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Chapter 10. Designing the Frame: Posing ... > Posing a Family - Pg. 200

IN THIS CHAPTER about posing and composition, I'll describe considerations you may want to explore to position subjects within a frame in the most compel- ling way possible. I have earnestly studied all of these rules and concepts, and probably more important, I have practiced each one in more than a thousand full-portrait sessions over the last decade (no exaggeration, believe it or not!). Here's what I know to be true, given theory and actual practice. Small shifts in the way your subjects hold their bodies can really make or break the portrait. First, some of the oldest rules in the book are relevant for a reason--they just work--improving your imagery time and again. And so I'll use them time and again, and remain grateful to the first person (and the many who built upon that initial offering) who discovered such connections within visual communication and took the time to explain it to others, thus creating more beauty in the world. Second, some of the best composition styles and posing tools I use I discov- ered on my own and haven't really seen elsewhere. When you find that you are creating your own look and feel, that's when you know you've figured out a style that's all your own. I happily share them here, but I ask you to look at my tech- niques and the styles, as well as the ideas of others, as a way to kick-start your own unique offering. Your imagery really does stand out the most when it comes directly from you and what you most want to show, and in a manner that only you can really accomplish.