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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

1/320s

ISO

100

Metering mode

Multi-segment

Exposure program

Aperture-priority AE

Exposure compensation

-0.3

Flash

Off, Did not fire

Taken at

2016:09:13 00:57:44

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

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

2016:09:13 00:57:44

FileSource

Digital Camera

ModifyDate

2020:11:21 13:44:14

OffsetTime

+01:00

Saturation

Normal

Compression

JPEG (old-style)

ExifVersion

0231

FocalLength

55.0 mm

LightSource

Unknown

XResolution

240

YResolution

240

ExposureMode

Auto

ExposureTime

1/320

MeteringMode

Multi-segment

WhiteBalance

Auto

ApertureValue

1.8

CustomRendered

Normal

ResolutionUnit

inches

ThumbnailImage

(Binary data 16253 bytes, use -b option to extract)

BrightnessValue

4.53671875

ExposureProgram

Aperture-priority AE

SensitivityType

Recommended Exposure Index

ThumbnailLength

16253

ThumbnailOffset

942

DateTimeOriginal

2016:09:13 00:57:44

DigitalZoomRatio

MaxApertureValue

1.8

SceneCaptureType

Standard

ShutterSpeedValue

1/320

ExposureCompensation

-0.3

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="2020-11-21T13:44:14+01:00"
   xmp:CreateDate="2016-09-13T00:57:44"
   xmp:MetadataDate="2020-11-21T13:44:14+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

2016:09:13

TimeCreated

00:57:44

CodedCharacterSet

UTF8

DigitalCreationDate

2016:09:13

DigitalCreationTime

00:57:44

ApplicationRecordVersion

Photoshop

IPTCDigest

8b876311a83bce7a992dee3261c30fe8

XResolution

240

YResolution

240

DisplayedUnitsX

inches

DisplayedUnitsY

inches

PhotoshopThumbnail

(Binary data 16253 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	7150
Tint		+23

Tone
Exposure		+0.47
Contrast		+6
Highlights		-52
Shadows		+47
Whites		-28
Blacks		+14

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 subdued, film-like street photograph: lifted matte blacks, restrained highlights, muted urban colors, warm/magenta-biased balance, and prominent grain. The burgundy car remains the main color anchor while the row houses and foliage are softened into a quieter, slightly aged palette.

Overall look

Adobe Color supplies the base rendering, followed by a custom tone curve and extensive HSL desaturation. The result is deliberately less clean and vivid than a conventional digital edit. The image has soft tonal endpoints, subdued colors, and visible grain that collectively suggest a scanned-film aesthetic.

Light and tone

Exposure was raised by about half a stop, while shadows were opened strongly and highlights were pulled back. Whites were also reduced, preventing the pale building façades and sky from becoming harsh. Most importantly, the custom curve raises the black endpoint substantially and lowers the white endpoint, so neither end reaches true black or brilliant white. This creates the faded, compressed contrast visible in the street, tree, and building highlights. A small global contrast increase adds some separation inside that otherwise matte tonal range.

Color balance

The custom white balance is warm and strongly shifted toward magenta. That helps the burgundy car feel rich and gives the neutral façades a subtly warm, vintage cast rather than a cool digital neutrality. The individual RGB curves reinforce this treatment, especially by introducing a slight magenta/purple bias in the deepest tones while keeping the brightest tones comparatively neutral.

Selective color shaping

Color saturation was reduced heavily by channel rather than globally. Yellow was cut most aggressively (-68), with green (-53), blue (-38), aqua (-36), red (-34), and orange (-29) also restrained. This keeps the grass, foliage, brick, painted houses, and car from competing with one another. Hue shifts further stylize the palette: greens move toward aqua, yellows toward orange, reds toward orange, and oranges toward red. Visually, this consolidates the scene around dusty cyan/teal architecture and a deep wine-colored car. Green luminance was lowered substantially, making the trees and ground vegetation denser and helping frame the brighter buildings; blue luminance was raised slightly so the blue-painted façades retain presence despite their reduced saturation.

Detail and texture

A grain amount of 40 with moderate size and roughness is a major part of the finish. It adds visible texture across the pavement, walls, and sky, counteracting the smoothness of the digital capture and strengthening the archival-film impression. Sharpening is moderate, with no added Texture or Clarity, so edges remain defined without creating a crisp, hyper-detailed modern look. Color noise reduction is present, but luminance noise reduction is not applied; at ISO 100, the visible texture is therefore primarily intentional grain rather than capture noise.

Framing and optical corrections

The photograph was cropped on all sides, with more removed from the left and top than from the right and bottom. This tightens the composition around the long car and the rhythm of the row-house façades while retaining the large tree as a strong vertical frame. There is no crop rotation or perspective correction, so the natural street geometry is preserved. The Sony 55mm lens profile is enabled for standard distortion and vignetting correction, and no additional vignette was added.

Visual intent (inference)

A reasonable inference is that the edit aims to evoke an older neighborhood photograph rather than document the scene with neutral realism. The faded curve, warm-magenta bias, selective suppression of modern-looking bright colors, and coarse grain make the vintage car feel integrated with the surrounding architecture instead of appearing as a brightly isolated subject.

What mattered most

The matte custom curve is the primary source of the faded blacks and restrained whites.
Strong HSL desaturation creates the muted palette while preserving the burgundy car and cyan façades as controlled focal colors.
Warm, magenta-biased white balance and RGB curves add a subtle aged color cast.
Darkened greens help the foliage frame the lighter architecture.
Prominent grain, combined with zero Clarity and Texture, produces the film-like surface quality.