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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/1.8

Shutter speed

1/160s

ISO

160

Metering mode

Multi-segment

Exposure program

Manual

Exposure compensation

-0.3

Flash

Off, Did not fire

Taken at

2016:09:10 01:08:23

Software

Adobe Photoshop Lightroom Classic 10.0 (Macintosh)

no copyright note in EXIF

GPS Location

—

GPS Altitude

—

GPS Date & time

—

Raw EXIF data

ISO

160

Make

SONY

Flash

Off, Did not fire

Model

ILCE-7M2

FNumber

1.8

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

2016:09:10 01:08:23

FileSource

Digital Camera

ModifyDate

2020:11:21 13:09:08

OffsetTime

+01:00

Saturation

Normal

Compression

JPEG (old-style)

ExifVersion

0231

FocalLength

55.0 mm

LightSource

Unknown

XResolution

240

YResolution

240

ExposureMode

Manual

ExposureTime

1/160

MeteringMode

Multi-segment

WhiteBalance

Auto

ApertureValue

1.8

CustomRendered

Normal

ResolutionUnit

inches

ThumbnailImage

(Binary data 12156 bytes, use -b option to extract)

BrightnessValue

2.7359375

ExposureProgram

Manual

SensitivityType

Recommended Exposure Index

ThumbnailLength

12156

ThumbnailOffset

942

DateTimeOriginal

2016:09:10 01:08:23

DigitalZoomRatio

MaxApertureValue

1.8

SceneCaptureType

Standard

ShutterSpeedValue

1/160

ExposureCompensation

-0.3

FocalPlaneXResolution

1675.257385

FocalPlaneYResolution

1675.257385

FocalLengthIn35mmFormat

55 mm

FocalPlaneResolutionUnit

RecommendedExposureIndex

160

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="2020-11-21T13:09:08+01:00"
   xmp:CreateDate="2016-09-10T01:08:23"
   xmp:MetadataDate="2020-11-21T13:09:08+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

2016:09:10

TimeCreated

01:08:23

CodedCharacterSet

UTF8

DigitalCreationDate

2016:09:10

DigitalCreationTime

01:08:23

ApplicationRecordVersion

Photoshop

IPTCDigest

053f229cf185d5341f0c14fbc19058f4

XResolution

240

YResolution

240

DisplayedUnitsX

inches

DisplayedUnitsY

inches

PhotoshopThumbnail

(Binary data 12156 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	7300
Tint		+13

Tone
Exposure		+0.62
Contrast		+9
Highlights		+4
Shadows		+35
Whites		-42
Blacks		+24

Presence
Texture		0
Clarity		0
Dehaze		0
Vibrance		0
Saturation		+2

Tone Curve

Tone Curve:

Region
Highlights		0
Lights		0
Darks		0
Shadows		0

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The edit creates a muted, film-like urban scene with compressed contrast, lifted blacks, restrained building colors, and strongly emphasized reds. The bright “NEW YORKER” sign and traffic light become the main color accents against a subdued, slightly warm-gray city palette. Heavy added grain is central to the finished aesthetic.

Overall look and composition

A substantial crop tightens the view around the street canyon and the “NEW YORKER” sign, reducing peripheral context and making the layered buildings feel denser. The resulting composition uses the dark facades as a frame around the brighter sky and red signage. The Adobe Color look provides the starting rendering, while the custom tone and HSL work move it toward a faded documentary-film style.

Light and tone

Exposure was raised by about two-thirds of a stop, helping the overcast sky and shadowed architecture remain readable. Shadows were opened substantially, while whites were pulled down strongly; this compresses the scene’s broad tonal range rather than making it conventionally bright and punchy. The custom tone curve is especially important: its raised black endpoint prevents deep blacks, while its lowered white endpoint softens the brightest values. Added black-level and shadow adjustments reinforce the hazy, matte quality, with only a modest contrast increase preserving separation between building planes.

Color and subject emphasis

The custom white balance is warm at 7300 K with a magenta tint of +13, countering the cold character typical of an overcast city scene and giving the masonry a subdued reddish-brown cast. Most surrounding color families were then heavily desaturated—especially yellow, orange, green, aqua, blue, and purple—while red saturation was increased. This selective treatment isolates the neon sign and traffic signal without making the whole image colorful. Yellow, orange, and red hues were also shifted, refining the brick and signage colors. The separate RGB curves reduce red relative to green and blue through brighter tones, which helps keep the pale sky from becoming excessively warm. Inference: this curve interaction likely contributes to the slightly cool, gray upper atmosphere while the darker architecture retains warmer traces.

Detail and texture

Standard sharpening is present, but there is no luminance noise reduction and no added clarity, texture, or dehaze. That avoids a crisp modern or strongly micro-contrasted appearance. Color noise reduction is applied at its normal moderate level, suppressing chroma speckling while leaving monochromatic texture intact. Capture ISO was only 160, so the visible roughness is primarily stylistic rather than a response to severe sensor noise.

Film-like effects

Grain is applied at a very high amount of 80, with a relatively small size of 25. This creates the prominent fine, gritty texture visible across the sky and building surfaces, unifying smooth and detailed areas into a print-like surface. No post-crop vignette was added, so edge darkness comes mainly from the architecture and composition rather than an artificial vignette.

Lens correction

The Adobe profile for the Sony FE 55mm F1.8 ZA is enabled at full distortion and vignetting correction strength. This supports relatively controlled building geometry and even lens shading, although no manual perspective correction or Upright transformation was used. Any remaining convergence of vertical lines therefore preserves the natural street-level perspective.

What mattered most

Compressed highlights and lifted blacks produce the faded, low-contrast tonal foundation.
Broad color desaturation makes the selectively strengthened reds dominate the frame.
Warm white balance and RGB curves balance warm architecture against a restrained gray sky.
Heavy added grain is the defining texture and supplies the deliberate analog-documentary character.
The tight crop and natural perspective concentrate attention on the sign within the dense urban corridor.