The Anatomy of a Great Photo

Photography is a very important form of storytelling. In this photocomposition essay and explainer video, I will showcase six photographs I’ve taken, each of which demonstrates a variety of compositional techniques. From the calming symmetry of the Potomac River at dusk to the juxtaposition of modern and historic architecture at Howard University, each photo is an example of different compositional techniques such as the Rule of Thirds, Leading Lines, Symmetry, Juxtaposition, and the use of Foreground Interest and Depth. By combining these techniques with elements like color, texture, and human interest, I believe that I brought each scene to life. Through these six photographs, I will analyze and break down the compositional choices I made, hopefully showing how photography can induce emotion, create balance, and engage a viewing audience in important ways.

“The Patowmack,” by, Logan Johns

The Rule of Thirds

The Potomac River at dusk in Great Falls Park in McLean, Virginia. Also known as the “Nation’s River,” te Indigenous heritage in this area is very rich and complex. Originally named “Potowmack” by the Algonquin Indigenous people of the Potomac Valley, the Valley has been their homeland for thousands of years. In July 1864, Confederate General Jubal Early crossed the “Potowmack River” during his attempted raid on the nation’s capital. The river divided the Union from the Confederacy and lent its name to the Union’s largest army, the Army of the Potomac. In 1931, the U.S. Board on Geographic Names officially changed the river’s name to “Potomac.”

This photo of the Potomac River taken at Great Falls Park in McLean, Virginia demonstrates several photography composition techniques: the Rule of Thirds; Foreground Interest and Depth; Symmetry, and Negative Space. First, in looking at this photo, if you divide the frame into nine equal rectangles, three across and three down, you will see two of the most important elements of the scene to the left and right of the photograph where the invisible grid lines intersect. In this photograph, I made sure that the trees and riverbank align with these invisible grid lines. The Potomac River takes up most of the bottom third of the frame, giving a sense of balance to the composition. The trees on both sides of the river appear to float because they are placed near the intersections of the vertical and horizontal lines. This technique highlights the natural symmetry of the scene and create a balance between the water of the Potomac River and its reflection. The closest trees look as if they are floating on top of the river because of their placement along the invisible grid line to the right. The trees in the background on the other side of the river, also appear to be floating on the river because their branches intersect with two invisible grid lines to the left, and in the middle of the scene. Also, in this photograph, I have created foreground interest in the scene and added depth by focusing on the rocks in the river. The eyes of the viewer of this photo are naturally drawn to the rocks, and from there, the scene expands into the distance. Finally, this photo demonstrates the use of negative space. The large depiction of the of sky above the river allows the viewer to focus on the tranquility of the water and trees. The atmosphere is serene and gives the viewer an idea of the beauty of nature.

“Revenge of the Powhatan,” by, Logan Johns

Patterns and Textures

*The Potomac River flows through Great Falls Park in McLean, Virginia, on a sunny afternoon, showing its natural beauty. For thousands of years, the* *Powhatan* *and* *Piscataway* tribes used the Great Falls area as a trading post, fostering commerce and community. The Potomac River at Great Falls is significant historically because of the cascading falls, which were formed during the last Ice Age when sea levels dropped, allowing the river to carve deeper into its valley. This area played an important role in early trade and transportation, especially with George Washington’s vision to develop the “Patowmack Canal,” which was designed to help navigate around the falls.

This photograph of the Potomac River, which I took in the early afternoon at Great Falls Park in McLean, Virginia, highlights several compositional techniques: Centered Composition, Symmetry, “Frame Within A Frame”, and Patterns and Textures. In this photo, the main subject of the scene is the Potomac River and it is positioned in the middle of the frame. This gives the scene a balanced feel. Also, in this photograph, the Potomac River divides the image creates horizontal symmetry by dividing the scene into two equal halves. This symmetry gives the viewer a sense of calm and peace. I believe that the stone wall in the background of the scene and the stone bank in the foreground are a type of architecture that make this scene a good example of a centered composition, horizontal symmetry, and a frame within a frame. Moreover, according to PetaPixel’s 28 Composition Techniques That Will Improve Your Photos, “Architecture and roads often make great subjects for centered compositions.” In my opinion, the stone wall in the background and the stone embankment in the foreground act as frames within the scene, creating a “frame within a frame” effect which add depth and dimension to the photo. The texture of the rocks in the foreground and on the riverbank make the photo interesting because of their contrast to the smooth surface of the water.

