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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/5.0

Shutter speed

1/640s

ISO

100

Metering mode

Multi-segment

Exposure program

Aperture-priority AE

Exposure compensation

-0.7

Flash

Off, Did not fire

Taken at

2016:09:09 18:51:06

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

5.0

Contrast

Low

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

2016:09:09 18:51:06

FileSource

Digital Camera

ModifyDate

2020:11:21 12:31:59

OffsetTime

+01:00

Saturation

Normal

Compression

JPEG (old-style)

ExifVersion

0231

FocalLength

55.0 mm

LightSource

Unknown

XResolution

240

YResolution

240

ExposureMode

Auto

ExposureTime

1/640

MeteringMode

Multi-segment

WhiteBalance

Auto

ApertureValue

5.0

CustomRendered

Normal

ResolutionUnit

inches

ThumbnailImage

(Binary data 14185 bytes, use -b option to extract)

BrightnessValue

9.09921875

ExposureProgram

Aperture-priority AE

SensitivityType

Recommended Exposure Index

ThumbnailLength

14185

ThumbnailOffset

942

DateTimeOriginal

2016:09:09 18:51:06

DigitalZoomRatio

MaxApertureValue

1.8

SceneCaptureType

Standard

ShutterSpeedValue

1/640

ExposureCompensation

-0.7

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="2020-11-21T12:31:59+01:00"
   xmp:CreateDate="2016-09-09T18:51:06"
   xmp:MetadataDate="2020-11-21T12:31:59+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

2016:09:09

TimeCreated

18:51:06

CodedCharacterSet

UTF8

DigitalCreationDate

2016:09:09

DigitalCreationTime

18:51:06

ApplicationRecordVersion

Photoshop

IPTCDigest

ae4faa48d1b2d22dd6b635ec0bddee54

XResolution

240

YResolution

240

DisplayedUnitsX

inches

DisplayedUnitsY

inches

PhotoshopThumbnail

(Binary data 14185 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	Custom
Temperature	5450
Tint		+8

Tone
Exposure		-0.06
Contrast		+7
Highlights		-33
Shadows		+66
Whites		+24
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

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The photograph was shaped into a muted, gritty urban street image with a matte tonal finish. Strong shadow recovery keeps the buildings and street readable, restrained highlights preserve the overcast sky, and extensive HSL desaturation suppresses most city color while allowing the yellow taxis and traffic lights to remain effective accents. A tight vertical crop, perspective correction, and pronounced grain reinforce the graphic, documentary feel.

Composition and geometry

A substantial crop converts the original frame into a tight vertical composition centered on the pedestrian, taxi, roadway, and One World Trade Center. This compression makes the street markings and building lines lead directly toward the tower. Upright perspective correction and the enabled 55mm lens profile help keep the dense architecture controlled and visually stable, while also correcting the lens’s normal distortion and vignetting.

Light and tone

The overall exposure was left nearly unchanged, but the tonal distribution was heavily reshaped. Shadows were raised strongly (+66) and highlights reduced (-33), opening detail in the dark storefronts, vehicles, and the pedestrian while preventing the pale sky from becoming harsh. Whites were increased (+24) to retain some brightness and separation in the cloudy atmosphere, while Blacks at +22 further soften deep shadow contrast. A custom tone curve lifts the black point substantially and slightly lowers the brightest endpoint, producing the visible faded, matte finish. Intermediate curve points restore some contrast through the middle tones, so the image does not look completely flat.

Color treatment

White balance is moderately neutral at 5450K with a small magenta tint, which keeps the overcast scene from becoming excessively blue-green. The stronger color styling comes from HSL: blue, green, yellow, purple, red, and orange saturation are all reduced, with particularly heavy suppression of green (-67), blue (-59), and yellow (-50). This creates the subdued city palette seen in the buildings, road, and sky. Yellow and orange luminance were raised, helping taxis, construction markers, and signals remain bright even after their saturation was reduced. Blue luminance was lowered strongly (-34), adding density to any remaining blue-gray elements. Small hue shifts move blues slightly toward aqua and adjust reds, greens, and yellows away from their default rendering. Inference: these choices were likely intended to isolate the warm traffic accents without allowing the many incidental street colors to compete with the pedestrian and skyline.

Detail and texture

Sharpening is moderate, with a standard radius and relatively low detail emphasis. No luminance noise reduction was applied, which is appropriate given the clean ISO 100 capture; standard color noise reduction remains enabled to suppress minor chroma speckling. Texture, Clarity, and Dehaze were all left at zero, so the gritty quality does not come from aggressive microcontrast.

Grain and finish

A pronounced grain treatment—amount 40 with medium size—supplies the image’s rough, film-like surface. This is especially visible across the sky and pavement and visually unifies the recovered shadows with the smoother overcast areas. No post-crop vignette was added, so attention is directed through the crop, roadway perspective, subdued palette, and central subject rather than artificial edge darkening.

What mattered most

Strong shadow recovery and highlight control preserve detail across a high-range street scene.
The custom curve creates lifted blacks and compressed highlights while maintaining midtone definition.
Heavy selective desaturation produces a restrained palette, with brighter yellow-orange elements left as visual anchors.
The tight vertical crop and perspective correction organize the architecture around the pedestrian and distant tower.
Visible grain, rather than Clarity or Dehaze, provides the gritty documentary texture.