5 Great Ways To Eliminate Image Noise At The Source

Reflection XXXVII

high noise / low noise

Noise happens. There is always some degree of noise present in any electronic device that receives or transmits a signal. Though noise is unavoidable, it can become so small relative to the signal that it is no longer visible. It’s all about a good signal to noise ration (SNR). The image is the signal. The capture and carrier mediums’ biproducts are the noise. (Film grain is noise.)The higher the SNR the more the image overpowers the noise; the lower the SNR the more the image becomes confused with noise. While some noise increases the apparent sharpness of images, the vast majority of noise found in images degrades quality. It’s best to avoid it.

There are a number of things you can do to reduce noise in your digital images at the point of capture.

1       Expose to the right
2       Use lower ISO settings
3       Use bigger sensors
4       Use faster exposure times
5       Keep equipment cool

Start here. Use software to reduce the appearance of noise only when needed. (Of course, reducing noise may not be the only deciding factor when selecting conditions, tools, and techniques. As with all things, you will have to balance many concerns simultaneously. Adhere to the above principles when practical.)

Knowing how noise is produced will help you avoid it.

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avoid the red zone, caution in the yellow zone, go for the green zone

ETTR
Underexposure results in more visible noise. Darker regions contain more noise than lighter regions in digital capture; the opposite is true of film. This is because the darker regions are recorded with fewer photons and less bits of data. It stands to reason that darker regions of images are produced with fewer photons. But why are they recorded with less bits of data? Digital cameras record data in a linear progression. If a digital sensor is capable of recording 14 bits of data (or 16,384 shades of gray) with a dynamic range of 8 stops, the lightest stop contains half the data in the file; the next lightest stop contains half as much data; and so on; it generates this progression from dark to light – 32 / 64 / 128 / 512 / 1024 / 2048 / 4096 / 8,192. This means you want to expose to the right. Avoid the lower 2 stops whenever possible; they contain less than 1% of the total data in the file. With so little data the signal becomes confused with the noise; the signal to noise ratio is very low. What’s more, when these tonal regions are adjusted, brighter or contrastier, the noise contained there quickly becomes more pronounced and with so few bits of data it also has a tendency to posterize. In addition, significant under exposure greatly increases the chances of producing Bayer pattern noise, a type of noise that is seen in larger areas and is more challenging to remove in post-processing. You’re much better off making a light exposure and darkening the Raw file during post-processing; this way your shadows will be represented with much more data and contain less noise. When light becomes challenging, which should you choose – under expose (without clipping) or raise the ISO? The precise cut off point is different for every camera, but in general avoid the lower 20% of the histogram. You’ll get less noise if you boost ISO and move the histogram up.

ISO
Higher ISOs amplify noise. ISO (International Standards Organization) is a descriptor that signifies absolute sensitivity to light. A digital sensor has one native ISO. Higher ISO settings simply boost the resulting signal. This is useful, but not ideal. When the brightness of the image is boosted, the noise is too.

Use “Shorter” Exposure Times
Longer exposures generate more noise. Hot pixels become hotter. All sensors have a few pixels that heat up faster than others, producing brighter than expected values. Some even have a few dead pixels that never fire, producing only black pixels. During longer exposures hot pixels are given more opportunity to heat up, growing brighter still; slightly hot pixels not visible at shorter exposure times become visible. As digital sensors age, hot pixels may become hotter and more pixels may become hot. Hot pixels produce a consistent fixed pattern of noise that can be recorded for given exposure times, making it easy to reduce. There is a duration at which a sensor suddenly produces a lot more noise; in older models this could be seen in exposures lasting only one minute, but with newer sensors this is greatly extended and most users will not encounter this; if you’re making very long exposures it’s useful test this and find the duration at which this happens for a your specific camera.

Use Bigger Sensor Sites
When it comes to noise, bigger is better – theoretically. Bigger sensors have more light gathering capacity, producing a higher signal to noise ratio, or cleaner images. More isn’t necessarily better. Cameras with more photosites (yielding more megapixels) packed into smaller areas tend to produce a lower signal to noise ratio, or noisier images. That said, a stronger signal does not necessarily guarantee lower noise. It’s the relative amounts of signal to noise that determines how noisy an image appears. The way a camera processes the file it makes has a significant impact on the final quality. Consequently, many medium format cameras that produce beautiful files in daylight typically produce noisier files than DSLR’s with smaller sensors in low light.

Stay Cool
High temperatures exacerbate noise. Thermal energy (leakage current) in semiconductors can generate an electrical signal that is difficult to distinguish from the optical signal. Ambient temperature increases leakage current by a factor of 2 for every 8 degrees Centigrade. Whether due to ambient temperature (You might start to see some effect over 90 F / 32 C degrees.) or storage (Don’t leave your camera in the sun, especially on a car seat, for long periods of time.), your camera can get hot and this will increase noise, which you can reduce by cooling off and keeping your camera cooler.

