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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/2.8

Shutter speed

1/200s

ISO

6400

Metering mode

Multi-segment

Exposure program

Manual

Exposure compensation

+0.3

Flash

Off, Did not fire

Taken at

2016:09:19 17:25:24

Software

Adobe Photoshop Lightroom Classic 10.0 (Macintosh)

no copyright note in EXIF

GPS Location

—

GPS Altitude

—

GPS Date & time

—

Raw EXIF data

ISO

6400

Make

SONY

Flash

Off, Did not fire

Model

ILCE-7M2

FNumber

2.8

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

2016:09:19 17:25:24

FileSource

Digital Camera

ModifyDate

2020:11:21 15:22:12

OffsetTime

+01:00

Saturation

Normal

Compression

JPEG (old-style)

ExifVersion

0231

FocalLength

35.0 mm

LightSource

Unknown

XResolution

240

YResolution

240

ExposureMode

Auto bracket

ExposureTime

1/200

MeteringMode

Multi-segment

WhiteBalance

Auto

ApertureValue

2.8

CustomRendered

Normal

ResolutionUnit

inches

ThumbnailImage

(Binary data 19518 bytes, use -b option to extract)

BrightnessValue

-0.1703125

ExposureProgram

Manual

SensitivityType

Recommended Exposure Index

ThumbnailLength

19518

ThumbnailOffset

942

DateTimeOriginal

2016:09:19 17:25:24

DigitalZoomRatio

MaxApertureValue

2.8

SceneCaptureType

Standard

ShutterSpeedValue

1/200

ExposureCompensation

+0.3

FocalPlaneXResolution

1675.257385

FocalPlaneYResolution

1675.257385

FocalLengthIn35mmFormat

35 mm

FocalPlaneResolutionUnit

RecommendedExposureIndex

6400

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="2020-11-21T15:22:12+01:00"
   xmp:CreateDate="2016-09-19T17:25:24"
   xmp:MetadataDate="2020-11-21T15:22:12+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

2016:09:19

TimeCreated

17:25:24

CodedCharacterSet

UTF8

DigitalCreationDate

2016:09:19

DigitalCreationTime

17:25:24

ApplicationRecordVersion

Photoshop

IPTCDigest

f3c189995fa685d2574627e18fba2338

XResolution

240

YResolution

240

DisplayedUnitsX

inches

DisplayedUnitsY

inches

PhotoshopThumbnail

(Binary data 19518 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	5900
Tint		+9

Tone
Exposure		+0.15
Contrast		-9
Highlights		-54
Shadows		+49
Whites		+17
Blacks		+15

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 subdued, cool woodland look with open shadow detail, restrained color, and a slightly matte tonal finish. Bright gaps in the canopy are controlled while the path and tree bark remain readable, and selective HSL adjustments keep the forest green without making it vivid. The person’s dark clothing and pale hair provide a clear visual anchor against the softened natural palette.

Overall look

The Adobe color rendering is reshaped into a muted, cool-toned interpretation rather than a bright, saturated landscape treatment. Global saturation and vibrance remain neutral, so the restrained appearance comes mainly from strong channel-specific desaturation, custom curves, and recovered highlights and shadows.

Light and tone

A small exposure lift (+0.15) gently brightens the frame, but the main tonal work is the combination of Highlights at -54 and Shadows at +49. This compresses the forest’s wide brightness range: detail is recovered around the bright canopy openings while the shaded trunks, railings, and foliage are opened substantially. Whites at +17 preserve some sparkle in the sky gaps and pale hair, while Blacks at +15 and Contrast at -9 keep the deepest areas from becoming heavy. The custom tone curve raises the black endpoint noticeably and slightly caps the white endpoint, producing the visible matte blacks and softer highlight roll-off. Together, these controls retain atmosphere without allowing the backlit opening to dominate.

Color and atmosphere

The custom white balance of 5900 K with +9 tint adds warmth and magenta at the global level, helping offset the naturally cool, green-biased forest light. That warmth is then moderated through HSL: green saturation is reduced by 56, yellow by 49, orange by 56, and blue by 51. This is why the foliage, path, wood, jeans, and skin-adjacent tones feel restrained rather than colorful. Green luminance is lowered by 23, giving the foliage more density after its saturation is reduced, while blue luminance is raised by 30 so blue elements do not become overly dark. Green hue is shifted +13 and orange +8, subtly steering vegetation and warm materials away from their default rendering. The individual RGB curves place proportionally more blue and green than red into the darker tonal region; this supports the cool cyan-green cast visible in the shadows. This last point is a visual inference from the curve relationships and the photograph.

Detail and noise

Sharpening is moderate at 40 with a standard 1.0 radius and low detail emphasis. No masking is applied, so sharpening affects both bark detail and smoother areas. The photograph was captured at ISO 6400, which materially explains the use of color noise reduction at 25 to suppress colored speckling. Luminance noise reduction remains at zero, preserving fine texture and some natural high-ISO grain rather than smoothing the trunks and foliage.

Composition

A crop removes material from all sides, with the largest reduction from the left. Visually, this strengthens the central corridor formed by the path and tall trunks, while placing the foreground figure close to the center as a scale reference. The resulting framing emphasizes the immense vertical trees and the sense of walking deeper into the forest. No rotation or perspective correction was applied, so the natural vertical structure of the scene was retained.

What mattered most

Heavy highlight recovery and shadow lifting compress the forest’s dynamic range without making it flat.
Raised blacks, reduced contrast, and the custom curve create the soft matte finish.
Strong HSL desaturation produces the quiet palette; the greens remain substantial because their luminance is darkened.
Cool RGB curve shaping counterbalances the slightly warm, magenta-shifted white balance.
At ISO 6400, color noise is reduced while luminance texture is intentionally preserved.
The crop reinforces the path, central figure, and towering scale of the trees.