How To Get Clean Photos

In this blog, I’ll answer a common question: How can I get clean photos?

What’s a Clean Photo?

This term is used often, but before sharing how to capture a clean photo, it’s important to define what one actually is. Simply put, a clean photo has few visual distractions, allowing the viewer to focus clearly on the subject or focal point. It has a clear and concise aesthetic, a simple composition, and often a minimalistic feel. The term “clean” can also describe an editing style, which I’ll discuss in more detail later in this blog.

Environment

A clean photo starts with a clean environment. If there’s clutter, no amount of editing or compositional adjustments will create a clean result. To achieve a clean look, seek out locations that are already minimal and free from excessive visual elements.

For instance, if you’re in London, shooting in Bank may yield cleaner photos compared to Shoreditch. Bank has a modern, polished aesthetic, while Shoreditch tends to be grungier, with a more chaotic atmosphere. In Tokyo, you might find cleaner compositions in Ginza, as opposed to the backstreets of Shinjuku.

When in doubt, look for open spaces, negative space, and minimal intricate detail.

Lens Choice

Any lens can produce clean photos, from ultra-wide to telephoto. However, in my experience, longer lenses are particularly useful for achieving clean compositions in chaotic environments. Of course, if you’re shooting in a location that’s already minimalistic, a wide-angle lens can work just as well. Although it’s possible to capture clean wide-angle shots in busy areas, be prepared to work harder and exercise patience to achieve the desired outcome.

Light

Light plays a crucial role in creating clean images. Typically, I recommend shooting either into the light or at a 90-degree angle to the light source for optimal results, though in this case, it’s less about angle and more about how the light interacts with the environment and subject.

For example, backlighting your subject can reduce distractions by creating natural contrast and casting surrounding elements in shadow. Alternatively, if you already have a clean scene, front lighting can emphasise details, making the image even more visually appealing.

Composition

Composition is by far the most important element. You may have all other factors in place, but without a strong composition, the image will feel incomplete. Composition is a broad topic I’ve covered in various blogs and videos, but here, I’ll keep it relevant to this discussion.

The first thing to look for is negative space, as it serves as a visual anchor. This could be a wall, the ground, the sky, the side of a truck, or any simple background element. Negative space doesn’t have to be neutral-toned—solid blocks of colour can also provide a great foundation for a clean composition.

Foreground elements and framing are powerful tools for simplifying a composition. You might shoot through an object or place something in front of the lens to block off distracting parts of the scene. Leading lines are another fundamental compositional tool that can create a clean image by directing the viewer’s eye smoothly to the subject. If all else fails, try going for abstract shots, which often yield aesthetically pleasing results and are a good way to spark creativity.

Colour

To achieve a clean image, avoid a “colour salad.” Introducing more than a few colours risks making the image overly complex. Aim to limit your shot to around three colours, using complementary tones if possible.

Editing

I’ve said this many times before, but it bears repeating: editing is not meant to salvage a bad photo; it’s meant to make a good photo great. Don’t expect editing to conceal compositional flaws or, as they say, “polish a turd.”

Expose your image based on its actual aesthetic rather than a histogram. Some of my images are technically overexposed, but they look better that way. Prioritise how the image appears rather than relying solely on data-driven tools.

Work with the image’s natural contrast; if it’s naturally high-contrast, avoid forcing it into an HDR look. Conversely, if the image is naturally washed out, embrace that instead of adding excessive contrast.

Regarding colour, if you have several similar hues, use the HSL tool to bring them closer together, creating a more cohesive look. For example, you could adjust teals, blues, and purples to harmonise them slightly. Just be cautious and avoid overdoing it.

If you’ve used a high ISO, applying noise reduction can smooth out the image; adding a touch of grain afterward can prevent it from looking too polished. Reducing clarity is also useful in busy scenes, as it softens details and minimises distractions. Removing unnecessary elements—such as rubbish, stray reflections, or visual clutter—with the clone or healing tool also contributes to a cleaner photo.

Finally, I want to emphasise the importance of minimal editing. Use only the tools you need to achieve the desired outcome. There’s no need to use every tool just because it’s available.