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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 55mm f/1.8 ZA

min. focus distance: 1.64' / 50 cm

stabilization: no

weight: 281 g

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Focal length

55.0 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

2018:06:09 19:04:43

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

Normal

LensInfo

55mm f/1.8

Software

Adobe Photoshop Lightroom Classic 10.0 (Macintosh)

LensModel

FE 55mm F1.8 ZA

SceneType

Directly photographed

Sharpness

Normal

ColorSpace

sRGB

CreateDate

2018:06:09 19:04:43

FileSource

Digital Camera

ModifyDate

2020:11:21 17:18:14

OffsetTime

+01:00

Saturation

Normal

Compression

JPEG (old-style)

ExifVersion

0231

FocalLength

55.0 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 10488 bytes, use -b option to extract)

BrightnessValue

9.95078125

ExposureProgram

Aperture-priority AE

SensitivityType

Recommended Exposure Index

ThumbnailLength

10488

ThumbnailOffset

942

DateTimeOriginal

2018:06:09 19:04:43

DigitalZoomRatio

MaxApertureValue

1.8

SceneCaptureType

Standard

ShutterSpeedValue

1/400

ExposureCompensation

FocalPlaneXResolution

1675.257385

FocalPlaneYResolution

1675.257385

FocalLengthIn35mmFormat

55 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="2020-11-21T17:18:14+01:00"
   xmp:CreateDate="2018-06-09T19:04:43"
   xmp:MetadataDate="2020-11-21T17:18:14+01:00"
   aux:LensInfo="550/10 550/10 18/10 18/10"
   aux:Lens="FE 55mm F1.8 ZA"
   aux:LensDistortInf...

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IPTC

DateCreated

2018:06:09

TimeCreated

19:04:43

CodedCharacterSet

UTF8

DigitalCreationDate

2018:06:09

DigitalCreationTime

19:04:43

ApplicationRecordVersion

Photoshop

IPTCDigest

134b1cccf8e754265eb6478b1ef5948c

XResolution

240

YResolution

240

DisplayedUnitsX

inches

DisplayedUnitsY

inches

PhotoshopThumbnail

(Binary data 10488 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	5400
Tint		+5

Tone
Exposure		-0.71
Contrast		+5
Highlights		-80
Shadows		+45
Whites		+30
Blacks		-31

Presence
Texture		0
Clarity		0
Dehaze		0
Vibrance		+15
Saturation		+2

Tone Curve

Tone Curve:

Region
Highlights		0
Lights		0
Darks		0
Shadows		0

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The edit creates a subdued, film-like view of Venice: bright sky and reflective water are restrained, shadowed buildings remain readable but weighty, and the palette is steered toward cool blue-cyans with selective warm architectural accents. A strong custom tone curve and added grain are central to the finished character.

Overall look and composition

A substantial crop turns the scene into a tight vertical composition centered on the canal, using the converging waterfront buildings to pull the eye toward the distant skyline. Lens-profile correction for the Sony FE 55mm F1.8 ZA is enabled, helping keep the architecture and frame edges optically controlled, although no manual perspective correction was applied.

Light and tone

The global exposure was lowered by 0.71 stop, while highlights were reduced heavily to preserve the pale sky and bright reflections. Shadows were raised by 45 so the façades and boats retain information despite the darker exposure. Whites were then increased by 30 to keep sunlit surfaces from becoming flat, while Blacks at -31 restore depth in the darkest structures and foreground details. The custom tone curve lifts the absolute black endpoint and lowers the brightest endpoint, producing softened, slightly faded extremes. Combined with the black and white controls, this gives the image deep-looking shadows and controlled highlights without pure, harsh endpoints.

Color

The as-shot white balance is moderately neutral-warm at 5400 K with a slight magenta tint. Vibrance is raised more than overall saturation, enriching weaker colors without making the entire image loud. Blue and aqua saturation are increased, supporting the cool water and pale blue sky; aqua is also shifted strongly in hue, which helps create the distinctive blue-cyan canal color. Yellow receives a major hue shift and more saturation, while orange is modestly strengthened, consolidating the varied stone façades into warmer ochre and terracotta notes. Red is shifted in hue but reduced in saturation, preventing isolated red details from becoming distracting. Green saturation is lowered substantially, keeping incidental vegetation or greenish casts from competing with the blue-and-warm palette. No color grading or split toning was used, so this color character comes primarily from white balance, the profile/look, and targeted HSL changes.

Detail and texture

Moderate sharpening is applied with a standard radius and low detail emphasis. Luminance noise reduction is absent, while default-like color noise reduction controls chromatic speckling. Because the photograph was captured at ISO 100, the lack of luminance smoothing is consistent with retaining natural fine detail; the visible roughness is instead largely intentional grain. Texture, Clarity, and Dehaze remain at zero, so the image avoids exaggerated edge contrast or atmospheric harshness.

Film-like effects

Grain is deliberately strong at Amount 40, with medium size and roughness. It is especially visible across the broad sky and gives the digital file a tactile, analog-style surface. There is no added vignette, so attention is guided by the canal composition, tonal depth, and darker foreground rather than artificial edge darkening. Inference: the combination of grain, softened tone-curve endpoints, restrained highlights, and selective color shifts is intended to evoke a scanned travel photograph or understated film stock.

What mattered most

Heavy highlight recovery and reduced exposure protect the expansive sky and water reflections.
Raised shadows are balanced by darker Blacks, retaining façade detail without losing depth.
Targeted HSL changes build a cool blue-cyan and warm ochre palette rather than relying on color grading.
A lifted-black, rolled-highlight tone curve and strong grain create the film-like finish.
The narrow vertical crop makes the canal and its converging architecture the dominant visual structure.