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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/3.5

Shutter speed

1/1600s

ISO

100

Metering mode

Multi-segment

Exposure program

Aperture-priority AE

Exposure compensation

Flash

Off, Did not fire

Taken at

2016:09:09 15:09:24

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

3.5

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

2016:09:09 15:09:24

FileSource

Digital Camera

ModifyDate

2020:11:22 09:10:46

OffsetTime

+01:00

Saturation

Normal

Compression

JPEG (old-style)

ExifVersion

0231

FocalLength

35.0 mm

LightSource

Unknown

XResolution

240

YResolution

240

ExposureMode

Auto

ExposureTime

1/1600

MeteringMode

Multi-segment

WhiteBalance

Auto

ApertureValue

3.5

CustomRendered

Normal

ResolutionUnit

inches

ThumbnailImage

(Binary data 13416 bytes, use -b option to extract)

BrightnessValue

10.63046875

ExposureProgram

Aperture-priority AE

SensitivityType

Recommended Exposure Index

ThumbnailLength

13416

ThumbnailOffset

942

DateTimeOriginal

2016:09:09 15:09:24

DigitalZoomRatio

MaxApertureValue

2.8

SceneCaptureType

Standard

ShutterSpeedValue

1/1600

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="2020-11-22T09:10:46+01:00"
   xmp:CreateDate="2016-09-09T15:09:24"
   xmp:MetadataDate="2020-11-22T09:10:46+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

2016:09:09

TimeCreated

15:09:24

CodedCharacterSet

UTF8

DigitalCreationDate

2016:09:09

DigitalCreationTime

15:09:24

ApplicationRecordVersion

Photoshop

IPTCDigest

be4d113471a56a308bec18a30b9ac6b5

XResolution

240

YResolution

240

DisplayedUnitsX

inches

DisplayedUnitsY

inches

PhotoshopThumbnail

(Binary data 13416 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	5200
Tint		+4

Tone
Exposure		+0.11
Contrast		+14
Highlights		-51
Shadows		+52
Whites		+50
Blacks		-23

Presence
Texture		0
Clarity		+9
Dehaze		0
Vibrance		0
Saturation		-16

Tone Curve

Tone Curve:

Region
Highlights		0
Lights		0
Darks		0
Shadows		0

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The edit creates a cool, muted architectural look with controlled cloud detail, open building shadows, crisp glass surfaces, and a noticeable film-like grain. Strong highlight and shadow recovery keeps detail across the bright sky and reflective tower, while selective color reductions push the scene toward restrained cyan-blue and gray tones.

Light and tone

A small exposure lift brightens the frame without substantially changing the original exposure. Highlights were reduced strongly (-51) and shadows raised (+52), recovering texture in the bright clouds while opening the darker glass and neighboring buildings. Whites were then pushed to +50 for clean, luminous cloud edges and reflections, while Blacks at -23 restore depth so the broad tonal recovery does not make the photograph look flat. The custom tone curve lifts the absolute black point and slightly compresses the brightest endpoint, producing gently faded extremes, while its middle shaping preserves contrast. The result is a detailed, somewhat graphic rendering rather than a harsh high-contrast skyline.

Color

The overall saturation reduction (-16) establishes the subdued palette. Yellow, orange, green, and blue saturation were reduced substantially, stripping distracting warmth and foliage-like color from the urban scene. Aqua remains comparatively present, so the sky retains a cyan character even as blue saturation is reduced. Aqua and blue hues were shifted toward greener, more teal territory, and blue luminance was lowered to give the sky more density behind the pale tower. The as-shot white balance is close to neutral daylight, with only a slight magenta tint, so the cool appearance comes mainly from the HSL treatment and channel curves rather than an aggressively cool white balance. The individual RGB curves appear to add a very subtle warm bias in deep shadows and a cooler/cyan tendency in brighter tones; this is a visual inference from their relative channel shaping.

Detail and structure

Clarity at +9 adds modest midtone definition to window grids, façade edges, and cloud texture without the stronger halos that a heavy clarity or dehaze treatment could create. Standard sharpening at 40 reinforces fine architectural lines. With no sharpening masking, the sharpening also affects flatter areas such as the sky, but the moderate amount keeps this controlled. No luminance noise reduction was applied; the ISO 100 capture provides little need for it. Default-strength color noise reduction helps suppress small chromatic artifacts without smoothing away structural detail.

Effects and finish

Grain is a major finishing choice: Amount 40 with a relatively small-to-medium size gives the sky and smooth glass surfaces an intentionally textured, analog feel. This prevents the recovered tones and muted colors from appearing overly clean or digital. There is no added vignette, so attention is directed by the tower’s scale and central placement rather than artificial edge darkening.

Geometry and framing

No crop, perspective correction, distortion correction, or Upright transformation was applied. The converging verticals and upward-looking 35mm perspective are therefore retained, emphasizing the tower’s height and dramatic taper. This is an intentional-looking visual outcome, although the metadata alone cannot confirm intent.

What mattered most

Strong highlight recovery and lifted shadows preserve detail in both clouds and reflective architecture.
Bright whites and darker blacks restore punch after the broad tonal compression.
Selective desaturation creates a restrained cyan-gray city palette rather than a vivid blue sky.
Moderate clarity and sharpening define architectural lines without relying on dehaze.
Pronounced grain supplies the photograph’s textured, film-like finish.
Uncorrected perspective reinforces the sense of height.