Exposure and ISO

Colourful Xiaolanzhen alley lights at night
Xiaolanzhen, Guang­dong, 2016. I cap­tured this image using a Fuji­film X‑T2 cam­era paired with the XF 56 mm ƒ/1.2 lens. As I didn’t have my tri­pod with me at the time, my only option for ensur­ing an ade­quate­ly bright and sharp pho­to was to shoot at ISO 3200.

ISO simulates exposure

To demys­ti­fy the con­cept of exposure—to make it approach­able for beginners—many writ­ers present inac­cu­rate expla­na­tions of what ISO is and how it works. Unlike the aper­ture mech­a­nism and shut­ter mech­a­nism, which are both phys­i­cal parts of the cam­era, ISO describes an elec­tron­ic func­tion that sim­u­lates changes to expo­sure. ISO is not a vari­able of expo­sure because changes to ISO on its own, with­out addi­tion­al adjust­ments to aper­ture and shut­ter val­ues, do not affect the amount of light the image sen­sor receives. Instead, ISO set­tings deter­mine how bright­ly the cam­era ren­ders a pic­ture giv­en the expo­sure you have set using the aper­ture’s light con­trol and the shut­ter’s tim­ing con­trol. Thus, ISO allows you to change pic­ture bright­ness with­out fur­ther adjust­ing your aper­ture or shut­ter set­tings or, if pos­si­ble, mod­i­fy­ing sub­ject bright­ness by adding or sub­tract­ing light from the scene.

iso and effective exposure animation
In this exam­ple, the aper­ture and shut­ter speed remain con­stant, mak­ing ISO the vari­able that adjusts the effec­tive expo­sure.

The stan­dard ISO scale is easy to remem­ber and fol­lows a sim­ple geo­met­ric pro­gres­sion: 50, 100, 200, 400, 800, 1600, 3200, 6400, 12,800, 25,600, etc. The avail­able range varies depend­ing on the make and mod­el of your cam­era, and, as with aper­ture and shut­ter set­tings, inter­me­di­ate val­ues are typ­i­cal­ly avail­able. The dif­fer­ence in effec­tive expo­sure between adja­cent val­ues is equiv­a­lent to a change of one stop. For exam­ple, adjust­ing ISO from 200 to 800 quadru­ples your effec­tive expo­sure; switch­ing from ISO 3200 to 1600 halves your effec­tive expo­sure.

Many pho­tog­ra­phy instruc­tors describe ISO as an image sensor’s vari­able sen­si­tiv­i­ty to light. While this expla­na­tion may seem intu­itive­ly help­ful, it is cat­e­gor­i­cal­ly incor­rect. No com­mer­cial­ly avail­able, mass-pro­duced image sen­sor has vari­able sen­si­tiv­i­ty to light. Unlike the pho­tore­cep­tors in your reti­nas, which under­go chem­i­cal changes to become dark-adapt­ed, an image sensor’s chem­i­cal and phys­i­cal prop­er­ties remain unchanged when adjust­ing the ISO.

ISO: image sensors and amplification

Under­stand­ing how image sen­sors work will help you appre­ci­ate what hap­pens when you adjust ISO. All image sen­sors are sen­si­tive to a rel­a­tive­ly nar­row tonal range of light, known as the dynam­ic range or expo­sure range. Your expo­sure must fall with­in this range to ensure that visu­al infor­ma­tion is recorded—not only faith­ful­ly and accu­rate­ly, but at all.

An image sen­sor is a dense­ly packed array of pho­to­sen­sors that detect light. When exposed to light, each pho­to­sen­sor, or pix­el, accu­mu­lates an elec­tri­cal charge pro­por­tion­al to the light inten­si­ty at its loca­tion. Imme­di­ate­ly after expo­sure, the elec­tri­cal cur­rent gen­er­at­ed by each pho­to­sen­sor pass­es through a sig­nal ampli­fi­er and con­tin­ues to the ana­logue-to-dig­i­tal con­vert­er, which dig­i­tizes the sig­nal, mak­ing it read­able by the camera’s micro­proces­sor.

It is com­mon to raise the ISO when achiev­ing an ide­al expo­sure by oth­er means is not fea­si­ble. When you increase the ISO beyond the image sensor’s base sen­si­tiv­i­ty (typ­i­cal­ly ISO 100 or 200), the cam­era under­ex­pos­es the image sen­sor and then ampli­fies that sig­nal to ren­der an image with cor­rect effec­tive expo­sure. The extent of the image sensor’s under­ex­po­sure is pro­por­tion­al to how many stops your ISO set­ting devi­ates from its base val­ue. For exam­ple, if you take a pic­ture at ISO 3200 and your camera’s base ISO is 200, the cam­era will ren­der the final image from an expo­sure that is four stops too dark.

