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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/4.5

Shutter speed

1/320s

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 22:37:39

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

4.5

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 22:37:39

FileSource

Digital Camera

ModifyDate

2020:11:21 12:58:55

OffsetTime

+01:00

Saturation

Normal

Compression

JPEG (old-style)

ExifVersion

0231

FocalLength

35.0 mm

LightSource

Unknown

XResolution

240

YResolution

240

ExposureMode

Auto

ExposureTime

1/320

MeteringMode

Multi-segment

WhiteBalance

Auto

ApertureValue

4.5

CustomRendered

Normal

ResolutionUnit

inches

ThumbnailImage

(Binary data 11832 bytes, use -b option to extract)

BrightnessValue

6.9234375

ExposureProgram

Aperture-priority AE

SensitivityType

Recommended Exposure Index

ThumbnailLength

11832

ThumbnailOffset

942

DateTimeOriginal

2016:09:09 22:37:39

DigitalZoomRatio

MaxApertureValue

2.8

SceneCaptureType

Standard

ShutterSpeedValue

1/320

ExposureCompensation

-0.7

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="2020-11-21T12:58:55+01:00"
   xmp:CreateDate="2016-09-09T22:37:39"
   xmp:MetadataDate="2020-11-21T12:58:55+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

22:37:39

CodedCharacterSet

UTF8

DigitalCreationDate

2016:09:09

DigitalCreationTime

22:37:39

ApplicationRecordVersion

Photoshop

IPTCDigest

f4703704f7b74da21c95d60b0a48d5c7

XResolution

240

YResolution

240

DisplayedUnitsX

inches

DisplayedUnitsY

inches

PhotoshopThumbnail

(Binary data 11832 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	5100
Tint		+3

Tone
Exposure		+0.55
Contrast		0
Highlights		-54
Shadows		+29
Whites		-26
Blacks		+26

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 edit creates a restrained urban look built around the contrast between the deep red door, charcoal brickwork, and the woman. Broad tonal recovery makes the scene readable without looking brightly processed, while selective HSL desaturation suppresses competing blues, yellows, greens, and skin-adjacent oranges so the red remains the dominant color.

Overall look

The Adobe Color look provides a moderately vivid starting point, but the subsequent adjustments deliberately mute much of the palette. The result is graphic rather than colorful: a strong red rectangle against a mostly neutral wall, with the subject separated through placement and natural tonal contrast. No added clarity, texture, dehaze, grain, or vignette was used, which keeps the rendering relatively natural.

Light and tone

Exposure was raised by 0.55 EV, counteracting the somewhat dark capture while preserving its subdued atmosphere. Highlights were pulled down strongly (-54) and whites reduced (-26), protecting the pale pavement, skin, hair, and worn brick highlights. Shadows were opened (+29), and the unusually high Blacks setting (+26) prevents the dark wall and clothing from collapsing into solid black. A custom tone curve lifts the black endpoint substantially while adding gentle shaping through the midtones; this produces open, slightly softened dark values rather than a hard, crushed-black look. Together, these controls brighten usable detail while keeping the scene’s brightest areas controlled.

Color

White balance is a neutral-to-slightly-warm 5100 K with a small magenta tint, helping skin remain plausible against the cool gray surroundings. The strongest creative color work is selective desaturation: blue is reduced by 68, yellow by 48, green by 37, and orange by 16. Blue is also shifted in hue and brightened slightly. This drains color from the brick, pavement, signs, denim, and miscellaneous urban details while leaving red saturation untouched, allowing the door to carry the composition. The individual red, green, and blue curves add subtle channel shaping, but their broadly similar highlight treatment avoids an obvious split-toned effect.

Composition and geometry

The frame was cropped from all sides, most noticeably from the top and right, tightening the relationship between the door and the woman and reducing unused wall space. An Upright perspective correction was applied, helping the brick courses, doorway, and other architectural lines read as orderly and close to vertical. This strengthens the image’s flat, graphic facade-like presentation.

Detail and noise

Sharpening is moderate at 40 with a 1.0 radius and conservative detail recovery. There is no sharpening mask, so the treatment applies broadly across brick texture, door edges, pavement, and the subject. Standard color-noise reduction is present, but luminance-noise reduction is zero. The ISO 100 capture materially supports that choice: the file should need little smoothing, allowing the weathered brick and concrete texture to remain intact.

What mattered most

Tonal recovery opens the dark facade while restrained whites and highlights prevent a harsh digital look.
Strong selective desaturation simplifies the surroundings without weakening the red door.
Lifted blacks and the custom curve preserve texture and create softer shadow contrast.
Crop and Upright correction reinforce the precise, graphic relationship between architecture and subject.
The absence of clarity, grain, vignette, and heavy noise reduction keeps the finish clean and understated.