minimums for this effects product, not universal requirements for every Anni Graham pack.
Follow Lumine's included installer or installation guide. Treat a placed effect separately from your overall color edit, and inspect its position and intensity on the subject. Do not assume that instructions for importing a color preset also install its plug-in.
Before purchase, confirm the exact edition, supported app, included files, installation method, and seller's current terms. If the listing leaves your device or app version unclear, ask the seller before paying. A familiar preset name is not a compatibility guarantee.
Read a real creator example carefully
These two photographs appear together in the Yosemite 01 example on Anni Graham's product page. They show the creator's published comparison; they do not isolate every editing adjustment or predict the result on another file.
Compare several areas rather than just overall brightness: skin, the white dress, the dark sand, and the sky. Here, the second version looks lighter and warmer, with less prominent blue in the sky. That is a visible comparison, not a measurement of what the preset alone changed.
For a longer demonstration, watch Anni Graham's Yosemite editing walkthrough. It demonstrates that named pack; it should not be treated as a Lumine installation lesson.
Install the files in the right Adobe app
Keep the original download and its instructions. XMP preset files, DNG images carrying settings, and plug-in installers serve different purposes. Do not rename an extension to make a file appear compatible.
Lightroom Classic
In the Develop module, open the Presets panel, select its Add (+) control, and choose Import Presets. Select supported preset files or a ZIP containing them, then import. Adobe allows ZIP import for XMP presets and profiles, but says older .lrtemplate presets cannot be imported inside a ZIP. Follow Adobe's current Classic preset instructions.
Open a representative photo and find the imported group before editing a full set. If an expected preset is missing, check the imported file type and whether it is hidden as partially compatible with the selected photo.
Lightroom desktop
The cloud-based Lightroom app is distinct from Lightroom Classic. In Lightroom desktop, use File > Import Profiles & Presets, select the files, and import. Adobe documents syncing installed desktop presets to Lightroom mobile; use the same Adobe account and check subscription and sync status. See Adobe's preset installation FAQ.
Lightroom on a phone or tablet
Adobe's June 2026 mobile import instructions support individual XMP, DNG, and LRTemplate files. Extract a ZIP first for this documented mobile workflow.
Open a photo, select Presets, then use the options menu to choose Import Presets. On iOS, Adobe places that menu under Yours. Select the saved file and look under Yours > User Presets. Keep the purchased pack's own instructions available, especially for older DNG-based packages. Mobile import support does not make a desktop-only effects plug-in compatible with your phone.
Adobe Camera Raw
For supported Camera Raw presets, Adobe documents Import Profiles and Presets from the Preset panel's context menu. Its instructions specify ZIP import for that dialog. Follow the Camera Raw import guide and the seller's packaging instructions. Do not substitute a generic XMP workflow for Lumine's installer.
Adjust a representative photo before batching
Choose a frame with the lighting, skin tones, and background colors that recur in the sequence. Keep a comparison version so you can tell whether the edit actually improves the photograph.
- Check white balance. Compare skin and a plausible neutral surface. Adjust Temperature and Tint if the whole frame has an unwanted cast; a dress under colored light is not automatically a neutral reference.
- Set exposure. Make the subject readable while watching important highlight and shadow detail. A darker mood should not accidentally erase a face or clothing texture.
- Refine tone. Adjust Highlights, Shadows, Whites, Blacks, or the tone curve as needed. Avoid moving every control simply because a preset looks different from the sales examples.
- Review color selectively. If one color family is too strong, make small Color Mixer/HSL changes and check what else changes. A global orange adjustment can affect both skin and nearby objects.
- Use local adjustments where the problem is local. A green reflection on one side of a face may need a mask rather than a large tint change across the whole image.
For crop and transform, follow any pack-specific effect instructions and inspect the result after reframing. There is no general crop-order rule established here for all three products. Color adjustments and effects placed over a particular area should not be treated as the same operation.
Sync similar lighting, not the entire wedding
Separate open shade, direct sun, window light, mixed indoor light, and flash photographs before copying an edit. Even nearby frames can differ when a subject turns toward a reflective wall or bright sky.
In Lightroom Classic, select the finished reference image and the target photos, with the reference as the active image. Use Sync in Develop or Sync Settings in Library, and choose which settings to copy. Adobe's Develop module guide explains synchronizing selected settings.
Copy the broad color treatment only where it fits. Review white balance and exposure whenever light or camera settings change. Leave crops, spot removal, and position-dependent local adjustments out unless they genuinely belong on the target frames. After syncing, inspect the beginning, middle, and end of the sequence, then check every intended delivery image for obvious exceptions.
A consistent gallery does not require identical slider values. It requires deliberate color, readable subjects, and a similar level of finishing across the set.
Troubleshoot the result you can see
Skin looks orange, red, or green. Compare with the starting image. Check global white balance first, then reflected light and selective color changes. Avoid automatically desaturating every person's skin; different complexions and lighting need different corrections.
Highlights disappear or dark clothing loses texture. Check whether the detail exists in the source. Reduce an overly strong tonal adjustment before trying to recover it locally. A preset cannot recreate genuinely clipped source detail.
Whites or neutrals have a cast. Judge a surface whose color you actually know. If the cast covers the scene, revisit white balance; if it affects only one area, consider a local correction. Do not force every shadow to neutral if its color belongs to the scene.
One frame works and the next does not. Compare illumination, exposure, white balance, and the subject's surroundings before switching presets. Correct the changed condition instead of forcing uniform settings.
The export looks different. Check the exported file's dimensions, color profile, compression, and output sharpening. Compare it at the intended viewing size in a color-managed application. Separate an export problem from a preset problem before re-editing the gallery.
Export and deliver without losing the edit
Keep the original files and editable catalog or settings backed up. Make delivery copies for the intended use rather than overwriting the only working version.
For an ordinary web preview, a resized SDR JPEG in sRGB is a practical starting point. Choose dimensions for the placement and inspect compression and screen sharpening at that size. For print, follow the lab's requested dimensions, color profile, file type, and sharpening guidance. Do not apply a web size limit to a file intended for a large print. Adobe describes these controls in its Lightroom Classic export guide.
Use filenames that distinguish final delivery files from drafts, and give the client clear usage and download instructions. Gallery access settings help manage who receives the work; they are not a guarantee against copying after delivery.
When the finished images are ready, use a SendPhoto gallery to present the set. The getting-started guide covers creating and sharing a gallery; the download-control guide explains the available file-delivery choices.