“Poodle Mania,” by, Logan Johns

Foreground Interest and Depth

Hazel, a Toy Poodle, is seen walking on a leash in Potomac, Maryland. The Toy Poodle, a descendant of the Standard Poodle—the original poodle breed—dates back to around 1700. Toy Poodles served as lap dogs, circus performers, and trick dogs for gypsies. The French aristocracy adopted the breed as a beloved companion.

This photo I took of my family’s toy poodle, Hazel, on her leash, leading me on our walk home one recent afternoon, is an example of interest and depth and the use of leading lines. Placing Hazel in the foreground allowed her to become the main subject of the photograph and grab the viewer’s attention right away. Hazel’s placement in the photo creates a sense of depth as the scene extends from her position just a few feet in front of me to our home in the background. Despite our house being only a short distance away, the photograph gives the impression of a much greater distance because of Hazel’s close proximity to my camera. Also, in this photograph, I used the slightly curved road we were walking on as a leading line, guiding the viewer’s eyes towards the brown brick house in the background.

“A Treasure Beyond Measure,” by, Logan Johns

Diagonals and Triangles

Howard University’s Founders Library, an example of Georgian-style architecture, was dedicated on May 25, 1939, as a tribute to the University’s founders. Constructed with a $1 million appropriation from the U.S. Congress in 1929, the library began as a home for a modest collection of antislavery books and pamphlets. Today, it serves as an indispensable resource, housing the University’s Moorland-Spingarn Research Center collection, as well as the University Archives and Museum. Recognized as one of the world’s premier centers for the study of the Black experience, Founders Library continues to play a crucial role in preserving and promoting African American history and culture.

This photograph of Howard University’s Founders Library demonstrates several photography compositional techniques: human interest, juxtaposition, diagonals and triangles, and the Rule of Odds. The main focal point of the photograph is Howard’s towering Founder’s Library. The very tiny human beings, presumably students and possibly faculty members and staff, walking across campus in the foreground add human interest and depth to the scene. The contrast between the enormous scale of Founders Library and the small size of the people emphasizes the library’s importance and majesty and its historical importance to Howard University. Also, in this scene, the students/individuals on campus appear to be walking from right to left, breaking the “Left to Right Rule” discussed in PetaPixel’s 28 Composition Techniques That Will Improve Your Photos. Here, my use of students moving from right to left makes for an interesting photo anyway. The vertical lines of the flag pole and library itself, along with and the flat ground beneath them, form implied triangles that add “dynamic tension” to the scene. These diagonal lines lead the viewer’s eye upward, creating visual movement that balances the fixed position of the library and flag pole. Last, this photograph follows the Rule of Odds. The three main objects in the scene —Founder’s Library, the flagpole, and the tree branches in the foreground —make up an odd-numbered grouping, which according to PetaPixel, “suggests that an image is more visually appealing if there are an odd number of subjects.”

“Coloring Your Dreams,” by, Logan Johns

Look for Particular Color Combinations

A sunset above the Chesapeake & Ohio Canal Towpath in Poolesville, Maryland. Initially, it was a thin path constructed alongside the canal, where mules walked to pull canal boats along the waterway. Today, it is a very popular trail for walking, running, and biking, and forms part of the Chesapeake & Ohio Canal National Historical Park. This towpath is historically significant because of its role in 19th-century transportation during the Civil War when the canal was a strategic route for moving troops and supplies along the Potomac River.

This photograph, taken from below along the Chesapeake & Ohio Canal Towpath in Poolesville, Maryland, is an example of several photography compositional techniques: shooting from below, the Rule of Thirds, and the use of complementary color combinations. The shoot from below angle I used allows the viewer to focus on the enormous height of the trees and the vastness of the sky, making the scene very dramatic. This viewpoint draws the viewer’s attention upward, toward the multi-colored skyline. This is also an example of the Rule of Thirds in that if you divide the frame into nine equal rectangles, three across and three down, you will see that the trees and their branches align with the invisible grid lines and intersect the foreground and the background. These elements are on the left and right thirds of the scene and create balance while viewer’s eye look at the entire scene. Last, the color combinations (orange and blue) in the sky are complementary colors and together, create a sense of peace and make the viewer appreciate nature.

