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Camera settings (EXIF data)

Camera Sony Sony a7 II

Full frame (35.8 x 23.9 mm)

Lens FE 90mm F2.8 Macro G OSS

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Focal length

90.0 mm

Aperture

ƒ/4.0

Shutter speed

1/800s

ISO

100

Metering mode

Center-weighted average

Exposure program

Aperture-priority AE

Exposure compensation

Flash

Off, Did not fire

Taken at

2018:10:27 13:30:34

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

4.0

Contrast

Normal

LensInfo

90mm f/2.8

Software

Adobe Photoshop Lightroom Classic 10.0 (Macintosh)

LensModel

FE 90mm F2.8 Macro G OSS

SceneType

Directly photographed

Sharpness

Normal

ColorSpace

sRGB

CreateDate

2018:10:27 13:30:34

FileSource

Digital Camera

ModifyDate

2020:11:22 09:43:17

OffsetTime

+01:00

Saturation

Normal

Compression

JPEG (old-style)

ExifVersion

0231

FocalLength

90.0 mm

LightSource

Unknown

XResolution

240

YResolution

240

ExposureMode

Auto

ExposureTime

1/800

MeteringMode

Center-weighted average

WhiteBalance

Auto

ApertureValue

4.0

CustomRendered

Normal

ResolutionUnit

inches

ThumbnailImage

(Binary data 9592 bytes, use -b option to extract)

BrightnessValue

8.6265625

ExposureProgram

Aperture-priority AE

SensitivityType

Recommended Exposure Index

ThumbnailLength

9592

ThumbnailOffset

952

DateTimeOriginal

2018:10:27 13:30:34

DigitalZoomRatio

MaxApertureValue

2.8

SceneCaptureType

Standard

ShutterSpeedValue

1/800

ExposureCompensation

FocalPlaneXResolution

1675.257385

FocalPlaneYResolution

1675.257385

FocalLengthIn35mmFormat

90 mm

FocalPlaneResolutionUnit

RecommendedExposureIndex

100

Raw XMP data

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 <rdf:RDF xmlns:rdf="http://www.w3.org/1999/02/22-rdf-syntax-ns#">
  <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="2020-11-22T09:43:17+01:00"
   xmp:CreateDate="2018-10-27T13:30:34"
   xmp:MetadataDate="2020-11-22T09:43:17+01:00"
   aux:LensInfo="900/10 900/10 28/10 28/10"
   aux:Lens="FE 90mm F2.8 Macro G OSS"
   aux:LensD...

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IPTC

DateCreated

2018:10:27

TimeCreated

13:30:34

CodedCharacterSet

UTF8

DigitalCreationDate

2018:10:27

DigitalCreationTime

13:30:34

ApplicationRecordVersion

Photoshop

IPTCDigest

8f8c1a21b3dd7f1bfc5be0eebcc330df

XResolution

240

YResolution

240

DisplayedUnitsX

inches

DisplayedUnitsY

inches

PhotoshopThumbnail

(Binary data 9592 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		+9

Tone
Exposure		+0.30
Contrast		-12
Highlights		-50
Shadows		+58
Whites		-28
Blacks		+33

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 photograph was shaped into a muted, film-like autumn scene with compressed contrast, subdued foliage, cool gray-blue water, and visible grain. Strong highlight recovery and shadow lifting preserve detail across the overcast landscape, while the custom curves keep the result from looking completely flat. Selective HSL reductions suppress most colors but retain some restrained orange-brown foliage, helping the dark central figure remain the visual anchor.

Overall look

The edit favors a quiet, understated palette rather than vivid seasonal color. Global saturation and vibrance remain neutral, so the muted appearance comes primarily from targeted HSL adjustments, tonal compression, and a subtle cool tint in the shadows. The result feels slightly faded and analog rather than crisp or highly polished.

Light and tone

Exposure was raised slightly, but highlights were reduced strongly at -50 and whites at -28, protecting the pale sky and reflective water. Shadows were opened substantially at +58 and blacks at +33, revealing the shoreline and some detail in the subject's dark clothing. Lower global contrast reinforces the soft overcast atmosphere. The custom master curve raises the deepest black endpoint for a matte quality, while the matching red, green, and blue curves deepen parts of the lower shadows and lift the upper midtones. Together these adjustments compress the overall range while retaining enough internal contrast to keep the photograph from appearing washed out.

Color

A custom white balance of 5300K with a small magenta tint keeps the scene cool-neutral without letting the gray weather become strongly blue or green. Color was then controlled selectively: greens, yellows, reds, purples, and blues were all desaturated, with greens reduced especially heavily. Yellow was shifted strongly toward orange and darkened, helping the reeds and autumn foliage become muted rust and brown rather than bright yellow. Greens were also darkened, which gives the distant evergreen band more visual weight. Blue was slightly desaturated but brightened, producing the pale steel-blue appearance of the water and sky. A very low-saturation blue shadow tone adds a subtle cool cast to darker areas; this is restrained enough to read as atmosphere rather than obvious split toning.

Detail and texture

Moderate sharpening was applied with a conventional radius, but without edge masking, so sharpening can affect fine texture throughout the frame. Color noise reduction is present, while luminance noise reduction is absent. The ISO 100 capture provides context for that choice: the source would normally require little luminance-noise cleanup. Texture, clarity, and dehaze were left neutral, avoiding hard local contrast in the water and distant trees.

Grain and finish

Grain is a major part of the finish: an amount of 40 with a relatively small size adds visible, fine texture across the smooth water and sky. This helps unify the softened tones and reduced color into a film-like presentation. No post-crop vignette was added, so attention is directed by the naturally dark figure and the broad empty water rather than artificial edge darkening.

Composition

A modest crop trims all four edges without rotation or perspective correction. It preserves the wide horizontal layers of water, reeds, trees, and sky while keeping the person near the lower center. Inference: the 90mm capture perspective also contributes to the visually compressed relationship between the figure and the distant shoreline, although that is a capture characteristic rather than a Lightroom adjustment.

What mattered most

Compressed highlights and lifted shadows create the soft, low-contrast tonal structure.
Selective HSL desaturation—not global saturation—produces the restrained autumn palette.
Brightened blues and a subtle cool shadow tint give the water and shadows their steel-blue character.
Darkened greens and yellows strengthen the distant tree line while keeping the foliage subdued.
Added grain supplies the analog texture that clarity and dehaze were intentionally not used to create.