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Fine Art Photography

Lesson 27 of 38

Shoot: Fairytale Scene Part 2

 

Fine Art Photography

Lesson 27 of 38

Shoot: Fairytale Scene Part 2

 

Lesson Info

Shoot: Fairytale Scene Part 2

I think this was where I was generally got it okay so there's that shot we're just testing now to see if everything is looking exactly how I want it to look so the peas are all over the ground I think that looks really cool I can't see the piece on the bed but that's okay because I'm going to have them falling from her hands so we are going to see peace in motion peas and motion whoever thought I'd be saying that but I am so I'm going to take my I s o up I'm thinking now about the actual motion that's going to be happening here so I'm going to take my eyes so up to a thousand I am not concerned with going up with my eyes so I might have a little bit of grain but it's very much part of my process to change that later and photoshopped anyways to reduce the grain so I'm going to go ahead with eso up and I'm going to take my shutter speed up a cz well and then I will take my f stop down a bit to three point two so I'm going to see maybe one sixteenth of a second for my shutter speed and we...

'll see how that looks and I'm just going to make sure that I have my exposure right got it okay so that it looks even slightly brighter than before which is really good because I thought that we could stand to brighten it up just a little bit so I'm gonna leave that just as it is and if it turns out that we just have a little too much motion blur with the peas I'll just take my shutter speed back up and then it'll be just a slightly darker image so let's go ahead and remove the blanket how're you doing over there okay good she's good she says here we go just hand this over to you thank you and I'm going to have you grabbed the peas out on the market so weak ground peas if they're cold okay thank you and we're going to do a test so I'm just gonna start to move my stuff out of the way where might leave this away a little bit just to the side now there's no white walking her which is great we'll get a new exposure based on more light that might be coming in right now but hopefully we'll be pretty close here okay jane I'm goingto have you whenever you're ready dropped those peas great okay now I'm gonna have to zoom in here to actually see the piece you keep falling okay so I see the peas and I really like how they're looking it's one of those details that you're going to have to see this large toe actually be able to see what is happening there is some motion blur but not too much motion blur to not be able to tell what we're looking at so that's good I'm very pleased with that aspect of it so let's do something a little bit more fun here I'm going to shoot low to the ground and if I could have one of the lovely students come in whoever wants to come in I just want to throw some peas at me oh yeah yeah so you can stay off to that side and if you just want teo I'm gonna get in position there we go on in position down on the ground here and I would like you to just throw them my way not at the camera but like right front of the camera and we're just going to see how it looks I'm testing I've never thrown peas at a camera before but let's see how it goes arm ready whoa that was cool I've got some blurry peas I was great one more time and let's see if we can get a few more in there and I'm ready woo oh I got a lot of blurry pees on that one but that was too much blurred so if I want to have peace coming out the camera have to make a sacrifice I either have to take my s o up even higher and then have my shutter speed raised or we scrap the piece so we're scrapping your peas thank you though it was wonderful we had a really good moment together I think thank you so I am going to go with jane simply dropping the peas so let's go ahead and do that one more time I know that you've lost your piece goodness gracious okay and let's make this our official shot so I am going teo p your foot I don't know really uh huh that's weird okay you think that'll stay good okay and this one I'm gonna be hunched over a little bit more yep and then let me move your hair if you can actually hunch forward that would be great move the hare hare stay back no hair hold on I got to come out this side and get a hair for you so I'm trying to get that light on her face looks good wonderful now let's see how this looks from down here yep I love how she looks she looks totally broken so this will be my visual shot okay now let's see here got my focus setting it right on her face and I'm ready when you are jane great wonderful so now because I've got this low angle I talked before about how I was going to have her right against the doorway so then her hair wasn't intersecting with that frame but there's no way to do that from known here I either have to get a higher angle or just deal with that frame so I'm just going to deal with it later on it shouldn't be that big of a deal I thought it might be convenient if I could get her against that blue backdrop but it's not a big deal so now I talked about doing some extra exposures of the scene so I am going to do that very quickly and to do that I'm just going to lower my eyes so and then see how that looks so you could just stay in position jane you don't have to have any peace in your hands there we go I've done a bit of an under exposure there for that window area and I'm not going to see the wind know in the final shot now what else am I doing here I am shooting horizontally and I do not have a proper square frame right now I always want to create a square frame so because I don't have a square I'm going to have to expand right now and know that I have to do that because I'm looking at my composition so I'm going to take my I s so back up and I'm going to shoot again from this exact angle I'm going to shoot more of the floor and more of the ceiling to expand in that direction so laying back down and I'm going to get my focus take my shot and now I'm flipping to manual focus now that I'm on manual focus I khun recompose told my camera down and take a picture and it can't hurt to take some extra shots to just move your camera around a little bit and get those extra images because you never know how many you'll need okay so you've got my extra shots I really love the extra floor shots that's what