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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

1/100s

ISO

320

Metering mode

Spot

Exposure program

Aperture-priority AE

Exposure compensation

-0.7

Flash

Off, Did not fire

Taken at

2016:08:27 05:33:15

Software

Adobe Photoshop Lightroom Classic 10.0 (Macintosh)

no copyright note in EXIF

GPS Location

—

GPS Altitude

—

GPS Date & time

—

Raw EXIF data

ISO

320

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

2016:08:27 05:33:15

FileSource

Digital Camera

ModifyDate

2020:11:21 11:26:04

OffsetTime

+01:00

Saturation

Normal

Compression

JPEG (old-style)

ExifVersion

0231

FocalLength

55.0 mm

LightSource

Unknown

XResolution

240

YResolution

240

ExposureMode

Auto

ExposureTime

1/100

MeteringMode

Spot

WhiteBalance

Auto

ApertureValue

2.0

CustomRendered

Normal

ResolutionUnit

inches

ThumbnailImage

(Binary data 9077 bytes, use -b option to extract)

BrightnessValue

-0.09609375

ExposureProgram

Aperture-priority AE

SensitivityType

Recommended Exposure Index

ThumbnailLength

9077

ThumbnailOffset

942

DateTimeOriginal

2016:08:27 05:33:15

DigitalZoomRatio

MaxApertureValue

1.8

SceneCaptureType

Standard

ShutterSpeedValue

1/100

ExposureCompensation

-0.7

FocalPlaneXResolution

1675.257385

FocalPlaneYResolution

1675.257385

FocalLengthIn35mmFormat

55 mm

FocalPlaneResolutionUnit

RecommendedExposureIndex

320

Raw XMP data

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 <rdf:RDF xmlns:rdf="http://www.w3.org/1999/02/22-rdf-syntax-ns#">
  <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="2020-11-21T11:26:04+01:00"
   xmp:CreateDate="2016-08-27T05:33:15"
   xmp:MetadataDate="2020-11-21T11:26:04+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

2016:08:27

TimeCreated

05:33:15

CodedCharacterSet

UTF8

DigitalCreationDate

2016:08:27

DigitalCreationTime

05:33:15

ApplicationRecordVersion

Photoshop

IPTCDigest

47a9e0699e749d10146db0336243d125

XResolution

240

YResolution

240

DisplayedUnitsX

inches

DisplayedUnitsY

inches

PhotoshopThumbnail

(Binary data 9077 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	5850
Tint		+21

Tone
Exposure		+0.40
Contrast		+7
Highlights		-56
Shadows		-19
Whites		-11
Blacks		-24

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		-3
Orange		0
Yellow		+28
Green		+14
Aqua		0
Blue		0
Purple		0
Magenta		0

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The photograph was shaped into a dark, cinematic environmental portrait: the red dress remains the strongest color while the surrounding foliage is muted, cool-leaning, and textural. A small exposure lift preserves visibility, but compressed highlights, darker lower tones, selective color desaturation, and strong added grain keep the result subdued rather than bright.

Overall look

The edit emphasizes the contrast between the subject’s saturated red dress and a restrained green-blue environment. The Adobe Color look supplies a moderately vivid starting point, but the subsequent HSL work suppresses most competing colors. The result feels atmospheric and film-like rather than clean or conventionally vibrant.

Light and tone

Exposure was raised by 0.40 EV, bringing the subject and vegetation out of the underexposed capture without making the scene feel daylight-bright. Highlights were reduced strongly (-56), with whites also lowered, which protects the pale hair, skin, and brighter foliage. Shadows and blacks were both pushed darker, producing dense foliage and helping the red silhouette stand apart. The custom tone curve lifts the absolute black point while holding down parts of the lower tonal range; this creates slightly faded deepest blacks alongside heavy, moody lower-midtones. Subtle added contrast reinforces that separation.

Color palette

The custom white balance is warm with a pronounced magenta tint, helping skin and the red clothing avoid becoming green in the foliage-heavy setting. Color Mixer adjustments then do most of the palette design: red saturation is increased, while orange is slightly reduced and red hue is nudged only minimally, preserving the dress as the visual anchor. Green and yellow are shifted in hue and darkened, then strongly desaturated, turning the vegetation into a deeper, less literal background. Blue saturation is reduced by 80, with aqua, purple, and magenta also heavily subdued, preventing small cool colors from competing with the subject. Custom red, green, and blue curves introduce additional channel separation; a reasonable visual inference is that they contribute to the cool, cyan-green character of the shadows and foliage while the warm red remains distinct.

Detail and texture

Moderate sharpening was applied with a standard radius and no masking, giving broad edge definition rather than highly selective sharpening. Color noise reduction is present, but luminance noise reduction is not. The capture ISO was only 320, so aggressive luminance cleanup was unnecessary. Grain is intentionally strong at an amount of 40, adding visible texture across both the dark vegetation and smoother areas. This is a deliberate aesthetic layer rather than simply untreated capture noise.

Lens and capture context

The Adobe profile for the Sony FE 55mm F1.8 ZA is enabled, correcting the lens at its default distortion and vignetting strengths. No additional post-crop vignette or crop was used, so the natural composition and edge brightness were retained after profile correction. The photograph was captured at 55mm and f/2; the resulting shallow depth of field and soft background separation are primarily optical characteristics of the capture, while the darker tonal and muted-color treatment strengthens that separation in the edit.

What mattered most

A modest exposure lift was balanced by strong highlight recovery and darker shadows, preserving detail without losing the low-key mood.
Heavy desaturation of greens, yellows, blues, and secondary colors isolates the more saturated red dress.
The raised black point and dark lower-midtones combine a slight matte quality with substantial depth.
Strong added grain is central to the finished film-like texture.
The shallow background blur comes from the 55mm f/2 capture; Lightroom mainly reinforces it through tone and color contrast.

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