ISO and the significance of image sensor signal amplification in underexposed photos.
Toronto’s finan­cial dis­trict at twi­light, from Riverdale Park East, 2018. This series of images illus­trates the rela­tion­ship between ISO, effec­tive expo­sure, and how much total expo­sure the image sen­sor receives rel­a­tive to its base ISO. Pho­to A is cor­rect­ly exposed and shot at ISO 200, the base ISO for my cam­era. The pho­tos in the left col­umn (B, D, F, and H) are cap­tured at pro­gres­sive­ly high­er ISO val­ues, with the effec­tive expo­sure (bright­ness) main­tained through rec­i­p­ro­cal adjust­ments to the shut­ter speed. The pho­tos in the right col­umn (C, E, G, and I) show the cor­re­spond­ing lev­els of total expo­sure received by the image sen­sor before sig­nal ampli­fi­ca­tion ren­ders the pho­tos to their left. For instance, B is pro­duced using the expo­sure lev­els shown in C (1‑stop under­ex­po­sure), D is cre­at­ed from the expo­sure lev­els in E (2‑stop under­ex­po­sure), F is gen­er­at­ed using the expo­sure lev­els in G (3‑stop under­ex­po­sure), and H is ren­dered with the expo­sure lev­els in I (4‑stop under­ex­po­sure).

Unfor­tu­nate­ly, rais­ing the ISO to increase pic­ture bright­ness also increas­es image noise. Dig­i­tal cam­eras expe­ri­ence three types of noise: read noise, ther­mal noise, and shot noise. Read noise occurs when the ana­logue sig­nal from the image sen­sor is con­vert­ed to a dig­i­tal sig­nal for pro­cess­ing. This process involves sig­nal ampli­fi­ca­tion and con­ver­sion using elec­tron­ics, which can intro­duce ran­dom vari­a­tions in the mea­sured sig­nal.

Ther­mal noise results from the ran­dom move­ment of elec­trons with­in the image sen­sor due to tem­per­a­ture fluc­tu­a­tions. It pos­es sig­nif­i­cant chal­lenges for pho­tog­ra­phers oper­at­ing in hot envi­ron­ments, cap­tur­ing long expo­sures, or shoot­ing lengthy video sequences. The high­er the tem­per­a­ture, the greater the ther­mal noise, which can cre­ate ran­dom vari­a­tions in the sig­nal.

Shot noise is caused by the ran­dom arrival of pho­tons at the image sen­sor, lead­ing to vari­a­tions in bright­ness at each pix­el. Shot noise becomes more pro­nounced with low­er light expo­sure, such as when using high ISO val­ues or under­ex­pos­ing your pic­tures. On mod­ern image sen­sors, espe­cial­ly those with ISO invari­ance, read and ther­mal noise are min­i­mal, and most of the noise effects seen in images are attrib­uted to shot noise—the ran­dom­ness of light’s arrival at the sen­sor.

Image noise is present in every pic­ture you take, regard­less of ISO; how­ev­er, the sig­nal-to-noise ratio (SNR) is high­est (mean­ing less noise) at your camera’s low­est ISO set­ting because it requires bright expo­sures. When you raise the ISO to main­tain image bright­ness in dark­er con­di­tions, your cam­era ampli­fies a pro­gres­sive­ly weak­er sig­nal, which reduces the SNR (result­ing in more noise). Thus, increased image noise is the most notice­able prac­ti­cal con­se­quence of using high­er ISO val­ues. How­ev­er, it’s cru­cial to under­stand that, in mod­ern cam­eras, the under­ly­ing cause of increased noise is the reduc­tion of light rather than increased ampli­fi­ca­tion.

This series of images demon­strates the effect of elec­tron­ic noise on image qual­i­ty. Notice how the noise impacts the vis­i­ble sep­a­ra­tion between indi­vid­ual office win­dows on the left and even­tu­al­ly over­whelms all hints of detail in the black office win­dows near the cen­tre. To main­tain a con­stant effec­tive expo­sure across the series, each suc­ces­sive increase in ISO speed was bal­anced by adjust­ing the shut­ter speed to reduce expo­sure.

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