I'm excited about because that you get that depth that I was talking about earlier and I don't really need to see a lot of room above her head I've weighed too many ceiling shops now so let's do one more pose with jane on this bet now we talked about having her laid down so we're going to see right now if she can lay in that direction and not flip all of that she's being I know it had to be done right so let's see if we can get you to lay down with your head coming this way and maybe let's have one person come over here and hold the other side of the mattress is just to be absolutely sure that it's going to be okay thank you jomar if you just wanna hoods put a hand on the back end there yep that's great okay now I'm gonna have you lay with your head here in your feet they're on your back good question and if you can push yourself a cz much to this side is possible then you're closer to the camera are you sitting on peace okay so yeah um that's good right there and now move your feet over to the edge good and move your butt over to the edge and don't fall off that's perfect you see how she just inspired me she just put her foot off the bed and I thought oh that's so perfect I want to see the bottom of her feet it's going hopefully it looks dirty yeah good girl all right now I'm going to gather her hair good and I'm just going to let it fall over here right off the side perfect now can you tell your head back great now we got some light on her face and if I move there's even more light on her face so let's see what different angles we can get here with this set up so first I'm going to try again here with just taking a look at the scene if I'm too low I might miss her face so if I am going down I see a little bit of her face but it's really doesn't have that same impact as the other one that will take a shot so you can see what I'm talking about getting out of manual focus because this is a new shot I will recompose here there we go so we can still see her but it doesn't have that same impact so instead I want to change up my angle drastically now what if I shot this from up on that stool what if I went right around shot it the other way and then we could see her whole body and the mattress top and the peas below so I'm going to see how doable that is right now I'm just gonna walk around with my camera climb up the ladder and see what it looks like this is not an angle that I would naturally gravitate towards this is something that I would be scared to shoot because it feels a little bit out of my comfort zone out of my style but that doesn't matter because I need to be able to push myself if I am going to be shooting and moving forward with my career wonderful so I really like how this looks now this might not ever be a good square because our room is so tight because we've got equipment so then we can broadcast live I probably can't get as much of the scene as I'd like however that doesn't mean that I have to shoot a full body shot there's no reason why I have to get every single detail of her in this picture so I'm going to make some adjustments can you actually help me so I don't fall with this hand pull some of your hair back there you go and just pull it like right to your shoulder there you go perfect thank you good with that hand I actually don't want to see your nail polish so let's d'oh like that yep now I can't see your nail polish and I like that hand over there and I'm just going to take a look and see what this frame looks like so let's take a test shot we'll see how that goes so I really like this angle but I would like to shoot a little bit higher so in order to do that I'm just going to raise up my camera I'm gonna darken this down just a little bit take my I s o down to about five hundred now I could use live you just to see what this looks like so I'm going to turn my camera on live you just raise it up and just see what it looks like from a higher angle and I do really like that so maybe I'll shoot this one a little bit crooked maybe I'll shoot it to where I am raising it up like this we're at a good angle I don't know if she's in the frame oh good she is but so are lots of other things so we're going to make some adjustments from here I am going to have you told your head back even more just raise your chin up good um turn your head away from me actually yeah oh perfect now let me just put your wig back on can you pull it back on just on the side there you go great perfect and then chin back good I like that I like that strain and then let's put some khun somebody put some peas in her hand oh thank you and you don't need to drop them I just want you to gently hold them furthering the story up great ok wonderful now I'm going teo jane can you put one strain of hair across your face I don't care where it comes from yeah and you don't even know where it came from room hey wonderful I love that okay chin back chin back a little bit more good there you go okay let's see how that looks no I didn't quite get her but I really like what I just saw good so there we've got some more peas in the shot so I could actually crop that into a square from what I have right here most likely I like that you can see a couple different mattresses I love the peas all over the floor so we're going to do this a little bit more I would probably of peas everywhere surrounding her in this shot I would probably have a wider lens and I would shoot it where I was flipping emmanuel focus pulling the camera up taking picture picture picture picture etcetera and that way I have lots of different pictures of this whole scene so I could stitch it together if I wanted to stitch it together so I'm going to leave her b and we're going to let you sit up and climb down jane thank you so much again here there's more torture to come I promise you that much I just mean eighty seven in the in the chat room says I don't even know where to start my current situation doesn't allow me to go to classes therefore I want to express my gratitude to all of you for giving me the chance to grow and learn brooke is such an inspiration to me I'm a beginner but I try to express myself my feelings my emotions through photography which helps me to go through dark periods of my life thank you very much creative life and especially thank you very much brooke and she says that english is your mother tongue which is fantastic just now thank you for joining us it's exciting