Camera settings (EXIF data)
Raw EXIF data
Raw XMP data
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IPTC
Photoshop
Adobe Lightroom edits
.lrtemplate Preset
old preset format
Download Full XMP Settings
This file may not work as a preset. It contains all settings
exported by Lightroom (XMP sidecar file).
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 | 6401 | |
| Tint |
|
+18 |
| Tone | ||
|---|---|---|
| Exposure |
|
-0.45 |
| Contrast |
|
+7 |
| Highlights |
|
-25 |
| Shadows |
|
+33 |
| Whites |
|
-37 |
| Blacks |
|
+9 |
| Presence | ||
|---|---|---|
| Texture |
|
0 |
| Clarity |
|
0 |
| Dehaze |
|
0 |
| Vibrance |
|
0 |
| Saturation |
|
0 |
Tone Curve
| Region | ||
|---|---|---|
| Highlights |
|
0 |
| Lights |
|
0 |
| Darks |
|
0 |
| Shadows |
|
0 |
Color Mixer / HSL
| Hue | ||
|---|---|---|
| Red |
|
+6 |
| Orange |
|
0 |
| Yellow |
|
-31 |
| Green |
|
0 |
| Aqua |
|
0 |
| Blue |
|
-9 |
| Purple |
|
0 |
| Magenta |
|
0 |
| Saturation | ||
|---|---|---|
| Red |
|
0 |
| Orange |
|
-16 |
| Yellow |
|
-60 |
| Green |
|
-65 |
| Aqua |
|
-44 |
| Blue |
|
-87 |
| Purple |
|
-37 |
| Magenta |
|
0 |
| Luminance | ||
|---|---|---|
| Red |
|
0 |
| Orange |
|
0 |
| Yellow |
|
0 |
| Green |
|
+11 |
| Aqua |
|
0 |
| Blue |
|
+28 |
| Purple |
|
0 |
| Magenta |
|
0 |
Split Toning / Color Grading
| Midtones | ||
|---|---|---|
| Hue |
|
0 |
| Saturation |
|
0 |
| Luminance |
|
0 |
| Shadows | ||
|---|---|---|
| Hue |
|
51 |
| Saturation |
|
17 |
| Luminance |
|
0 |
| Highlights | ||
|---|---|---|
| Hue |
|
0 |
| Saturation |
|
0 |
| Luminance |
|
0 |
| Global | ||
|---|---|---|
| Hue |
|
0 |
| Saturation |
|
0 |
| Luminance |
|
0 |
| Blending |
|
50 |
| Balance |
|
0 |
Detail
| Sharpening | ||
|---|---|---|
| Amount |
|
40 |
| Radius | +1.0 | |
| Detail |
|
25 |
| Masking |
|
0 |
| Noise Reduction | ||
|---|---|---|
| Luminance |
|
25 |
| Smoothness |
|
0 |
Effects
| Grain | ||
|---|---|---|
| Amount |
|
40 |
| Size |
|
50 |
| Roughness |
|
50 |
Camera Calibration
| Shadows | ||
|---|---|---|
| Tint |
|
0 |
| Red Primary | ||
|---|---|---|
| Hue |
|
0 |
| Saturation |
|
0 |
| Green Primary | ||
|---|---|---|
| Hue |
|
0 |
| Saturation |
|
0 |
| Blue Primary | ||
|---|---|---|
| Hue |
|
0 |
| Saturation |
|
0 |
Other Adjustments
| Crop | Image was cropped | |
| Spot removal | No information | |
| Red eye fix | No information | |
| Radial filter | No information | |
| Graduated filter | No information | |
How this look was made
The edit creates a subdued, film-like urban landscape: a pale cyan-gray sky sits above a dense, dark skyline with restrained warm highlights. The look comes from lowered overall brightness, compressed highlights, heavily muted cool and yellow-green colors, a softly lifted black point, warm shadow toning, and strong added grain.
Overall look and composition
The frame was cropped substantially from the right and bottom, concentrating attention on the skyline and leaving a broad area of open sky above it. This reinforces the small scale and density of the buildings while giving the photograph a quiet, observational feel. Adobe Color provides the starting profile, but the custom curves and selective desaturation move the result away from its normally vivid rendering.
Light and tone
Exposure was reduced by 0.45 EV, making the foreground buildings feel weighty and subdued. Highlights were lowered to -25 and whites to -37, keeping the sky soft and preventing bright surfaces from becoming conspicuous. Shadows were raised by +33 and blacks by +9, so the dark city retains structure instead of collapsing into featureless silhouettes. A small contrast increase is combined with a custom curve that lifts the deepest black point and compresses the brightest endpoint. Together these choices produce firm midtone separation but softer, slightly faded extremes rather than crisp digital blacks and whites.
Color palette
A custom white balance of 6401 K with +18 tint introduces warmth and a slight magenta bias, visible especially along sunlit building edges. At the same time, the HSL controls strongly suppress blue, aqua, yellow, green, and purple saturation; blue is reduced most dramatically at -87. This is the main reason the sky appears pale cyan-gray rather than richly blue and the city avoids colorful distractions. Blue luminance is raised by +28, further opening and flattening the sky. Yellow hue is shifted substantially and yellow saturation is reduced by -60, helping foliage, masonry, and warm surfaces settle into muted olive-brown tones. A small warm yellow-green split tone is added to the shadows, reinforcing the aged, slightly cinematic cast. The individual RGB curves also make subtle color-dependent tonal shifts rather than relying on global saturation alone.
Detail and texture
Sharpening is moderate, with a 1.0 radius and low detail emphasis, while masking is absent; this gives edges across the skyline some definition without creating an aggressively crisp look. Color noise reduction is applied at 25, but luminance noise reduction is zero. The ISO 100 capture provides useful context here: heavy luminance cleanup was unnecessary, allowing natural fine detail to remain. Strong grain at Amount 40, with medium size and frequency, was then added deliberately to create visible analog-style texture across both the smooth sky and buildings.
Optical and finishing choices
The Adobe profile for the Sony FE 55mm F1.8 ZA is enabled at full distortion and vignetting correction strength, keeping the architectural frame geometrically clean and evenly illuminated. No added vignette, clarity, texture, or dehaze is present. This restraint is important: atmosphere comes from tonal compression, muted color, and grain rather than from exaggerated local contrast.
What mattered most
- Darkened exposure and restrained whites create the low-key skyline while recovered shadows preserve urban detail.
- Heavy selective desaturation—especially of blue, yellow, and green—builds the muted cyan, olive, and brown palette.
- A lifted black point and compressed highlights give the image faded, film-like tonal endpoints.
- Warm white balance and subtle shadow toning keep the otherwise cool, desaturated scene from feeling sterile.
- Strong added grain supplies the dominant finishing texture; clarity, texture, dehaze, and vignette were intentionally left unused.