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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/5.6

Shutter speed

1/640s

ISO

100

Metering mode

Multi-segment

Exposure program

Aperture-priority AE

Exposure compensation

-0.7

Flash

Off, Did not fire

Taken at

2016:09:17 18:35:18

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

5.6

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

2016:09:17 18:35:18

FileSource

Digital Camera

ModifyDate

2020:11:21 14:59:04

OffsetTime

+01:00

Saturation

Normal

Compression

JPEG (old-style)

ExifVersion

0231

FocalLength

35.0 mm

LightSource

Unknown

XResolution

240

YResolution

240

ExposureMode

Auto

ExposureTime

1/640

MeteringMode

Multi-segment

WhiteBalance

Auto

ApertureValue

5.6

CustomRendered

Normal

ResolutionUnit

inches

ThumbnailImage

(Binary data 8823 bytes, use -b option to extract)

BrightnessValue

9.9546875

ExposureProgram

Aperture-priority AE

SensitivityType

Recommended Exposure Index

ThumbnailLength

8823

ThumbnailOffset

942

DateTimeOriginal

2016:09:17 18:35:18

DigitalZoomRatio

MaxApertureValue

2.8

SceneCaptureType

Standard

ShutterSpeedValue

1/640

ExposureCompensation

-0.7

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="2020-11-21T14:59:04+01:00"
   xmp:CreateDate="2016-09-17T18:35:18"
   xmp:MetadataDate="2020-11-21T14:59:04+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

2016:09:17

TimeCreated

18:35:18

CodedCharacterSet

UTF8

DigitalCreationDate

2016:09:17

DigitalCreationTime

18:35:18

ApplicationRecordVersion

Photoshop

IPTCDigest

1aba649b290d149483ca7e0237295777

XResolution

240

YResolution

240

DisplayedUnitsX

inches

DisplayedUnitsY

inches

PhotoshopThumbnail

(Binary data 8823 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	As Shot
Temperature	5450
Tint		+5

Tone
Exposure		+0.35
Contrast		+19
Highlights		-64
Shadows		+34
Whites		+5
Blacks		+32

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, fog-heavy coastal scene with softened tonal extremes, subdued natural colors, cool shadow character, and a prominent film-like grain. The result preserves the misty atmosphere rather than trying to cut through it with Dehaze or added microcontrast.

Overall look

The photograph has been shaped toward a restrained, slightly cinematic film aesthetic. Adobe Standard provides the base rendering, with an Adobe Color look table also recorded in the metadata. Strong color reductions, lifted dark tones, gentle cool toning, and substantial grain keep the scene atmospheric and understated rather than crisp or highly saturated.

Light and tone

Exposure was raised modestly by +0.35, helping the fog, water, and cliffside buildings remain readable. Highlights were pulled down strongly to -64, protecting the pale sky and mist, while Shadows at +34 reveal detail in the dark rocks and vegetation. Blacks at +32 and the custom tone curve’s raised black point prevent the darkest areas from reaching solid black, producing the faded, matte quality visible in the foreground. Contrast at +19 restores some separation after this tonal compression, so the picture remains structured without becoming harsh. Whites received only a small +5 increase, keeping the fog luminous but controlled.

Color

The as-shot white balance of 5450 K with a slight +5 magenta tint maintains a neutral-to-cool coastal atmosphere. Most of the muted appearance comes from targeted HSL reductions rather than global Saturation or Vibrance, both of which remain at zero. Green saturation is reduced heavily by -70, yellow by -37, blue by -31, and orange slightly by -9. This suppresses foliage, grass, water, and warm building tones while retaining some color variation. Green hue is shifted +19 and aqua -17, subtly steering vegetation and water away from straightforward natural color. A very light blue shadow tone—hue 210 at saturation 7—reinforces coolness in the rocks and water. The individual RGB curves also introduce small channel differences through the shadows and upper tones; visually, these support the restrained cool cast rather than an obvious split-color effect.

Atmosphere and effects

Clarity, Texture, and Dehaze are all left at zero. This is important to the visual intent: the natural haze is preserved, and the distant coastline remains soft instead of being forced into artificial definition. Grain is comparatively strong at Amount 40 with Size 50 and Frequency 50, adding a coarse analog texture across the smooth sky and water. There is no post-crop vignette, so attention is guided mainly by the coastline and tonal structure rather than artificial edge darkening.

Detail and noise handling

Sharpening is moderate at 40 with a 1.0 radius and Detail 25, providing basic edge definition without making the fog or water unnaturally crunchy. No masking is applied, so sharpening can affect broad areas, but the absence of added Texture and Clarity keeps the result from appearing overly digital. Color noise reduction is at the standard 25, while luminance noise reduction is zero. The ISO 100 capture did not call for aggressive luminance smoothing, and the added grain supplies intentional texture instead.

Composition and geometry

A crop removes roughly 11% from the left, along with smaller amounts from the top and bottom. This places greater emphasis on the cliffside buildings and the open misty water while trimming peripheral foreground material. Upright correction is enabled, indicating an automated geometry adjustment was used. Inference: this likely helped keep the architecture and coastal horizon visually settled after the crop, although the correction is subtle in the finished image.

What mattered most

Strong highlight recovery and lifted shadows/blacks compress the scene into a soft, matte tonal range.
Selective HSL desaturation—especially in greens, yellows, and blues—creates the subdued coastal palette.
Cool shadow toning and subtle RGB-curve color shifts reinforce the misty atmosphere.
Leaving Dehaze, Clarity, and Texture at zero preserves the natural fog rather than fighting it.
Prominent grain supplies the film-like texture that the low-ISO capture would not naturally contain.