toe have everyone in here and really be able to share your stories of inspiration and what it is that this workshop has been doing for you so thank you for being here and for sharing on dh mallory actually had a great idea she was asking people in the chat rooms what story they would be inspired by and want to do a shoot based on so let's let's read some of those yeah it's been fun to see your responses I love the idea of little red riding head I feel like the cape would be so much fun we have jack and the beanstalk hansel and gretel so good um let's see here little red riding hood would be really fun underwater it's it's been fun to see what a little a little red riding hood underwater wouldn't be a lot of fun I really you know what I meant little mermaid ariel I can see it I got this right away looks like you're ready but I am way do our best okay so I'm going to do a self portrait I'm going to be wearing this dress and another fun detail that I thought was that I still have my toes painted this very ugly color of yellow and so instead of oh my goodness my socks are quite dirty with p juice eso instead of having the yellow toes I'm actually going to keep the socks on I wore them because they felt very fairy tale to me so I'm going to keep them on but I'm going to have one of them kind of like yanked off like just barely dangling so then I looked really disheveled and yucky so I'm going to probably shoot just like that I'm going out my legs dangling I'm going to try a couple of different poses to try to get something that looks believable for this dress in this character in this story so I'm going to go ahead and set up my camera on my tripod just like we did yesterday for the self portrait I am setting everything up so that I can understand the scene before I see it so I am making sure that I'm pre visualizing this I'm going to see how much I can get in my frame so I'm locked down right now I've got a good amount here I'm going to tell tw up because I know that I will also be tilting down later on so I'm going to take my shot where you can't see the floor it all at the very roman but after that I'll be tilting the camera down to get that extra space in so I'm going to go ahead and set my focus I'm setting my focus for the very edge of that top mattress and I'm doing that because I know that's where I'm going to be sitting so I'm going to make sure that I flipped backto auto focus going to go ahead and get my focal point right on there oman come on little camera there it goes okay so I'm setting my focal points and got it now that I've said it I'm going to flip to manual focus go back to the frame that I'll be working with for this shot and then take my test shot just to make sure everything's looking as it was before and it is so now I'm going to run over there putting my a f drive on my cannon five d mark to putting that on the remote setting grabbing my boat thank you so much and I'm going to run around take a portrait now before I ever go to the spot especially if I have to be climbing up on these mattresses I just want to take a test to make sure that it goes off good my camera's gone off I have a shot of the space now I'm going to run up I'm going to try not to flush you as I jump up here and peas away okay here we go I feel like I'm surfing very bad it surfing okay now this dress is so great because of this too too that I have underneath so hopefully I can get that looking really interesting and we're going to see how I can get myself posed here so I'm in place I love that you could see the two two I love that you can see the dress hopefully that comes through but I have to figure out how I'm going to pose that might be slightly different from how I had her posts so maybe I'm going to be a different character and I'm going to be the regal princess with the p I have my hair done nicely andi I have this little scarf in and so that all to me does not say disheveled like the last character did so instead let's make it a little bit different let's go ahead and see if I can be this very very regal princess with all of these peas everywhere with this one little detail of something perhaps about to go a miss so I'm looking very very regal I've got my shoulders pulled down so this is going over that posing that we did have the shoulders shoulders pulled down I'm goingto have my chin brought up going to turn my head towards the light so now I'm creating this line in my neck here all right I'd like to work it out I'm not one of those people it's naturally limber so I work it out okay looking towards the windows and I do have catch lights in my eyes which is important go ahead and elongate and then we're going to be very regal with hands just appear so they are visible to that camera all right eight more ringing him okay so I've taken my first shot I'm going to wait us I couldn't just see how that looks because the cool thing about this is that I can see how it looks without getting down from the mattresses so I'm saying all that looks now I need to change my feet my legs are not looking so hot right now let's go ahead and just take this sock down a little bit and it's not covering so much or perhaps so it's covering more why not do that we'll pull it up actually maybe they look like little knee socks or something I love the dress but I do want to change the pose a little bit I wanted to look a little bit more um twisted perhaps don't let me fall onto the piece people okay all right so we're going to go with something more like this and I'm going to lean in that way I have a shoulder towards the camera I'm going to look up creating that longer line just like that and we'll see how that changes things so I'm angling my body a little bit more I can still feel I keep doing that with my foot you see my foot moving I do that I do it all the time so I am going to not do that for this next one okay so hopefully did I point my toes felt more like a pointed toe yep there we go it makes a big difference having that foot pointed down so I like that it probably wouldn't be the one that I used because I do like that darker feel two things my hair is just two lovely right now I didn't do it that's why I'm saying my hair's lovely it's too lovely teo do something too creepy so everything has to work together so this is a much more regal shot that we're going with here so I'm going to jump down from here and we are going teo do another set up now

