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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 35mm f/2.8 ZA

min. focus distance: 13.78" / 35 cm

stabilization: no

weight: 120 g

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Focal length

35.0 mm

Aperture

ƒ/8.0

Shutter speed

1/400s

ISO

100

Metering mode

Multi-segment

Exposure program

Aperture-priority AE

Exposure compensation

Flash

Off, Did not fire

Taken at

2016:09:08 15:02:04

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

8.0

Contrast

Low

LensInfo

35mm f/2.8

Software

Adobe Photoshop Lightroom Classic 10.0 (Macintosh)

LensModel

FE 35mm F2.8 ZA

SceneType

Directly photographed

Sharpness

Normal

ColorSpace

sRGB

CreateDate

2016:09:08 15:02:04

FileSource

Digital Camera

ModifyDate

2020:11:21 11:48:18

OffsetTime

+01:00

Saturation

Normal

Compression

JPEG (old-style)

ExifVersion

0231

FocalLength

35.0 mm

LightSource

Unknown

XResolution

240

YResolution

240

ExposureMode

Auto

ExposureTime

1/400

MeteringMode

Multi-segment

WhiteBalance

Auto

ApertureValue

8.0

CustomRendered

Normal

ResolutionUnit

inches

ThumbnailImage

(Binary data 16651 bytes, use -b option to extract)

BrightnessValue

10.69296875

ExposureProgram

Aperture-priority AE

SensitivityType

Recommended Exposure Index

ThumbnailLength

16651

ThumbnailOffset

942

DateTimeOriginal

2016:09:08 15:02:04

DigitalZoomRatio

MaxApertureValue

2.8

SceneCaptureType

Standard

ShutterSpeedValue

1/400

ExposureCompensation

FocalPlaneXResolution

1675.257385

FocalPlaneYResolution

1675.257385

FocalLengthIn35mmFormat

35 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="2020-11-21T11:48:18+01:00"
   xmp:CreateDate="2016-09-08T15:02:04"
   xmp:MetadataDate="2020-11-21T11:48:18+01:00"
   aux:LensInfo="350/10 350/10 28/10 28/10"
   aux:Lens="FE 35mm F2.8 ZA"
   aux:LensDistortInf...

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IPTC

DateCreated

2016:09:08

TimeCreated

15:02:04

CodedCharacterSet

UTF8

DigitalCreationDate

2016:09:08

DigitalCreationTime

15:02:04

ApplicationRecordVersion

Photoshop

IPTCDigest

27232863218f6fcb460e159f76183f74

XResolution

240

YResolution

240

DisplayedUnitsX

inches

DisplayedUnitsY

inches

PhotoshopThumbnail

(Binary data 16651 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	5000
Tint		+5

Tone
Exposure		-0.25
Contrast		-2
Highlights		-66
Shadows		+46
Whites		-8
Blacks		-22

Presence
Texture		0
Clarity		0
Dehaze		0
Vibrance		0
Saturation		0

Tone Curve

Tone Curve:

Region
Highlights		0
Lights		0
Darks		0
Shadows		0

Color Mixer / HSL

Hue
Red		-18
Orange		0
Yellow		-54
Green		+23
Aqua		+26
Blue		+12
Purple		0
Magenta		0

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The photograph was shaped into a restrained, film-like urban documentary image. Strong highlight recovery and lifted shadows preserve detail across the bright sky, bridge structure, and shaded walkway, while a custom curve compresses both endpoints for a matte, slightly faded finish. Cool architectural colors are muted, allowing the cyclist’s red clothing and the American flag to provide controlled color accents. Added grain supplies the final analog texture.

Overall look

The Adobe Color look provides the starting color rendering, but the custom tone and HSL work move the image away from a clean digital appearance. The result is subdued and somewhat cool, with low-key contrast, softened tonal extremes, selective red emphasis, and visible grain—well suited to the symmetrical, street-photography composition.

Light and tone

Exposure was lowered slightly by 0.25 EV, keeping the bright sky and pale walkway stripe from feeling too dominant. Highlights were reduced substantially (-66) while shadows were opened (+46), recovering structure in the bridge tower and railings without turning the scene into a high-contrast silhouette. Whites were also pulled back, while Blacks at -22 restore some depth after the shadows were lifted. The custom tone curve is especially important: it raises the black endpoint and lowers the white endpoint, creating faded blacks and restrained whites. Its middle section remains comparatively natural, so the bridge still has definition despite the compressed endpoints.

Color

The custom white balance is fairly neutral at 5000K with a slight magenta tint, avoiding an overly warm daylight rendering. Blues and aquas were desaturated strongly and blue luminance was raised, making the sky and distant skyline quieter and lighter rather than intensely blue. Yellow was shifted heavily toward orange and reduced in saturation, suppressing distracting yellow-green tones in the walkway and metalwork. Green luminance was lowered, which helps darker greenish or weathered structural areas retain weight. Red saturation was increased by 26 while most other prominent color families were reduced; visually, this makes the cyclist’s jacket and the flag stand out against the muted bridge. This selective red emphasis is a key part of the image’s color hierarchy.

Channel curve character

The individual red, green, and blue curves add subtle color separation rather than obvious split toning. Blue is lifted slightly more in the deepest shadows, while the upper tonal ranges favor green and blue over red in places. A reasonable visual inference is that this contributes to the cool, faintly cyan character of the steel, skyline, and shaded walkway while keeping the red accents distinct.

Detail and texture

Sharpening is moderate, with a radius of 1.0 and no masking, so fine bridge cables, masonry, and railing detail receive broad sharpening. Color noise reduction is set to 25, but there is no luminance noise reduction. The ISO 100 capture was already relatively clean, so heavy noise cleanup was unnecessary. Instead, grain was deliberately added at Amount 40 with a modest Size of 25, giving the sky and flat surfaces visible analog texture and reducing the clinically smooth appearance of the digital file.

Effects and geometry

There is no post-crop vignette, artificial dehaze, crop, or perspective correction. The strong converging lines and centered bridge tower therefore come primarily from the original 35mm composition and viewpoint. Leaving vignette and dehaze at zero also keeps the atmosphere natural and avoids making the dense cable structure look excessively harsh.

What mattered most

Highlight recovery and opened shadows preserve detail across a naturally high-contrast bridge scene.
A lifted-black, lowered-white tone curve creates the matte film-like tonal envelope.
Muted blues, aquas, and yellows keep the architecture subdued, while stronger reds direct attention to the cyclist and flag.
Intentional grain, rather than noise reduction, supplies the principal surface texture.
The composition and converging geometry were retained without cropping or perspective correction.

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