The best way to avoid noise is to produce as little of it as possible during exposure. These five tips will help you do just that.

7 HDR Artifacts And How To Avoid Or Cure Them

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Different HDR renderings accentuate different artifacts

HDR (high dynamic range) imaging captures extreme contrast ratios and subsequently renders them for LDR (low dynamic range) devices, monitors and / or prints. The very things that make HDR renderings appear natural can make them appear unnatural if taken too far.

Midtone compression
You can’t avoid midtone compression, they get caught in the middle when the relationships between highlights and shadows are compressed. But you can take steps to minimize it by being sensitive to this when choosing compression settings and amounts and by taking subsequent steps to expand it.

Tonal inversions
Some compression routines and settings can be so aggressive that they create inversions or solarizations of specific tonal relationships. Avoid this, there is no subsequent cure. If you like the overall effect of an aggressive setting and the inversion is contained to one area of an image you can render an image twice, once for the overall effect and once for a specific area, and then blend the two together using Photoshop’s layers and masks. 

Saturation Distortions
Saturation changes when lightness shifts but color stays the same. Because HDR produces effects that can be aggressive and localized to specific set of tones, the saturation shifts that accompany tonal compression often appear unnatural. Selectively adjusting the saturation of specific hues, with tools like the HSL panel in Lightroom or Camera Raw, can often convincingly cure a majority of these side effects and hide the rest.

Halos
HDR softwares help restore midtone contrast by accentuating contours. When used aggressively this edge contrast can produce halos.
Over the years, these algorithms have dramatically improved their ability to treat the halo (light line) separately from the line (dark line), suppressing the first more than the second. Sometimes, to avoid distracting halos at the border of skies, you may want to make a second rendering for the sky and blend it with another rendering using Photoshop’s layers.


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8 HDR Myths Debunked

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There are many misconceptions surrounding the practice of high dynamic range (HDR) photography. Here are eight – debunked.

HDR is new
Within the first five years of the invention of photography photographers began bracketing exposure to extend the dynamic range of photography. They used chemistry to process their negatives instead of software to process their files – but they still bracketed exposures to capture contrast ratios that exceeded paper, glass, and film.

HDR is hard
High dynamic range imaging has become so commonplace that cameras and software make it increasingly easy to practice HDR techniques – auto-bracketing, merging and rendering.

HDR requires the use of a tripod
While there are times when the use of a tripod is required, when exposures are long in duration, in a majority of cases current cameras’ auto-bracketing features and softwares’ image alignment algorithms make hand-held exposure bracketing highly practical.


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How To Set Your Camera’s Auto-Bracketing

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back LCD menu

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top LCD menu

It’s easy to set your camera to auto-bracket. The hardest part of this process is navigating a camera manufacturer’s menu. Once you find it – and do it several times – you won’t forget it.

Here’s how to do it on current Canon cameras – the steps are similar for other cameras but the buttons and menus vary.

First, set the number of frames made in each bracketed sequence. Press the Menu button. Use the main command dial (top) to cycle through the menus on the LCD screen (back) Go to the 4th tab (small camera) > 1st list and then the use the jog wheel (back) to select the 5th item. Press the set button to select it. Use the jog wheel to select the number of shots and press the set button once again. While 3 is the most commonly used, it’s not unusual to use 5 or even 7. Because 3 is the most commonly used number, it’s likely that once you set this, you’ll reset it infrequently.


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Why Your Camera’s Auto HDR Feature Is Inferior

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Today’s cameras have the ability to generate HDR merges on the fly. The problem is that they produce JPEGs with a smaller gamut (lower saturation), lower bit depth (fewer shades of gray), and compression artifacts (noise and jagged edges) and they offer no control over the tone mapping process.
If you want a better HDR file, choose to make multiple bracketed Raw files, then merge and tone map them manually. Remember, aside from exposure settings, in-camera settings that affect the look of your image have little or no affect on Raw files, which can be processed anyway you want to process them.

In camera HDR JPEGs can offer a fast and convenient preview of potential HDR results. You can get the convenience of one and the quality of the other by setting your camera to produce both JPEG and Raw files simultaneously.

Read more on HDR techniques here.
Learn more in my digital photography and digital printing workshops.

How Many Exposures Do You Need For HDR ?

Condensation X - Prelude

1 exposure

scenes like this won’t benefit from HDR

Incubation II

 3 exposures

scenes like this may be made with 1 exposure but benefit from more

Antarctica CXXX

5 exposures

scenes like this require HDR

How many exposures do you need for HDR images?