“7th Street Extended and Brightwood Avenue,” by, Logan Johns

Juxtaposition

From left to right, this image features a side entrance of The Oliver Apartments, located at 2711 Georgia Avenue, N.W., Washington, D.C., alongside the rear of Howard University’s Cook Hall dormitory at 601 Fairmont Street, N.W., Washington, D.C. 20059. The original Georgia Avenue is now known as Potomac Avenue in Southwest and Southeast Washington, D.C. Today’s Georgia Avenue was previously referred to as 7th Street Extended and Brightwood Avenue. Notable historical sites along Georgia Avenue include Freedmen’s Hospital, established in 1862 to serve the African American community, Howard University, founded in 1867 to provide education for Blacks in the liberal arts and sciences, and the boarding house where novelist and anthropologist Zora Neale Hurston resided while studying at Howard University.

This photograph, taken from the vantage point of Howard University’s School of Business, highlights the juxtaposition between old and new architecture: the rear of Howard University’s historic Cook Hall dormitory on the right, and the modern Oliver apartment building on the left, located at 2711 Georgia Avenue, N.W., Washington, D.C. The contrast between these buildings is emphasized through the use of black and white. By removing the distraction of color, this photo focuses solely on the shapes, textures, and architectural details of the two buildings. The older, brick Cook Hall is visually balanced against the sleek, contemporary design of The Oliver. This highlights the architectural evolution of the area and of Howard University. Also, I applied the Rule of Thirds to this photo. The tree in the left foreground is positioned at the intersection of invisible grid lines which draw the viewer’s eyes across the frame and add a sense of depth. The tree is also a “visual anchor,” connecting the older and newer buildings in the scene. I decided to convert the photo from color to black and white to simplify the scene and make the photo more interesting. The colorized version of the photo distracted from the juxtaposition between the older building and the Oliver which was constructed this year. In my opinion, the black and white photo allows the viewer to focus on the textures and patterns of the brick and modern materials.

“Escaping Slavery in Darnestown, Maryland,” by, Logan Johns

The Use of Black and White

A photograph of a landscape in Montgomery County, Maryland in September 2024. In 1695, the land that is now Montgomery, Prince George’s, and Frederick counties, along with Washington, D.C., was part of Prince George’s County. In 1776, Dr. Thomas Sprigg Wootton, a white member of the Maryland Constitutional Convention and a trader of enslaved Black people, introduced a bill to divide Frederick County into three: Frederick, Montgomery, and Washington. These were the first counties in America established by elected representatives, with their names breaking tradition by honoring two American figures—George Washington and Richard Montgomery—rather than European royalty like Prince George and Queen Anne.

This photograph, taken in Darnestown, Montgomery County, Maryland, works powerfully in black and white because it draws attention to the contrasting textures—the thick trees in the background and the ordered grass in the foreground. I chose to present this image in black and white to evoke the atmosphere of Prince George’s County, Maryland, in 1695, when Maryland was a slave state. My intention was to encourage viewers to reflect on the lives of enslaved Black people during that time. I wanted them to ask questions like: What challenges did enslaved Blacks of that period face beyond those trees? What might it have been like for enslaved individuals to hide among trees like these while seeking freedom along the Underground Railroad in a county that enslaved more Black people than any other in Maryland? For me, the grass in the photo symbolizes the space where white people lived freely, while the trees represent the hidden, racist world where enslaved Black people sought refuge, desperately trying to escape to freedom.

“Life Among the Cherry Blossoms in Potomac, Maryland,” by, Logan Johns

Fill the Frame

This image captures post-bloom cherry blossom trees along Piney Meetinghouse Road in Potomac, Maryland, less than a quarter-mile from the recently discovered Union Wesley Methodist Church cemetery, a 150-year-old burial ground where both enslaved Black people and freedmen were laid to rest and which was sold by the Montgomery County government and used as an illegal dump site by local residents. The first cherry blossom trees in the United States were a gift from the mayor of Tokyo in 1912, in gratitude for U.S. assistance following the 1911 earthquake and tsunami. In addition to the iconic cherry blossoms in Washington, D.C., these trees also flourish in the Kenwood neighborhood of Bethesda and in Potomac, Maryland, both in Montgomery County.

