I think structure is like a quiet frame that holds the breath of the image. When a face is centered or a horizon is even, the eye settles, and the story becomes more soothing, more deliberate. It gives the viewer a point of rest, a gentle anchor, so the emotions can unfurl slowly. In a portrait, symmetry is not a strict rule; it’s a subtle guide that keeps the eye from wandering too wildly, letting the quiet details—like a softened gaze or a delicate hand—take the spotlight. The balance of light and shadow, the repetition of shapes, all of that quiet order shapes how we feel about the subject, turning a snapshot into a quiet conversation with the soul.