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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/4.0

Shutter speed

1/250s

ISO

100

Metering mode

Multi-segment

Exposure program

Manual

Exposure compensation

-0.7

Flash

Off, Did not fire

Taken at

2016:09:10 00:29:15

Software

Adobe Photoshop Lightroom Classic 10.0 (Macintosh)

no copyright note in EXIF

GPS Location

—

GPS Altitude

—

GPS Date & time

—

Raw EXIF data

ISO

100

Make

SONY

Flash

Off, Did not fire

Model

ILCE-7M2

FNumber

4.0

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

2016:09:10 00:29:15

FileSource

Digital Camera

ModifyDate

2020:11:21 13:04:33

OffsetTime

+01:00

Saturation

Normal

Compression

JPEG (old-style)

ExifVersion

0231

FocalLength

35.0 mm

LightSource

Unknown

XResolution

240

YResolution

240

ExposureMode

Manual

ExposureTime

1/250

MeteringMode

Multi-segment

WhiteBalance

Auto

ApertureValue

4.0

CustomRendered

Normal

ResolutionUnit

inches

ThumbnailImage

(Binary data 15019 bytes, use -b option to extract)

BrightnessValue

6.75546875

ExposureProgram

Manual

SensitivityType

Recommended Exposure Index

ThumbnailLength

15019

ThumbnailOffset

942

DateTimeOriginal

2016:09:10 00:29:15

DigitalZoomRatio

MaxApertureValue

2.8

SceneCaptureType

Standard

ShutterSpeedValue

1/250

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="2020-11-21T13:04:33+01:00"
   xmp:CreateDate="2016-09-10T00:29:15"
   xmp:MetadataDate="2020-11-21T13:04:33+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

2016:09:10

TimeCreated

00:29:15

CodedCharacterSet

UTF8

DigitalCreationDate

2016:09:10

DigitalCreationTime

00:29:15

ApplicationRecordVersion

Photoshop

IPTCDigest

d86bf4c037dc5487cc96bed5014e8e26

XResolution

240

YResolution

240

DisplayedUnitsX

inches

DisplayedUnitsY

inches

PhotoshopThumbnail

(Binary data 15019 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	5900
Tint		+15

Tone
Exposure		+0.33
Contrast		+6
Highlights		-52
Shadows		+42
Whites		-27
Blacks		+20

Presence
Texture		0
Clarity		0
Dehaze		0
Vibrance		+15
Saturation		-1

Tone Curve

Tone Curve:

Region
Highlights		0
Lights		0
Darks		0
Shadows		0

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The edit creates a restrained, film-like cityscape: broad tonal recovery keeps the bright sky and sunlit brick controlled while opening the shaded street, a lifted custom curve softens the black point, and extensive HSL desaturation produces muted urban color. Cool cyan-blue tones in the sky and shadows contrast with the warmer brick façades, while added grain and corrected verticals reinforce the polished architectural-street-photography look.

Light and tone

Exposure was raised slightly (+0.33), but highlights (-52) and whites (-27) were pulled down strongly to preserve the pale sky and detail on the sunlit buildings. Shadows (+42) and blacks (+20) open the darker street, trees, and right-side façades. The custom tone curve lifts the black endpoint substantially and slightly compresses the brightest endpoint, creating faded blacks and gentle highlights rather than deep contrast. A small contrast increase keeps the scene from becoming completely flat. The capture used -0.7 EV compensation at ISO 100; as a reasonable inference, this may have helped retain the bright sky and illuminated brick before the darker areas were opened in Lightroom.

Color palette

A custom white balance of 5900 K with +15 tint establishes a mildly warm, magenta-leaning base that supports the orange brick. Overall saturation is nearly unchanged and vibrance is raised, but the HSL controls selectively mute most color families: greens are reduced by 70, blues by 40, yellows by 33, and oranges by 31. This produces the subdued, cohesive palette visible in the photograph while vibrance helps the remaining weaker colors avoid looking lifeless. Blue luminance is raised by 30, making the sky lighter and airier, while darker aqua luminance adds some separation in cyan-toned areas. Hue shifts refine the relationship between the cool sky and warm masonry rather than making either intensely saturated.

Color curves

The individual RGB curves add much of the stylized color character. Blue is elevated through the shadows, midtones, and upper tones, while red and green are reduced in the lower range. Visually, this encourages cool blue-cyan shadows and a cooler atmospheric sky. Green and blue also rise through brighter tonal regions, subtly cooling the pale highlights. These curve effects interact with the warm white balance, allowing the brick buildings to remain warm while the shade and sky feel cooler.

Composition and geometry

Vertical Upright correction was applied, which is especially important in this 35 mm architectural view: it keeps the long building edges more orderly and strengthens the centered, symmetrical perspective down the avenue. A slight crop from the top and left removes the transformed borders and tightens the framing. No lens profile or manual distortion correction was enabled, so the principal geometric refinement comes from Upright and the crop.

Detail and texture

Sharpening is moderate, with a radius of 1.0 and no edge masking, helping small windows, lane markings, and distant cars remain defined. Standard color-noise reduction is present, but there is no luminance-noise reduction. Because the image was captured at ISO 100, the prominent grain amount of 40 is best understood as a deliberate aesthetic texture rather than a response to high-ISO noise. Its modest size gives the smooth sky and building surfaces a more analog, less clinically digital finish.

Effects intentionally avoided

There is no added vignette, dehaze, clarity, texture, split toning, or color grading. This keeps edge darkening and local-contrast effects from competing with the avenue’s natural depth. The atmosphere instead comes from tonal compression, RGB curves, selective color reduction, and grain.

What mattered most

Highlight and white recovery balance the bright sky and sunlit façades against strongly lifted shadows.
A raised black point and compressed upper curve create the soft, faded tonal finish.
Heavy selective desaturation is paired with modest vibrance for muted but still differentiated color.
RGB curves introduce cool shadows and pale cyan-blue atmosphere, offset by warm brick tones.
Vertical correction and a small crop emphasize the centered architectural composition.
Strong added grain supplies the intentional film-like texture.