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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

1/400s

ISO

100

Metering mode

Multi-segment

Exposure program

Aperture-priority AE

Exposure compensation

Flash

Off, Did not fire

Taken at

2016:09:25 20:44:57

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

2016:09:25 20:44:57

FileSource

Digital Camera

ModifyDate

2020:11:22 09:26:19

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

5.6

CustomRendered

Normal

ResolutionUnit

inches

ThumbnailImage

(Binary data 17820 bytes, use -b option to extract)

BrightnessValue

8.55234375

ExposureProgram

Aperture-priority AE

SensitivityType

Recommended Exposure Index

ThumbnailLength

17820

ThumbnailOffset

942

DateTimeOriginal

2016:09:25 20:44:57

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="2020-11-22T09:26:19+01:00"
   xmp:CreateDate="2016-09-25T20:44:57"
   xmp:MetadataDate="2020-11-22T09:26:19+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

2016:09:25

TimeCreated

20:44:57

CodedCharacterSet

UTF8

DigitalCreationDate

2016:09:25

DigitalCreationTime

20:44:57

ApplicationRecordVersion

Photoshop

IPTCDigest

4624d9b936003702cd61ed5b4d10659f

XResolution

240

YResolution

240

DisplayedUnitsX

inches

DisplayedUnitsY

inches

PhotoshopThumbnail

(Binary data 17820 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		+1

Tone
Exposure		+0.49
Contrast		+6
Highlights		-67
Shadows		+13
Whites		-17
Blacks		+23

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 bright, muted urban-documentary look while preserving the bridge’s imposing dark structure. Strong highlight recovery holds detail in the pale sky, lifted shadows and blacks make the underside readable, and a raised black point gives the image a slightly faded finish. Selective HSL desaturation suppresses most foliage, masonry, and sky color while allowing reds to remain comparatively prominent. Perspective correction reinforces the centered architectural symmetry, and pronounced grain adds an analog texture.

Overall look

The Adobe Color look is combined with a custom tone curve and restrained color palette. The result is not fully monochromatic, but intentionally subdued: cool sky and water remain visible, while the distant red-brick buildings provide the main color accents. The bridge stays nearly black and visually dominant without becoming a completely featureless silhouette.

Light and tone

Exposure was raised by about half a stop to brighten the scene beneath the bridge. A strong Highlights reduction of -67 and Whites at -17 counterbalance that lift, protecting the open sky and reflective water. Shadows at +13 and Blacks at +23 recover some structural detail in the steelwork and stone supports. The custom tone curve raises the deepest black output substantially, creating the faded or matte floor visible in the darkest areas, while a small Contrast increase keeps the large bridge forms from looking flat.

Color

The custom white balance of 5300K with almost neutral tint supports a natural daylight base. Most of the stylization comes from HSL: yellows are nearly removed, greens are heavily desaturated, and blues are reduced by roughly half. Orange, purple, and magenta are also softened, while red saturation is increased. This leaves the distant brick buildings and small warm details more noticeable against the muted steel, sky, and water. Blue luminance is raised, helping the sky appear light and airy rather than heavy. Yellow and green hue shifts further consolidate potentially distracting natural colors into the restrained palette. There is no added color grading, so the color separation comes from HSL rather than tinted shadows or highlights.

Geometry and composition

Upright perspective correction was applied, which helps the bridge towers, supports, and railings read as orderly architectural lines. This complements the photograph’s centered viewpoint and strong triangular convergence beneath the bridge. No crop was recorded, so the original full-frame composition was retained. Inference: the correction was likely chosen to strengthen symmetry and reduce small camera-position distortions rather than to radically reshape the scene.

Detail and texture

Moderate sharpening adds definition to the riveted steel, masonry, and railings. Color noise reduction is applied at its standard moderate level, but there is no luminance noise reduction. At ISO 100, heavy noise cleanup was unnecessary and preserving fine structural texture was more useful.

Effects

Grain is the strongest finishing effect: Amount 40 with medium size and roughness produces a clearly visible film-like texture. It helps unify the smooth sky, water, and detailed bridge surfaces while reinforcing the faded documentary character. No post-crop vignette or Dehaze was added, so attention is directed primarily by the bridge’s natural framing and tonal mass rather than artificial edge darkening.

What mattered most

Brightening and highlight recovery balance the extreme contrast between open daylight and the shaded bridge.
A lifted black point creates the matte, slightly faded shadow rendering.
Heavy selective desaturation simplifies the palette, while increased red saturation preserves distant brick accents.
Upright correction strengthens the centered architectural symmetry without cropping.
Pronounced grain supplies the final analog-documentary texture.