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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

1/250s

ISO

500

Metering mode

Center-weighted average

Exposure program

Manual

Exposure compensation

Flash

Off, Did not fire

Taken at

2018:08:18 12:14:03

Software

Adobe Photoshop Lightroom Classic 10.0 (Macintosh)

no copyright note in EXIF

GPS Location

—

GPS Altitude

—

GPS Date & time

—

Raw EXIF data

ISO

500

Make

SONY

Flash

Off, Did not fire

Model

ILCE-7M2

FNumber

2.8

Contrast

Normal

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

2018:08:18 12:14:03

FileSource

Digital Camera

ModifyDate

2020:11:21 18:53:06

OffsetTime

+01:00

Saturation

Normal

Compression

JPEG (old-style)

ExifVersion

0231

FocalLength

35.0 mm

LightSource

Unknown

XResolution

240

YResolution

240

ExposureMode

Manual

ExposureTime

1/250

MeteringMode

Center-weighted average

WhiteBalance

Auto

ApertureValue

2.8

CustomRendered

Normal

ResolutionUnit

inches

ThumbnailImage

(Binary data 9368 bytes, use -b option to extract)

BrightnessValue

4.69296875

ExposureProgram

Manual

SensitivityType

Recommended Exposure Index

ThumbnailLength

9368

ThumbnailOffset

942

DateTimeOriginal

2018:08:18 12:14:03

DigitalZoomRatio

MaxApertureValue

2.8

SceneCaptureType

Standard

ShutterSpeedValue

1/250

ExposureCompensation

FocalPlaneXResolution

1675.257385

FocalPlaneYResolution

1675.257385

FocalLengthIn35mmFormat

35 mm

FocalPlaneResolutionUnit

RecommendedExposureIndex

500

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="2020-11-21T18:53:06+01:00"
   xmp:CreateDate="2018-08-18T12:14:03"
   xmp:MetadataDate="2020-11-21T18:53:06+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

2018:08:18

TimeCreated

12:14:03

CodedCharacterSet

UTF8

DigitalCreationDate

2018:08:18

DigitalCreationTime

12:14:03

ApplicationRecordVersion

Photoshop

IPTCDigest

c572611ffe9cd294303e5661b7d015d3

XResolution

240

YResolution

240

DisplayedUnitsX

inches

DisplayedUnitsY

inches

PhotoshopThumbnail

(Binary data 9368 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	5800
Tint		+27

Tone
Exposure		+0.75
Contrast		0
Highlights		+34
Shadows		+19
Whites		+19
Blacks		0

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, clean, slightly pastel gallery image. Strong global brightening and opened tonal regions make the white architecture feel airy, while a lifted-black custom curve keeps the dark suit and office interior from becoming harsh. Color is selectively restrained—especially yellows, magentas, and purples—while blues are emphasized, helping the chairs and small blue details stand out against the largely neutral setting.

Overall look

The image is treated as a high-key environmental photograph rather than a deeply contrasty scene. The expansive white wall and floor dominate, while the office photograph and the standing figure remain visually distinct. Adobe Color supplies the base rendering, but the custom tone and HSL work soften and simplify its color response.

Light and tone

Exposure was raised by a substantial +0.75 EV, with additional increases to whites, highlights, and shadows. Together these adjustments brighten nearly every tonal region: the gallery walls approach clean white, the office print gains luminosity, and detail remains visible in the man’s dark clothing. The custom point curve lifts the black endpoint noticeably and gently reshapes the midtones and upper tones. This produces softer, slightly faded blacks while retaining enough separation in the brighter regions to avoid a completely flat result. Because highlights were increased rather than recovered, the visual intention was evidently an airy, luminous presentation rather than maximum highlight texture.

Color and white balance

A custom 5800 K white balance with a strong +27 magenta tint counters greenish neutrality and contributes to the faint pink/magenta character visible in some whites and pale interior surfaces. Selective HSL saturation changes do most of the palette control: yellow is reduced heavily, purple and magenta are also strongly reduced, and orange is slightly subdued. This prevents the wood floor, skin, and office clutter from becoming too colorful. Blue saturation is increased by 19, making the blue chairs and other blue accents more conspicuous. Subtle per-channel curves alter color across the tonal range; visually, they appear to support the delicate warm-shadow/cool-highlight separation, though this is an inference from the curve shapes and finished image.

Geometry and composition

An Upright perspective transform was applied, helping the gallery wall, print edges, and architectural verticals read as orderly and rectilinear. This is important in such a sparse composition because even slight convergence would be obvious. No crop was applied, preserving the broad negative space around the artwork and isolated figure.

Detail and noise

Sharpening is moderate and conventional, with amount 40, radius 1.0, and detail 25. This supports clear edges in the figure, frame, furniture, and cables without creating an aggressively crisp texture on the smooth walls. Color noise reduction is set to 25, while luminance noise reduction is absent. The ISO 500 capture provides relevant context: modest chroma cleanup can be useful at that sensitivity, while leaving luminance reduction at zero preserves fine detail.

Effects and restraint

No clarity, texture, dehaze, grain, or vignette was added. There is also no split toning or modern color grading. This restraint keeps the surfaces smooth and the presentation documentary and gallery-like, with the mood coming primarily from exposure, the custom curves, white balance, and selective saturation rather than conspicuous effects. Lens-profile correction and manual defringing were not enabled.

What mattered most

A large exposure lift and raised whites, highlights, and shadows establish the high-key appearance.
The lifted-black tone curve softens dark areas and gives the image a mild pastel or faded finish.
Strong magenta white-balance bias and selective desaturation simplify the otherwise cluttered interior palette.
Enhanced blue saturation directs attention to the chairs and small blue accents.
Perspective correction and the uncropped frame preserve the image’s architectural precision and expansive negative space.