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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/8.0

Shutter speed

1/400s

ISO

100

Metering mode

Multi-segment

Exposure program

Aperture-priority AE

Exposure compensation

Flash

Off, Did not fire

Taken at

2016:09:16 22:46:27

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

8.0

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

2016:09:16 22:46:27

FileSource

Digital Camera

ModifyDate

2020:11:21 14:18:40

OffsetTime

+01:00

Saturation

Normal

Compression

JPEG (old-style)

ExifVersion

0231

FocalLength

35.0 mm

LightSource

Unknown

XResolution

240

YResolution

240

ExposureMode

Auto

ExposureTime

1/400

MeteringMode

Multi-segment

WhiteBalance

Auto

ApertureValue

8.0

CustomRendered

Normal

ResolutionUnit

inches

ThumbnailImage

(Binary data 9007 bytes, use -b option to extract)

BrightnessValue

10.68515625

ExposureProgram

Aperture-priority AE

SensitivityType

Recommended Exposure Index

ThumbnailLength

9007

ThumbnailOffset

942

DateTimeOriginal

2016:09:16 22:46:27

DigitalZoomRatio

MaxApertureValue

2.8

SceneCaptureType

Standard

ShutterSpeedValue

1/400

ExposureCompensation

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="2020-11-21T14:18:40+01:00"
   xmp:CreateDate="2016-09-16T22:46:27"
   xmp:MetadataDate="2020-11-21T14:18:40+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

2016:09:16

TimeCreated

22:46:27

CodedCharacterSet

UTF8

DigitalCreationDate

2016:09:16

DigitalCreationTime

22:46:27

ApplicationRecordVersion

Photoshop

IPTCDigest

f2880b076fe9ac88ddaf2c0609c71e1f

XResolution

240

YResolution

240

DisplayedUnitsX

inches

DisplayedUnitsY

inches

PhotoshopThumbnail

(Binary data 9007 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	5300
Tint		+10

Tone
Exposure		+0.70
Contrast		-13
Highlights		-62
Shadows		+5
Whites		+25
Blacks		+30

Presence
Texture		0
Clarity		0
Dehaze		0
Vibrance		0
Saturation		-8

Tone Curve

Tone Curve:

Region
Highlights		0
Lights		0
Darks		0
Shadows		0

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The edit creates a bright, pastel, film-like street portrait while preserving the hard-sun graphic quality of the original scene. Exposure was raised, strong highlights were restrained, and the black point was lifted to soften contrast. Selective HSL changes refine the pink wall and suppress competing blue, purple, and yellow color, while large grain adds an intentionally analog texture.

Overall look

The finished photograph balances vivid subject separation with a softened tonal finish. The pink wall remains dominant, but the overall saturation is reduced slightly so it feels pastel rather than aggressively digital. Adobe Color provides the starting color rendering, while the custom curves and HSL work give the image its more stylized character.

Light and tone

Exposure was increased by +0.70 EV to produce the bright, sun-washed appearance. Highlights were pulled down substantially to protect the woman’s blonde hair, face, and light clothing, while Whites were raised to keep those areas luminous rather than dull. Blacks at +30, reduced global contrast, and a custom curve that lifts the darkest output create the faded black point visible in the clothing and cast shadow. The same curve slightly lowers the brightest endpoint, gently compressing both extremes. Inference: because the photograph was made in hard direct sunlight at ISO 100, this highlight recovery and tonal compression were useful for controlling the naturally wide contrast without sacrificing the crisp shadow shape.

Color

A custom white balance of 5300 K with +10 Tint nudges the image toward a clean, slightly magenta daylight rendering, supporting the wall and warm skin. Overall Saturation is reduced modestly, but Magenta saturation is increased, allowing the pink background to remain prominent. Blue and Yellow saturation are cut heavily, and Purple is also reduced; this helps prevent the wall, clothing, and blonde hair from breaking into distracting secondary colors. Strong Purple and Magenta hue shifts further reshape the background color rather than simply making it more saturated. The individual red, green, and blue curves introduce subtle channel differences through the shadows and upper midtones, contributing to the lightly cool, print-like tonal color separation.

Detail and texture

Sharpening is moderate and conventional, with no added Texture, Clarity, or Dehaze. That choice preserves the wall’s natural stucco detail and the subject’s edges without making skin or fabric look harsh. Color noise reduction is applied at a standard level, while luminance noise reduction is absent—appropriate for the clean ISO 100 capture.

Effects and framing

Grain is a major finishing element: Amount 30 with a relatively large Size of 60 produces the visible coarse, film-like texture across the smooth wall and tonal areas. No vignette was added, so the broad field of pink remains evenly open and graphic. There is also no Lightroom crop or perspective correction; the spacious off-center composition and diagonal cast shadow come from the original framing.

What mattered most

Lifted blacks and compressed endpoints create the faded, matte tonal base.
Raised exposure plus strong highlight recovery keeps the sunlit portrait bright without losing important light detail.
Selective HSL adjustments preserve the pink wall while muting blue, purple, and yellow distractions.
Large grain supplies much of the finished image’s analog, editorial character.
The edit avoids clarity, dehaze, vignette, and geometric changes, allowing the simple composition and hard sunlight to remain central.