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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/11.0

Shutter speed

1/1250s

ISO

100

Metering mode

Spot

Exposure program

Aperture-priority AE

Exposure compensation

Flash

Off, Did not fire

Taken at

2016:09:16 19:25:32

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

11.0

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

2016:09:16 19:25:32

FileSource

Digital Camera

ModifyDate

2020:11:21 14:12:36

OffsetTime

+01:00

Saturation

Normal

Compression

JPEG (old-style)

ExifVersion

0231

FocalLength

55.0 mm

LightSource

Unknown

XResolution

240

YResolution

240

ExposureMode

Auto

ExposureTime

1/1250

MeteringMode

Spot

WhiteBalance

Auto

ApertureValue

11.0

CustomRendered

Normal

ResolutionUnit

inches

ThumbnailImage

(Binary data 9660 bytes, use -b option to extract)

BrightnessValue

10.27109375

ExposureProgram

Aperture-priority AE

SensitivityType

Recommended Exposure Index

ThumbnailLength

9660

ThumbnailOffset

942

DateTimeOriginal

2016:09:16 19:25:32

DigitalZoomRatio

MaxApertureValue

1.8

SceneCaptureType

Standard

ShutterSpeedValue

1/1250

ExposureCompensation

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="2020-11-21T14:12:36+01:00"
   xmp:CreateDate="2016-09-16T19:25:32"
   xmp:MetadataDate="2020-11-21T14:12:36+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

2016:09:16

TimeCreated

19:25:32

CodedCharacterSet

UTF8

DigitalCreationDate

2016:09:16

DigitalCreationTime

19:25:32

ApplicationRecordVersion

Photoshop

IPTCDigest

6f0817533e63f5966218aced99af555a

XResolution

240

YResolution

240

DisplayedUnitsX

inches

DisplayedUnitsY

inches

PhotoshopThumbnail

(Binary data 9660 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	5250
Tint		+2

Tone
Exposure		+1.80
Contrast		+3
Highlights		-82
Shadows		+30
Whites		+21
Blacks		+38

Presence
Texture		0
Clarity		+12
Dehaze		0
Vibrance		0
Saturation		-3

Tone Curve

Tone Curve:

Region
Highlights		0
Lights		0
Darks		0
Shadows		0

Color Mixer / HSL

Hue
Red		0
Orange		0
Yellow		0
Green		+1
Aqua		-24
Blue		-12
Purple		0
Magenta		0

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The edit creates a bright, muted, film-like cityscape while preserving the atmospheric haze. Strong global brightening is balanced by aggressive highlight recovery and a lifted-black tone curve, keeping the freeway luminous without making the distant skyline harsh. Reduced blue and green saturation, subtle cool channel curves, restrained clarity, and pronounced grain produce the subdued urban mood.

Overall look

The finished photograph has a low-contrast, slightly faded aesthetic rather than a crisp, high-clarity city view. Adobe Color provides the starting rendering, while the custom curves, selective desaturation, and grain do most of the stylistic work. The absence of Dehaze is important: the pale atmospheric veil remains visible, allowing the skyline to recede softly into the background.

Light and tone

Exposure was raised substantially by 1.80 stops, which opens the dark hillside, trees, and dense foreground city. To control the bright sky and reflective freeway after that lift, Highlights were reduced heavily to -82. Shadows at +30 and Blacks at +38 further reveal dark areas, while Whites at +21 retain bright energy in the road and sky. The custom point curve raises the black endpoint and lowers the white endpoint, compressing both extremes into a matte tonal range. This interaction explains how the image can feel bright yet still soft and faded, with neither solid black shadows nor brilliant white highlights.

Color

White balance is fairly neutral at 5250K with only a slight magenta tint. Overall saturation is reduced slightly, but the more consequential changes are targeted: blue saturation is lowered by 47 and green by 36. This suppresses the sky, atmospheric blue cast, and foliage, leaving a restrained gray-green palette. Aqua and blue hues are also shifted toward neighboring cooler/greener tones, helping the haze feel subtly cyan rather than vividly blue. Separate red, green, and blue curves introduce small channel differences through the tonal range; visually, these appear to support a gentle cool cast in the brighter haze while keeping the shadows subdued. This last color interpretation is a reasonable visual inference from the channel curves.

Detail and texture

Clarity at +12 adds modest local contrast to the freeway, buildings, and vegetation without cutting through the distant haze. Standard sharpening is present at 40 with a 1.0 radius, but there is no luminance noise reduction. The ISO 100 capture helps explain why strong luminance smoothing was unnecessary. Color noise reduction remains at its normal moderate level to suppress chroma speckling without materially softening detail.

Grain and finish

A clearly visible grain treatment—Amount 30, Size 50, Roughness/Frequency 60—adds coarse texture across the smooth sky and darker foreground. This helps unify the digitally clean ISO 100 capture with the lifted, matte tonal treatment and gives the photograph a more analog, editorial finish. No post-crop vignette was added, so the dark lower edges come from the scene and tonal rendering rather than an artificial vignette.

Composition and optical corrections

The frame was cropped into a narrow vertical composition and rotated by roughly one degree. This concentrates attention on the freeway as a bright leading line running from the foreground toward the hazy skyline. The Sony 55mm lens profile was enabled for distortion and vignetting correction, supporting straighter architecture and more even edge brightness. Upright metadata is present, but the recorded transform matrices are effectively neutral, so no strong perspective alteration is evident from the supplied settings.

What mattered most

The bright result comes from a large exposure lift combined with strong highlight recovery, not from globally high contrast.
Lifted blacks and a lowered white endpoint create the faded, compressed film-like tonal range.
Heavy blue and green desaturation turns the city and haze into a restrained gray-cyan palette.
Leaving Dehaze at zero preserves the atmospheric separation between the foreground and skyline.
Moderate clarity adds structure locally, while coarse grain supplies the analog texture.