It depends.

It depends on the contrast ratio of the scene you’re photographing.

And, it depends on how many corners you’re willing to cut.

There is a case to be made for rendering all images with bracketed exposures. If the best data in a file is in the top stop of the dynamic range of a camera, then making one exposure per stop of dynamic range in the scene, each weighted to the top stop pf the camera (ETTR), will give you ideal data in every stop of the rendered scene, once the exposures are merged. So, ideally, you’d make one exposure per stop of dynamic range in the scene. In your first exposure place the shadows in the top stop of the histogram (to the right), without clipping. Then in subsequent exposures reduce exposure in one stop increments, making a new exposure each time, until the highlights are placed in the top stop without any clipping. Then stop.


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Quick Answers To The 5 Most Asked HDR Exposure Questions

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hdr_3
How many shots do you need to make an HDR merge?
The most common answer is three.
The real answer is … it depends. First, it depends on the contrast ratio of the scene. Second, it depends on the exposure value (EV) increments you use between exposures. Third, it depends on the camera you use.
Many scenes only need 2 exposures. Most scenes need 3. Some scenes need 5. Only a few scenes need 7 or more.

How far apart in EV (exposure value) should separate exposures be?
1.5 stops. (Really any value between 1 and 2 stops.) While you won’t get better image quality if you use more shots separated by less exposure value (less than 1 stop), you also won’t compromise it. While you can also use higher increments (more than 2 stops) be careful – you may produce banding in smooth areas, particularly those with gradations.

Do you need to make HDR merges more frequently with some cameras and less with others?
Yes. Cameras that have a greater dynamic range can capture a higher contrast ratio and so don’t require HDR bracketing as frequently. While this can make a difference for images that would require two and occasionally three shots, for scenes with more extreme contrast ratios HDR merges will be necessary for all cameras.


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XDR – HDR Merges Are A 4 Step Process

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Today’s cameras (including smart phones) can create great looking HDR images on the fly, but to get optimum results it’s best to do this manually. In camera solutions render artifacted JPEGs and give you little or no control over how the results look. For optimum results, make separate Raw exposures and render them manually. While the technology at work is wizardry, this four step process is easy to practice. It’s an essential skill for all photographers.

light

+2 stops

normal

average

dark

-2 stops

1       Expose
Today’s fast burst auto-bracketing cameras combined with software alignment make handheld HDR possible. However, it’s recommended that whenever practical you use a tripod to eliminate any alignment issues between frames that might arise; it’s necessary if exposures are long.
HDR merges require multiple bracketed exposures. The goal is to produce at least one exposure with great highlight detail and another with great shadow detail. You may need additional exposures in between your lightest and darkest exposures to help smooth tonal transitions between shadows and highlights. The most common number of images used is three because this is the default number for auto-bracketing on DSLRs. However, there is no ideal number of exposures for all scenes. Some scenes need as few as two, while others need as many as eight. In general, it’s best to have more than you need, not less. The wider the dynamic range of the scene the more exposures you’ll need. Make sure that separate exposures are between 1 and 2 EV (exposure value)(equivalent to one f-stop) apart. It’s typically recommended that you fix f-stop and change shutter speed to avoid depth of field issues, but other changes in EV will work.

merge

Merge in Lightroom

2       Merge
After producing multiple bracketed exposures, the next step is to combine them with software into a single 32-bit file.
Simply select the exposures you wish to include (You don’t have to use them all.) and use the software of your choice. The software you use to merge exposures will compensate for alignment and ghosting, from motion of either camera or subject. (Lightroom and Photoshop do excellent jobs.)
Rather than rushing to render this file at the same time, save it – you may want to render it multiple times.


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What Is Exposure Value ?

exposurevaluechart
In photography, exposure value (EV0 is a number that represents a quantity of light. Each increase or decrease in number indicates a doubling or halving in the amount of light; often referred to a stop of light.


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How Many Exposures Do You Need For HDR ?

Condensation X - Prelude

1 exposure - scenes like this won't benefit from HDR

Incubation II

3 exposures - scenes like this may be made with 1 exposure but benefit from more

Antarctica CXXX

5 exposures - scenes like this require HDR

How many exposures do you need for HDR images?

It depends.

It depends on the contrast ratio of the scene you’re photographing.

Ideally, you’d make one exposure per stop of dynamic range in the scene. In your first exposure place the shadows in the top stop of the histogram (to the right), without clipping. Then in subsequent exposures reduce exposure in one stop increments, making a new exposure each time, until the highlights are placed in the top stop without any clipping. Then stop. Making more exposures is unnecessary and won’t improve image quality.


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