For the longest time, I thought I could take any half-decent snap, crop it a bit, tweak some settings in post-production, and turn it into something good. But the more I study photography, the more I truly understand it, the more I realise how wrong I was.

Photography is an art form, and like any art, it starts with a strong foundation. No amount of post-processing can salvage a poorly composed, poorly lit, or lifeless image. A great photo needs to be good from the moment it’s captured, everything else is just refinement.

So, what makes a good photograph?

There’s no universal answer, but there are elements that all strong images tend to share. Composition, light, timing, story, processing, subject, framing, creativity, and even gear all plays a role. Mastering these is an ongoing challenge, and right now, I think I struggle most with storytelling. I see so many photobooks filled with everyday scenes and seemingly mundane moments that somehow hold so much weight and narrative. I don’t always feel that in my own work. Sometimes I get it, but other times, I know something’s missing.

Photography is subjective. No two people see an image the same way, and no two photographers will agree 100% on what makes an image great. But there are guiding principles, things that elevate an image from just a photo to something memorable.

Composition & Framing

Composition is the backbone of a good image. Every strong photo needs a focal point, something that draws the eye and gives the shot purpose. Without that, it’s just a random collection of elements in a frame. Good framing helps lead the viewer through the image, just like the layout of a comic book guides a reader’s eye through the page. If a photo lacks structure, the viewer has no direction, no story to follow.

Things to consider:

• The rule of thirds—a classic for a reason, but rules are made to be broken.
• Leading lines—paths, roads, light streaks, anything that draws the eye.
• Negative space—sometimes what isn’t in the frame matters as much as what is.
• Symmetry and balance—or intentional asymmetry, if that’s what the image needs.

For example, a simple street scene can be transformed by placing the subject at an intersection of leading lines, using reflections to add depth, or incorporating negative space to isolate and emphasize the subject.

Light & Timing

Light is everything in photography. A good photo isn’t just about what’s in the frame but how it’s lit. Harsh midday sun, soft golden-hour glow, moody shadows as each creates a different atmosphere. Understanding light, knowing when and where to shoot, and using it creatively is what separates an average photo from a breathtaking one.

And then there’s timing. Capturing the exact right moment can make or break a shot. The decisive moment, as Cartier-Bresson called it. You can’t always control light, but you can control when you press the shutter.

Story & Emotion

This is the part I’m still trying to master. Some images just feel like they have a story behind them. It could be a single expression on a face, the way light falls on a deserted street, or the juxtaposition of elements in a frame. A good image doesn’t just show something, it makes you feel something.

I struggle with this, especially in street photography. I love it, but I hesitate when it comes to photographing strangers without their consent. I don’t know their stories. I don’t know if they’re trying to stay out of sight for a reason.

So, I tend to shoot from behind, at a distance, or in ways that obscure identity. Maybe that’s something I’ll work past, or maybe that will just shape my approach. Either way, the story matters.

This ethical dilemma I suppose also shapes the stories I tell—by focusing on silhouettes or abstract details, I’m forced to find narrative in shapes and context rather than faces, which can be both a limitation and a creative opportunity.

Originality & Perspective

Photography is saturated with images. Social media, photo-sharing sites, endless streams of content—there’s no shortage of good photos out there. So, what makes one stand out? I think originality and perspective play a huge role.

Sure, everything has been photographed before, but not by you. Your take on a subject, your framing, your approach—that’s where originality comes in. The goal isn’t necessarily to shoot something no one has ever seen, but to shoot it in a way they haven’t seen it before.

For example, a simple cat can become extraordinary if shot from a worm’s-eye view, with the sky as a backdrop, rather than the usual perspective. The same applies to portraits—experimenting with unconventional angles or reflections can breathe new life into a familiar subject.

The Role of Processing

This one’s interesting. I used to think editing could fix anything. Now, I know better. Post-processing is important, but it should enhance an image, not save it. The best photos work because the core image is strong processing just helps refine the vision.

That said, colour and tone do play a role. I personally don’t think they’re as crucial as composition, light, and story, but they do matter. Some of the greatest images of all time were shot in black and white, with no colour to rely on, yet they still carry immense power. The key is making those choices intentionally.

In today’s digital age, tools like Lightroom or even smartphone apps can enhance an image, but over-editing—such as excessive saturation or HDR effects—can detract from the original vision.

The goal is to use processing to support the story, not overshadow it.

The Subject Matters

What you choose to shoot is just as important as how you shoot it. Some photographers can make anything interesting, an empty chair, a cracked sidewalk, a foggy window. Others need more striking subjects. Either approach is valid but knowing why you’re shooting something makes a difference.

I was reminded of this just this morning while reading through The Eye of Photography Magazine. I won’t name names, but one set of images featured trees and forest scenes that, in my opinion, weren’t great. They just felt flat. And yet, someone considered them gallery-worthy. That’s the subjectivity of photography and what resonates with one person might not with another. Still, it made me think about my own work and why some of my images feel empty while others have meaning.

In my own work, I’ve found that choosing subjects with personal significance like my sons’ photography of local landscapes adds meaning, even if the subject itself seems ordinary. It’s about finding the why behind the shot.

The Big Picture

At the end of the day, a good photo is a combination of all these things. It’s a mix of technique, timing, vision, and sometimes, just pure luck. The best photographers are the ones who keep pushing, keep experimenting, and keep refining their craft.

I’m still figuring it all out. Some days, I feel like I’m getting there. Other days, I look at my work and wonder what the hell I’m doing. But I think that’s part of the process. The more I shoot, the more I study, the more I analyse the work of others, the closer I get to understanding what makes a truly great photograph.

And maybe, one day, I’ll take one.