Sep 10, 2026 | 2026, Creative Process, equine photography, exposure triangle, horse photography, image making magic, ISO, Photography, Ranch Photography, Ranching, Western, western photographer, Western Photography |
We’ve talked about aperture and shutter speed, and now we’re coming to the third piece of the Exposure Triangle: ISO.
If aperture controls how much light enters the camera and shutter speed controls how long the camera records that light, ISO adjusts your camera’s sensitivity to available light.
When you’re photographing horses, cowboys, and ranch life, controlling that can make all the difference.
So, What Exactly Is ISO?
ISO stands for “International Organization for Standardization,” but in photography, it refers to something entirely different.
ISO represents your camera sensor’s sensitivity to light. Think of it as a dial that controls how much light your sensor absorbs.
Here, I wanted to use a slower shutter speed to capture some motion.
At 1/30 sec., the slower shutter speed also let in plenty of light, so I lowered my ISO to keep the exposure balanced and avoid overexposing the scene.
A lower ISO, such as ISO 100 or 200, is ideal when you have plenty of light. As available light decreases, you can increase your ISO to keep the shutter speed and aperture you need.
The catch? Higher ISO settings may introduce more noise into your image.
But here’s the thing: I don’t think photographers should fear high ISO.
For years, I was much more hesitant to push my ISO. I wanted to keep it as low as possible because I was concerned about noise and image quality.
Today, I don’t worry nearly as much, and here’s why:
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Today’s cameras handle high ISO remarkably well.
Camera technology has come a long way. Many modern cameras can produce remarkably clean files at ISOs that I would have been afraid to use years ago.
Of course, every camera is different, so take some time to learn your camera’s ISO capabilities and sweet spot.
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A properly exposed high-ISO image can be cleaner than an underexposed low-ISO image. This is probably the most important takeaway from this newsletter.
Don’t sacrifice your exposure just to keep your ISO low.
For example, let’s say you’re photographing a horse in fading evening light. You could keep your ISO at 400, but that forces you to use a shutter speed that’s too slow, resulting in motion blur.
Or you could increase your ISO, maintain the shutter speed you need, and make a properly exposed image.
I’ll take a little noise over a blurry photograph any day.
In fact, a propertly exposed image shot at a higher ISO can have less visible noise than an image shot at a low ISO that is significantly underexposed and then brightened in post-processing.
That’s because you’re not asking your software to dig information out of the shadows that weren’t adequately captured in the first place.
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Noise reduction has come a long way.
Fantastic noise-reduction tools are available today, and they have completely changed how I approach high-ISO photography.
I’ve used most of the major noise-reduction programs over the years, but Adobe’s Denoise feature in Lightroom and Camera Raw has quickly become one of my favorites.
It isn’t perfect, and it certainly has limitations, but I’ve watched it perform minor miracles on some of my noisiest files.
Here’s a real-world example:
When I made this image, it was actually quite underexposed, even at ISO 6400.
After making my adjustments and running Adobe’s Denoise, I was amazed at how much detail I recovered while significantly reducing the noise.
That brings me to another important point:
Be sure to zoom in and inspect your image after using an AI-powered tool.
Look carefully across the entire photograph, not just the area you’re working on. Sometimes AI processing can create strange artifacts, especially around fine details such as hair, manes, tails, and other textured areas.
A Few Things to Remember When Setting ISO
When you’re deciding what ISO to use, keep these simple guidelines in mind:
Start low when you can.
If you’re photographing in bright daylight and ISO 100 gives you the exposure and shutter speed you need, there’s no reason to use ISO 1600.
Increase it when you need to.
If your shutter speed is getting too slow to freeze movement, don’t be afraid to raise your ISO.
Think about the entire Exposure Triangle.
ISO doesn’t exist by itself. Every adjustment you make affects the other two sides of the triangle.
Learn your camera.
Spend some time photographing the same subject at different ISO settings. Look at the files at 100% and see how much noise you’re comfortable with.
And most importantly, don’t let ISO keep you from making the photograph.
I would much rather have a sharp, properly exposed image with some noise than miss the moment because I was afraid to turn up my ISO.
Adobe isn’t your only option for noise reduction. Several excellent noise-reduction tools are available, and it’s worth experimenting to see which works best for your workflow.
Topaz DeNoise and the NIK Collection/NIK 9 Define are both excellent options for reducing noise while retaining fine detail.
One thing I particularly like about using noise reduction as a separate layer in Photoshop is that I can reduce the effect or mask it to specific areas, rather than applying the same amount of processing to the entire photograph.
The Bottom Line
ISO isn’t something to fear; it’s simply another creative and technical tool that gives you more control over your photography.
When the light starts disappearing, don’t give up on the shot right away. Look at your aperture. Look at your shutter speed. Then look at your ISO.
Sometimes increasing your ISO is exactly what allows you to keep the shutter speed fast enough to freeze the action and the aperture wide enough to create the look you want.
A little noise can be fixed, but a missed moment can’t.