Class Description

AFTER THIS CLASS YOU’LL BE ABLE TO:

  • Brainstorm and plan a fine art photograph
  • Design a story with props and posing
  • Shoot an image that only exists in your imagination
  • Complete the vision in Adobe Photoshop
  • Self-critique your own work
  • Build a business from fine art photography
  • Approach galleries with confidence
  • Grow your own unique style and brand

ABOUT BROOKE'S CLASS:

Sometimes, creative vision is bigger than a camera can capture. In this class, learn how to turn imaginative ideas into physical fine art prints. From planning the shoot to assembling composites in post, work to turn the images in your dreams into a concrete photographic image. Go from a dreamer to a professional photographer with the help of artist Brooke Shaden.

Start with defining your style and building your creative vision in this three-day class. Then, learn tips and tricks for bringing that vision to life using posing and props. Go behind the scenes in nine live shoots ranging from self-portraiture to creating your own fairytale. Use posing, props, motion, and composition to tell a story.

While fine art photography isn't usually the first business model that comes to mind when considering a career in photography, Brooke shares how it's possible to earn a full-time living from your art. From building a brand to approaching fine art galleries, learn what you need to turn a passion for fine art photography into a career. As Brooke says, you can't stop because your best work is just ahead.

WHO THIS CLASS IS FOR:

  • Intermediate photographers ready to take fine art to the next level
  • Professional photographers looking to expand their storytelling and compositing skills
  • Fine art photographers at any skill level

SOFTWARE USED:

Adobe Photoshop, Adobe Lightroom

ABOUT YOUR INSTRUCTOR:

Brooke Shaden is a storyteller. The American fine art photographer is well-known in the art world for her dream-like, fairytale images. Her work often uses dark tones, heavy emotions, self-portraits, and juxtapositions. Working as a fine art photographer for more than a decade, she started her art journey after studying film in college and now teaches and speaks along with continuing her work. Brooke's work has been featured in dozens of gallery exhibitions, along with magazine and book covers and limited edition fine art prints. After growing up near an Amish community in the United States in Pennsylvania, she now lives in California.

Lessons

  1. Class Introduction

    Meet Brooke Shaden in the first lesson, and learn where the fine art photographer finds her inspiration. Then, gain an overview of the three-day class.

  2. My Evolving Style

    No one starts out creating their best work, Brooke says, but that doesn't mean you shouldn't get started. See how Brooke grew in her craft, where she started, where she is now, and how she's always motivated to continue to create beautiful images.

  3. Visual Examination

    How you describe yourself as a person will influence your art. In this lesson, embark on the process of visual examination. Learn to visualize yourself, your style, and the story you want to tell -- and how that translates into photography.

  4. Storytelling and Character

    Brooke is more motivated by storytelling than photography -- and you can tell by looking at her work. Learn how to train your mind to find your inspiration, to then start telling that story. Work on building a story by starting with an object or person from your inspiration, and asking yourself questions about that item. Build a story with elements like theme, setting, character, time, and conflict.

  5. Storytelling Q&A

    Build on the concept of storytelling with questions from students like you.

  6. Critique Yourself Part 1

    Critique is an important aspect of any type of fine art -- but photographers shouldn't consider critiques from others as fact. In fact, Brooke encourages photographers to learn how to critique their own work. Follow Brooke's process for self-critique in this lesson.

  7. Critique Yourself Part 2

    Everyone will have a different favorite image. After sharing her favorite and least favorite images, Brooke shares what some of the students in the class pick as their most and least favorite images. The insight helps build the skills to critique a photograph.