This photograph of cherry blossom trees in Potomac, Maryland follows the “fill the frame” rule by putting the viewer in the trees, which dominate the composition. My goal with this image is not only to highlight the beauty of the cherry blossoms, even after they’ve lost their pink blooms, but also to reflect on the irony of their symbolism. While these cherry blossom trees represent friendship, just a short distance from these trees lies a cemetery where many enslaved and free Blacks were buried. Today, Maryland, a former slave state, is considered one of the most liberal states in the nation. Yet, in 1972, this very plot of land was auctioned off by the county government for only $162 due to unpaid taxes. The contrast between the serene beauty of the cherry blossoms and the history of the desecration of the Black cemetery just a few yards away adds a deeper layer to the photograph. My hope is that viewers will be moved to ask questions about the legacy of the land and those who lived on it.

“A Black Man Walking Without Fear in Potomac, Maryland,” by, Logan Johns

Left to Right

This image features Alec McIntosh, a Black college student at American University in Washington, D.C., walking in his family’s Potomac, Maryland, neighborhood. Potomac is one of the wealthiest cities in the nation, with a median household income of $218,710 and an average home price of $1.26 million. In a community where only 5.5% of homeowners are African American and the poverty rate is just 3.75%, Alec’s family has been residents and homeowners here for nearly fifty years.

Until recently, I hadn’t fully understood the left-to-right rule in photography or appreciated it as an art form. Learning this technique was eye-opening, as most of my work typically involves subjects either standing still or posed in more traditional ways. This photo marks one of my first explorations into capturing movement across the frame. Taken in Potomac, Maryland, this image follows the left-to-right rule, guiding the viewer’s eye from one side of the frame to the other. The composition also adheres to this photography rule by leaving more space in front of the subject than behind, magnifying the sense of forward movement. Set in the fall, with the ground covered in leaves, the textures and colors add depth to the scene. My goal with this image was to portray a Black man confidently moving forward in the State of Maryland, which was once a slave state, in one of its wealthiest neighborhoods. His choice of clothing, including purple Crocs—an unconventional color for men—symbolizes Black self-assuredness and individuality. I wanted to show a Black man walking freely and enjoying life, contrasting with the portrayal of Black men as impoverished, victims of anti-Black police violence. This photo celebrates empowerment, freedom, and joy.

“By the Grace of God,” by, Logan Johns

Wait For the Decisive Moment

*Sunset over a landscape in Potomac, Maryland. According to some,* “Sunsets frequently *symboli[z]e transitions, serving as metaphors for both endings and new beginnings. They signify spiritual awakenings and the replenishment of strength as day turns to night.”*

In this photograph, I waited for the perfect moment to capture a sunset in Potomac that captured the serenity of sunset coming through a line of trees. The fading sunlight creates a softness with rays of sunlight stretching diagonally across the frame, lighting up the landscape and making one feel peaceful and at ease. The contrast between the darkened tree line and the bright sky symbolizes the transition from day to evening, evoking a sense of calm accomplishment. Taken in Potomac, Maryland, right behind a friend’s backyard, I chose this location to showcase the greenery and life that Potomac embodies. Here, you often see acres of lawns bathed in sunshine, and depending on the season, the ground is often carpeted with colorful fallen leaves, demonstrating that even in this former slave state, change is inevitable. The purpose of this photo was to capture a fleeting moment of beauty, knowing that in the morning, by the grace of God the sun will rise again. Though taken on an iPhone, everything about this scene feels perfect—the changing leaves, the lush grass, the open space, and the sun casting its warm glow. Having lived in Potomac for nearly my entire life, I’ve developed a deep appreciation for my surroundings. In Potomac, towering trees reach high into the sky, the sun shines as brightly as a flashlight, and natural beauty is everywhere. This landscape photograph reflects my love for life and the beauty that surrounds me.

LOGAN JOHNS