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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/2.0

Shutter speed

1/80s

ISO

100

Metering mode

Multi-segment

Exposure program

Aperture-priority AE

Exposure compensation

Flash

Off, Did not fire

Taken at

2016:05:11 19:58:27

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

2.0

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

2016:05:11 19:58:27

FileSource

Digital Camera

ModifyDate

2020:11:21 11:02:44

OffsetTime

+01:00

Saturation

Normal

Compression

JPEG (old-style)

ExifVersion

0231

FocalLength

55.0 mm

LightSource

Unknown

XResolution

240

YResolution

240

ExposureMode

Auto

ExposureTime

1/80

MeteringMode

Multi-segment

WhiteBalance

Auto

ApertureValue

2.0

CustomRendered

Normal

ResolutionUnit

inches

ThumbnailImage

(Binary data 21179 bytes, use -b option to extract)

BrightnessValue

3.3609375

ExposureProgram

Aperture-priority AE

SensitivityType

Recommended Exposure Index

ThumbnailLength

21179

ThumbnailOffset

942

DateTimeOriginal

2016:05:11 19:58:27

DigitalZoomRatio

MaxApertureValue

1.8

SceneCaptureType

Standard

ShutterSpeedValue

1/80

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="2020-11-21T11:02:44+01:00"
   xmp:CreateDate="2016-05-11T19:58:27"
   xmp:MetadataDate="2020-11-21T11:02:44+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

2016:05:11

TimeCreated

19:58:27

CodedCharacterSet

UTF8

DigitalCreationDate

2016:05:11

DigitalCreationTime

19:58:27

ApplicationRecordVersion

Photoshop

IPTCDigest

5ee566c05fff86070fb316ddd6ec7903

XResolution

240

YResolution

240

DisplayedUnitsX

inches

DisplayedUnitsY

inches

PhotoshopThumbnail

(Binary data 21179 bytes, use -b option to extract)

Adobe Lightroom edits

Download as Lightroom Preset

Need help?

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	As Shot
Temperature	3200
Tint		+10

Tone
Exposure		+0.49
Contrast		+5
Highlights		-70
Shadows		+58
Whites		+50
Blacks		-15

Presence
Texture		0
Clarity		0
Dehaze		0
Vibrance		0
Saturation		-3

Tone Curve

Tone Curve:

Region
Highlights		0
Lights		0
Darks		0
Shadows		0

Color Mixer / HSL

Hue
Red		+28
Orange		-10
Yellow		-37
Green		0
Aqua		0
Blue		0
Purple		0
Magenta		0

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The edit turns the architectural scene into a bold study of orange curves, bright white ceiling panels, and deep blue-black openings. Strong highlight recovery and shadow lifting preserve the wide tonal range, while a custom curve restores crisp depth. Selective HSL work consolidates reds, oranges, and yellows into a vivid orange palette and suppresses most competing colors.

Overall look

The visual intent is graphic and highly controlled rather than naturalistic: saturated orange surfaces wrap around a clean white ceiling and nearly black doorways. Adobe’s color rendering provides a lively starting point, but the decisive styling comes from selective warm-color adjustments and the custom tone curves. Overall saturation is reduced only slightly, so the image remains vivid.

Light and tone

Exposure was raised by about half a stop and Whites by +50, giving the ceiling and floor a bright, open appearance. Highlights were pulled down strongly to -70, protecting detail in the illuminated roof panels, while Shadows were lifted to +58 so the orange interior retains visible panel lines and texture. Blacks at -15 keep the doorways and structural edges firmly anchored. The custom RGB curve darkens the lower tones, gently lifts the middle and upper ranges, and counters the shadow recovery with stronger contrast. The result is broad tonal detail without a flat, overtly HDR appearance.

Color palette

The white balance is cool at 3200 K with a slight magenta tint. This helps the ceiling read comparatively neutral while preventing the large orange surfaces from becoming excessively yellow. The HSL adjustments deliberately funnel several warm hues toward orange: red is shifted toward orange, orange slightly toward red, and yellow strongly toward orange. Red and orange saturation are increased, while yellow saturation is cut dramatically. Their luminance is also raised, making the orange cladding bright and luminous rather than muddy. Aqua, blue, green, purple, and magenta saturation are substantially reduced, removing distractions and leaving a concentrated orange, white, and dark-blue palette.

Color curves

Separate channel curves subtly shape color contrast. The blue curve lifts the deepest black point while red and green remain at zero, giving the darkest openings a cool navy-blue character instead of neutral black. Through the midtones and brighter values, the channel curves support warmer orange surfaces and relatively clean highlights. This color separation makes the orange architecture stand out more strongly against the recesses.

Geometry and composition

A lens profile for the Sony FE 55mm F1.8 ZA was enabled, correcting the lens’s expected distortion and edge shading. An Upright perspective correction was also applied, helping the architectural lines feel deliberate while retaining the dramatic sweeping curves. The crop removes only small slivers around the frame. Visual inference: these corrections and the restrained crop emphasize the central ceiling path and the large right-hand arc without making the image look rigidly symmetrical.

Detail and effects

Moderate sharpening was applied at 40 with a standard 1.0 radius and low detail emphasis, keeping the panel seams crisp. There is no sharpening mask, so sharpening acts across the frame. Color noise reduction is set to 25, while luminance noise reduction is absent. The ISO 100 capture materially supports that choice because little luminance smoothing should be necessary. Texture, Clarity, Dehaze, grain, and vignetting are all unused, preserving smooth architectural surfaces and clean gradients rather than adding a gritty or heavily processed texture.

What mattered most

Highlights were heavily recovered while exposure, whites, and shadows were raised to retain detail throughout the bright ceiling and darker interior.
A custom tone curve and darker black setting restore depth after the strong shadow lift.
HSL edits compress reds, oranges, and yellows into a bright orange family while suppressing most cooler competing colors.
The blue channel curve gives the deepest recesses a subtle navy cast, strengthening warm–cool contrast.
Lens and Upright corrections reinforce the photograph’s graphic architectural composition.

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