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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/5.0

Shutter speed

1/400s

ISO

100

Metering mode

Multi-segment

Exposure program

Aperture-priority AE

Exposure compensation

Flash

Off, Did not fire

Taken at

2016:09:21 21:09:49

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

5.0

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

2016:09:21 21:09:49

FileSource

Digital Camera

ModifyDate

2020:11:22 09:24:07

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

5.0

CustomRendered

Normal

ResolutionUnit

inches

ThumbnailImage

(Binary data 11435 bytes, use -b option to extract)

BrightnessValue

9.0875

ExposureProgram

Aperture-priority AE

SensitivityType

Recommended Exposure Index

ThumbnailLength

11435

ThumbnailOffset

942

DateTimeOriginal

2016:09:21 21:09:49

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="2020-11-22T09:24:07+01:00"
   xmp:CreateDate="2016-09-21T21:09:49"
   xmp:MetadataDate="2020-11-22T09:24:07+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

2016:09:21

TimeCreated

21:09:49

CodedCharacterSet

UTF8

DigitalCreationDate

2016:09:21

DigitalCreationTime

21:09:49

ApplicationRecordVersion

Photoshop

IPTCDigest

3e73da5733bdc939157850882876764b

XResolution

240

YResolution

240

DisplayedUnitsX

inches

DisplayedUnitsY

inches

PhotoshopThumbnail

(Binary data 11435 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	4800
Tint		-2

Tone
Exposure		-0.25
Contrast		+6
Highlights		-67
Shadows		+49
Whites		-8
Blacks		+31

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, slightly matte road-trip landscape with controlled sky detail, open foreground shadows, and subdued desert colors. Strong highlight recovery and shadow lifting compress the scene’s dynamic range, while a lifted-black tone curve gives the image its soft, faded finish. A rotated, tighter crop strengthens the road as a leading line toward the distant landscape.

Light and tone

Exposure was lowered slightly, then the tonal extremes were heavily managed: Highlights are reduced to -67, Shadows raised to +49, Blacks raised to +31, and Whites lowered slightly. This preserves texture in the overcast sky while revealing detail in the dark road, vehicles, and scrub. The custom tone curve lifts the black point substantially and brightens the upper midtones, producing soft rather than deep blacks while keeping the clouds and pale road markings lively. The small Contrast increase adds enough separation to prevent the compressed tonal range from looking completely flat.

Color

A custom white balance of 4800K with a slight greenward tint keeps the cloudy scene relatively cool and neutral. Overall Saturation and Vibrance remain unchanged; the restrained palette comes from selective HSL reductions instead. Aqua, blue, green, yellow, red, and orange are all desaturated, with the strongest reduction in aqua. This quiets the sky, vegetation, road markings, and red earth while retaining distinctions between them. Blue is shifted slightly toward aqua, green is moved toward aqua, and red slightly toward orange, helping unify the landscape around subdued blue-gray and rusty earth tones. The Adobe Color look supplies a modest color foundation, which is then deliberately softened by these HSL adjustments. Visual inference: the nearly parallel RGB curves preserve general color balance while allowing a faintly warm character in the darkest tones.

Composition and crop

The frame was rotated by about 1.31° and cropped substantially from the left and lower edges. This correction levels the scene and places greater emphasis on the road, the foreground car, and the mesa. The road becomes a strong diagonal leading from the lower frame toward the distant traffic and horizon, while the retained sky gives the landscape a spacious, unsettled atmosphere.

Detail and noise

Sharpening is moderate, with a 1.0 radius and relatively low detail emphasis. With no sharpening mask, the treatment applies across both landscape and sky, but the restrained amount avoids an aggressively crisp appearance. Standard color-noise reduction is present, while luminance-noise reduction is zero. The ISO 100 capture provides context for this choice: there was little need to smooth luminance noise, allowing natural ground and rock texture to remain intact.

Finish

Clarity, Texture, and Dehaze are all left at zero, so the photograph’s definition comes mainly from the tonal shaping and modest sharpening rather than added microcontrast. No grain or post-crop vignette was applied. This keeps the finish clean and natural, with the matte quality coming from the raised blacks and tone curve rather than a film-grain or vignette effect.

What mattered most

Heavy highlight recovery and shadow lifting balance the bright sky against the darker road and terrain.
Raised blacks plus a lifted tone-curve endpoint create the soft, slightly faded look.
Selective HSL desaturation—not global saturation—produces the muted desert palette.
The rotated crop strengthens the road’s leading line and gives the foreground vehicle more compositional importance.
The final image avoids strong clarity, dehaze, grain, or vignette effects, preserving a restrained documentary feel.