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Camera settings (EXIF data)

Camera Sony Sony a7 II

Full frame (35.8 x 23.9 mm)

Lens Sony Sonnar T* FE 55mm f/1.8 ZA

min. focus distance: 1.64' / 50 cm

stabilization: no

weight: 281 g

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Focal length

55.0 mm

Aperture

ƒ/1.8

Shutter speed

1/4000s

ISO

100

Metering mode

Multi-segment

Exposure program

Aperture-priority AE

Exposure compensation

Flash

Off, Did not fire

Taken at

2016:05:02 13:44:46

Software

Adobe Photoshop Lightroom Classic 10.0 (Macintosh)

no copyright note in EXIF

GPS Location

—

GPS Altitude

—

GPS Date & time

—

Raw EXIF data

ISO

100

Make

SONY

Flash

Off, Did not fire

Model

ILCE-7M2

FNumber

1.8

Contrast

Normal

LensInfo

55mm f/1.8

Software

Adobe Photoshop Lightroom Classic 10.0 (Macintosh)

LensModel

FE 55mm F1.8 ZA

SceneType

Directly photographed

Sharpness

Normal

ColorSpace

sRGB

CreateDate

2016:05:02 13:44:46

FileSource

Digital Camera

ModifyDate

2020:11:22 08:53:44

OffsetTime

+01:00

Saturation

Normal

Compression

JPEG (old-style)

ExifVersion

0231

FocalLength

55.0 mm

LightSource

Unknown

XResolution

240

YResolution

240

ExposureMode

Auto

ExposureTime

1/4000

MeteringMode

Multi-segment

WhiteBalance

Auto

ApertureValue

1.8

CustomRendered

Normal

ResolutionUnit

inches

ThumbnailImage

(Binary data 11449 bytes, use -b option to extract)

BrightnessValue

9.92734375

ExposureProgram

Aperture-priority AE

SensitivityType

Recommended Exposure Index

ThumbnailLength

11449

ThumbnailOffset

942

DateTimeOriginal

2016:05:02 13:44:46

DigitalZoomRatio

MaxApertureValue

1.8

SceneCaptureType

Standard

ShutterSpeedValue

1/4000

ExposureCompensation

FocalPlaneXResolution

1675.257385

FocalPlaneYResolution

1675.257385

FocalLengthIn35mmFormat

55 mm

FocalPlaneResolutionUnit

RecommendedExposureIndex

100

Raw XMP data

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  <rdf:Description rdf:about=""
    xmlns:xmp="http://ns.adobe.com/xap/1.0/"
    xmlns:aux="http://ns.adobe.com/exif/1.0/aux/"
    xmlns:exifEX="http://cipa.jp/exif/1.0/"
    xmlns:photoshop="http://ns.adobe.com/photoshop/1.0/"
    xmlns:xmpMM="http://ns.adobe.com/xap/1.0/mm/"
    xmlns:stEvt="http://ns.adobe.com/xap/1.0/sType/ResourceEvent#"
    xmlns:stRef="http://ns.adobe.com/xap/1.0/sType/ResourceRef#"
    xmlns:dc="http://purl.org/dc/elements/1.1/"
    xmlns:crs="http://ns.adobe.com/camera-raw-settings/1.0/"
   xmp:CreatorTool="Adobe Photoshop Lightroom Classic 10.0 (Macintosh)"
   xmp:ModifyDate="2020-11-22T08:53:44+01:00"
   xmp:CreateDate="2016-05-02T13:44:46"
   xmp:MetadataDate="2020-11-22T08:53:44+01:00"
   aux:LensInfo="550/10 550/10 18/10 18/10"
   aux:Lens="FE 55mm F1.8 ZA"
   aux:LensDistortInf...

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IPTC

DateCreated

2016:05:02

TimeCreated

13:44:46

CodedCharacterSet

UTF8

DigitalCreationDate

2016:05:02

DigitalCreationTime

13:44:46

ApplicationRecordVersion

Photoshop

IPTCDigest

f0b829c2b24257d7775c10412c1a1584

XResolution

240

YResolution

240

DisplayedUnitsX

inches

DisplayedUnitsY

inches

PhotoshopThumbnail

(Binary data 11449 bytes, use -b option to extract)

Adobe Lightroom edits

Download as Lightroom Preset

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Look

Name	Adobe Color
Group	Profiles
Cluster
Amount	1.0

Note on Looks

Looks are not included in the default downloadable preset. The reason is that they often require extra files installed on your system (e.g. many film emulation packs).