  8. Identify the Problems

    Learning to identify problems in your own work helps you focus on areas to improve your art form. Watch Brooke work through some problems in her images. Learn to correct the problems that you see in your images.

  9. Posing Overview and Q&A

    Posing for a portrait and posing to create a fine art photograph are often very different. Dive into creating a story through body language, emotion, and character after a brief Q&A on questions from the previous lessons.

  10. Ten Basic Poses

    Learn how to create a better pose using ten basics. Work with poses to create lines and shape while telling a story. From basics like creating separation to advanced topics like creating believable action, pick up essentials to building a pose in fine art imagery.

  11. Posing a Man

    Posing looks different for men and women. In this lesson, Brooke shares her tips on posing a man in an emotive manner, while keeping the "manliness" intact. See different examples of fine art poses for men.

  12. Shoot: Posing Demo

    Should the model look at the camera? Brooke shares the pros and cons of eye contact and why it's often avoided in fine art photography. Run through a checklist to perfect your pose. Then, jump into a live posing demonstration to see those tips in action. Watch Brooke direct a model to portray a specific emotion, then watch how she fine-tunes the pose to create the desired look.

  13. The Art of Self-Portraiture

    Even if you don't actually want to be the subject matter in your own images, learning how to photograph yourself helps you learn how to direct a model to create fine art images, along with building the ability to express yourself and create something from your imagination. Build a foundation for self-portraiture in this lesson.

  14. Posing Yourself

    Walk through the process of posing yourself for a self-portrait. Learn how to focus and trigger the shot when you're not behind the camera, while still having enough time to get into the pose. In this lesson, Brooke shares tips for the process of posing and shooting yourself for fine art.

  15. Shoot: Self-Portraiture Demo

    Go behind the scenes for one of Brooke's self-portraits. See the process in action, starting with the test shot. As she talks through the process, watch Brooke create a pose, critique herself, then improve the pose. Using student suggestions, Brooke goes through several different poses portraying different emotions to use in a self-portrait.

  1. Shoot: Indoor Scene Part 1

    Starting with a blank canvas, learn to build a scene for an indoor shoot. Begin with a vision and an empty room, and watch how Brooke begins to bring her creative vision to life. See the inspiration and the blank scene, then watch Brooke build the scene.

  2. Shoot: Indoor Scene Part 2

    With the model and set in place, watch how Brooke captures the shot. Go behind the scenes on decisions like composition, angle, lighting, exposure, and focal point. Learn to evaluate the scene to get the details of the story in the camera.

  3. Shoot: Butterfly Daydream

    Work within the same space to create a different fine art image. With something as simple as an empty wall and a few still life props, go from creative vision to art print about a daydream. Refine ideas about posing, props, composition and more in this lesson.

  4. Image Compositing

    Sometimes, those fine art ideas aren't something concrete that could actually exist in real life. Other times, shooting in exotic locations isn't feasible financially or practically. Brooke suggests shooting as a landscape photographer to capture backgrounds for composite work whenever the opportunity presents itself. Learn how to shoot with a composite in mind, considering factors like matching the lighting and the perspective. Then, gather some basics on editing composites.

  5. Shoot: Using Props

    Start shooting a composite image using some backdrops and a kiddie pool. With a composite in mind, watch Brooke work the scene and plan ahead to mix multiple images together. Work with multiple poses and props. Then, move into a second scene and watch Brooke work with props in a self-portrait.

  6. Editing Indoor Shoot Part 1

    Move into editing for fine-art photography. Go through the complete editing process from the first live shoot with the vines. Work with aspect ratio, merging multiple images, layer masks, curves, cloning, and more.

  7. Editing Indoor Shoot Part 2

    Continue working with the image from the previous lesson, making overall adjustments to the image. Here, Brooke shares how to edit lighting, replace color, adjust overall color, add make-up, and more.

  8. Editing Butterfly Shoot

    Work with the butterfly shoot in Adobe Photoshop. Analyze how to improve the image, then work with several different editing techniques, including composting, adjusting brightness, making local adjustments, working with color, and more.

  9. Editing Pool Shoot

    Start working with the indoor-outdoor composite mix from the pool shoot. Learn how to paste a subject against a different background with realistic results. Work with trimming out the background, blending edges and more as you learn to create realistic composites.

