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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/2.0

Shutter speed

1/100s

ISO

125

Metering mode

Multi-segment

Exposure program

Shutter speed priority AE

Exposure compensation

-0.3

Flash

Off, Did not fire

Taken at

2016:09:10 01:17:40

Software

Adobe Photoshop Lightroom Classic 10.0 (Macintosh)

no copyright note in EXIF

GPS Location

—

GPS Altitude

—

GPS Date & time

—

Raw EXIF data

ISO

125

Make

SONY

Flash

Off, Did not fire

Model

ILCE-7M2

FNumber

2.0

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

2016:09:10 01:17:40

FileSource

Digital Camera

ModifyDate

2020:11:22 09:12:34

OffsetTime

+01:00

Saturation

Normal

Compression

JPEG (old-style)

ExifVersion

0231

FocalLength

55.0 mm

LightSource

Unknown

XResolution

240

YResolution

240

ExposureMode

Auto

ExposureTime

1/100

MeteringMode

Multi-segment

WhiteBalance

Auto

ApertureValue

2.0

CustomRendered

Normal

ResolutionUnit

inches

ThumbnailImage

(Binary data 12529 bytes, use -b option to extract)

BrightnessValue

2.4078125

ExposureProgram

Shutter speed priority AE

SensitivityType

Recommended Exposure Index

ThumbnailLength

12529

ThumbnailOffset

942

DateTimeOriginal

2016:09:10 01:17:40

DigitalZoomRatio

MaxApertureValue

1.8

SceneCaptureType

Standard

ShutterSpeedValue

1/100

ExposureCompensation

-0.3

FocalPlaneXResolution

1675.257385

FocalPlaneYResolution

1675.257385

FocalLengthIn35mmFormat

55 mm

FocalPlaneResolutionUnit

RecommendedExposureIndex

125

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="2020-11-22T09:12:34+01:00"
   xmp:CreateDate="2016-09-10T01:17:40"
   xmp:MetadataDate="2020-11-22T09:12:34+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

01:17:40

CodedCharacterSet

UTF8

DigitalCreationDate

2016:09:10

DigitalCreationTime

01:17:40

ApplicationRecordVersion

Photoshop

IPTCDigest

8211d737573ebce8f9e39485383e2a06

XResolution

240

YResolution

240

DisplayedUnitsX

inches

DisplayedUnitsY

inches

PhotoshopThumbnail

(Binary data 12529 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	2950
Tint		+14

Tone
Exposure		+0.20
Contrast		0
Highlights		-34
Shadows		+37
Whites		-24
Blacks		+21

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 muted, film-like subway scene with compressed contrast, softened color, lifted blacks, and visible grain. The stationary woman remains the visual anchor against the motion-blurred train, while restrained color and controlled highlights keep the busy background from competing with her.

Overall look

The photograph is intentionally subdued rather than crisp and vivid. Adobe Color provides the base rendering, but broad HSL desaturation, a raised black point, compressed highlights, and strong grain reshape it into a faded documentary aesthetic. The result feels atmospheric and slightly vintage while retaining enough tonal separation to read the woman against the train.

Light and tone

Exposure was raised only slightly (+0.20), while Highlights (-34) and Whites (-24) were reduced to control the bright train body and overhead fluorescent fixtures. Shadows (+37) open the woman’s dark clothing and the dim platform areas. Blacks (+21), together with a tone curve that maps true black to a noticeably lighter value, prevent deep shadows from reaching solid black and create the matte finish. The curve adds some separation above the lifted shadows, so the image remains readable instead of simply looking washed out.

Color

A custom 2950 K white balance with +14 magenta tint counteracts the subway’s artificial lighting and keeps the metal train relatively neutral, while leaving a cool urban atmosphere. Color is reduced selectively across every HSL family rather than with global Saturation: greens and yellows are suppressed most heavily, with aqua and blue also strongly desaturated. This removes distracting platform and train colors. Orange saturation is reduced more moderately and orange luminance is raised by +24, helping the woman’s skin and hair stay lighter and more distinct without becoming vivid. Green hue is shifted by +19, though its strong desaturation makes that change subtle. No color grading or split toning was added, and identical red, green, and blue channel curves preserve a largely neutral tonal treatment.

Detail and texture

Sharpening is moderate at 40 with a standard 1.0 radius, adding basic definition without trying to eliminate the train’s natural motion blur. Color noise reduction is set to 25, while luminance noise reduction is absent. At ISO 125, heavy noise cleanup was unnecessary. Grain is deliberately prominent at Amount 40 and Size 25, giving smooth train panels and lifted shadows a consistent analog texture and helping unify sharp and blurred areas.

Framing and geometry

The image was cropped from the left and top, placing the woman left of center with open space extending in the direction of the train and platform. A very small rotation of about -0.22° and an Upright perspective correction tidy the strong architectural lines of the platform, train, and overhead signage. The Sony 55mm lens profile is enabled to correct its native distortion and vignetting rather than adding a stylized vignette.

Capture context

The 1/100-second exposure records the moving train as a lateral blur while the waiting woman remains comparatively defined. This motion contrast is primarily a capture characteristic, not a Lightroom effect. The wide f/2 aperture and low ISO 125 provided enough light for the station environment without requiring aggressive noise reduction.

What mattered most

Lifted blacks plus recovered shadows and highlights create the soft, compressed tonal range.
Strong selective desaturation produces a restrained urban palette while brighter oranges preserve the subject’s presence.
Visible grain is a major stylistic component, turning a clean digital file into a more tactile documentary image.
The framing and corrected architectural lines reinforce the contrast between the still commuter and the moving train.