Without these files in place, the presets downloaded from PixelPeeper couldn't be imported. That's why PixelPeeper presets focus on universal settings. If you want to replicate the Look part, you can copy it manually, but in many cases, it won't have an effect without the looks installed on your computer first.

The "Full XMP Settings" version of the downloadable preset will include the look and other (complete) adjustments. If you have the required looks installed, you should be able to import this XMP file to Lightroom.

Basic

Profile	Adobe Standard
White Balance	Custom
Temperature	5171
Tint		+4

Tone
Exposure		+0.15
Contrast		+11
Highlights		-74
Shadows		+49
Whites		+10
Blacks		-22

Presence
Texture		0
Clarity		+6
Dehaze		0
Vibrance		0
Saturation		+3

Tone Curve

Tone Curve:

Region
Highlights		0
Lights		0
Darks		0
Shadows		0

Color Mixer / HSL

Hue
Red		+21
Orange		0
Yellow		-27
Green		0
Aqua		+6
Blue		-23
Purple		0
Magenta		0

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The photograph was shaped into a restrained, slightly faded architectural image. Strong highlight recovery protects the overcast sky, lifted shadows reveal the church façade and street activity, and deeper Blacks restore structure after that tonal compression. Extensive HSL desaturation turns the scene’s varied colors into a subdued brick-red, gray, and cool-blue palette, while a raised-black/compressed-white tone curve and prominent grain create a film-like finish.

Overall look

The result is muted and documentary-like rather than crisp and highly saturated. Adobe Color supplies the starting profile, but the custom tone curve softens the tonal endpoints and the HSL controls heavily suppress most color families. The church remains dominant through its warm brick color and strong dark outlines, while the pale sky and gray square provide quiet negative space.

Light and tone

Exposure was raised only slightly, while Highlights were reduced very strongly to -74. This retains texture and gentle gradation in the bright cloudy sky instead of letting it become a flat white field. Shadows at +49 open the church’s darker walls, roof, entrances, and the crowd at street level. Whites at +10 keep the image from becoming dull, while Blacks at -22 and modest added Contrast give the architecture firm dark anchors. These opposing adjustments compress the scene’s dynamic range without making it look completely flat.

Tone curve

The custom curve raises the black endpoint substantially and lowers the white endpoint, producing faded blacks and softened brightest whites. At the same time, the Basic-panel black reduction restores density in the deeper architectural details. That interaction creates a matte, film-like base while preserving enough contrast for windows, masonry, and rooflines to remain legible. The red, green, and blue curves use matching shapes, so this curve treatment changes tonality without introducing a strong split-color cast.

Color

A custom white balance around 5171 K with a slight magenta tint keeps the overcast scene neutral-to-gently warm. Global Saturation is only slightly increased, but selective HSL reductions dominate the final palette: yellow is nearly removed, and red, green, aqua, and blue are all heavily desaturated. This suppresses colorful signs, clothing, vegetation, and sky tones, allowing the church to read as restrained brown-red rather than vivid orange. Red luminance is raised and red hue shifted, helping the brickwork stay visible and distinct despite its reduced saturation. Blue is shifted and darkened slightly, reinforcing the cool gray character of the sky and pavement. No color grading or split toning was applied.

Detail and texture

Sharpening is moderate, with a standard radius and low detail emphasis, supporting architectural edges without creating an aggressively digital texture. Clarity is increased only slightly, adding local definition to masonry and window frames; Texture and Dehaze remain neutral, so the cloudy atmosphere stays soft. Color noise reduction is present, but luminance noise reduction is zero. The ISO 100 capture materially supports that choice because little luminance-noise cleanup was needed.

Grain and finish

A relatively strong Grain amount of 40 is a major part of the finish. Its medium size and roughness give the smooth sky and pavement visible texture and help unify the photograph’s softened tones. There is no post-crop vignette, so attention is directed by the building’s scale, tonal contrast, and composition rather than artificial edge darkening.

Geometry and framing

A lens profile for the Sony FE 55mm F1.8 ZA corrects optical distortion and vignetting. Upright correction was also applied, which is particularly useful for the tall church towers and architectural verticals. A modest crop and very small rotation refine the alignment and leave the building centered with ample sky above and street activity below.

What mattered most

Strong highlight recovery and substantial shadow lifting balance the bright sky against the dark church.
Lowered Blacks and modest contrast preserve architectural structure after the tonal range is compressed.
Heavy selective desaturation—not global saturation—is responsible for the subdued color palette.
The raised-black, lowered-white curve and strong grain create the faded film-like character.
Lens correction, Upright geometry, and cropping keep the tall architecture visually controlled.

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