  10. Shoot: Outside with Open Sky

    Move away from the computer and jump into more complex fine art composites. Working with multiple images and objects pasted together, start with the shooting process. Work with matching lighting, capturing the right angle, creating a strong composition, and telling a story in fine art photography.

  1. Shoot: Fairytale Scene Part 1

    Head behind the scenes as Brooke re-imagine a scene from The Princess and the Pea. Work with turning a well-known, traditional fairytale into something unique, beginning with the brainstorming and props.

  2. Shoot: Fairytale Scene Part 2

    Gain insight into the process of creating a fairy-tale inspired fine art photograph. Integrate motion into the image and work with motion blur, multiple exposures and more. Work with multiple poses with a model, then move into a self-portrait.

  3. Shoot: Snow Scene

    Move into the final live shoot of the course as Brooke brings the outdoors in. In this start-to-finish shoot, work on the story and vision for the scene, then learn how to create (and photograph) a snowstorm indoors.

  4. Editing Outdoor Scene

    Finish the vision from the live shoots in Photoshop, starting with the outdoor shoot. Work with complex composting techniques, like replacing the sky. Throughout the process, pick up editing tips, like choosing a brush and keyboard shortcuts.

  5. Editing Fairytale Scene

    Fine-tune the Princess and the Pea shot inside Photoshop. Extend the canvas, work with the warp tool, clone out a doorway, and more as Brooke turns her vision into a high-quality fine art photograph. Then, learn how to add textures to your image using photographs of textures that you can create yourself using desaturated black and white images.

  6. Editing Snow Scene

    See the progression from the test shots to the final shots from the indoor snowstorm image. Because the shot used a tripod, the editing options for adding snow becomes simpler. Besides working with the snow and adjusting color, learn how to add a fake light to an unlit lantern.

  7. The Business of Fine Art

    Fine art may seem trickier to turn into a business than something like portraits or weddings -- but it is possible. In this lesson, learn how to build a business as a fine-art photographer. Work with building a brand, finding a place for your work, sharing your talent, and selling your work as a product.

  8. Eight Business Practices for Fine Art

    Build your own fine art business with eight actionable steps. Here, Brooke shares a list of eight actions fine art photographers should do while building a business, from building a portfolio to contacting galleries.

  9. Beginning Your Artist Statement

    An artists statement should describe your photography thematically, visually, and technically. Writing an artist statement feels daunting -- in this lesson, Brooke simplifies it by sharing the process she used to write her own artist statement.

  10. Making Prints with Q&A

    Turn your fine art digital photography into art prints, wall art, and photography books. Decipher the difference between various types of printers, papers, and print sizes. Learn how to find a reputable printer. In your portfolio, learn why details like the order of the print matters. Then, find out how to prepare for a gallery meeting and what to expect during the meeting.

  11. Becoming You

    Becoming an artist, becoming yourself, is a process just as important as the business side. In this lesson, Brooke shares how to grow as an artist. Learn how to move forward, how to challenge yourself, and how to grow as an artist.

  12. Taking Risks

    Taking risks moves you forward on your fine art career path. Taking a risk that has nothing to do with money, Brooke says, helps you move forward, expand your reach, and grow your confidence. With that confidence, learn how to build opportunities like book publishing and more through risk-taking.

  13. Bonus Video: Expand Your Space

    In the bonus video, go behind the scenes as Brooke shares how to work in small, tight spaces by composting. This technique is good for both small spaces and shooting with a shallower depth of field.

Reviews

Kirsteen
 

Brooke says she wants to be inspirational - she has achieved this and so much more during this course. I am so inspired to follow my dream of becoming a fine art photographer and step out of a life as an academic and stop finding excuses. Watching other photographers shoot and edit is always a great way to learn, everyone does things slightly differently and I enjoy Brooke's no fuss techniques. Seeing so many of Brooke's beautiful images through the course has been great and seeing shots from the shoot through to editing really makes them come alive. If you are looking for inspiration or you want to learn techniques or new skills then this course provides all of these things with a big dose of positive thinking thrown in.

user-a81eeb
 

Brooke is amazing! I love this course. Brooke is easy to listen to. She has a beautiful insight into creative fine art . Love it! I have learned so much. I especially love that she is so candid about everything.

Beatriz G
 

I bough the course and it has been very interesting, definitely Brooke establish a great connection with the audience, She put a lot of effort. Her work and her way to teach is open and full of great intentions. I liked to be able to share her process, It's really worthy in my opinion. My very best wishes for her and her work!