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Fine Art Photography

Lesson 13 of 38

The Art of Self-Portraiture


Fine Art Photography

Lesson 13 of 38

The Art of Self-Portraiture


Lesson Info

The Art of Self-Portraiture

I thought it was a little bit weird when I decided to do self portrait ce for creative live because I know that a lot of people aren't into that and it's a very specific genre of photography people who want to do self portrait where that's actually applicable to what you do on an everyday basis but I really felt like since I've been doing self portraiture I compose models so much better because of it I know howto work with people because they know how to work with myself it could be really intimidating to do a self portrait and I know that and it's really hard to get into not just because we all have insecurities about the way that we look but just learning how to work the camera and the timing that you have tohave and pre visualize ing the image before you shoot it understanding what it's going to look like that's all really hard to dio I started doing it cause I was try I was way too scared to ask a model to do anything with me so I just went and shot myself it was a lot simpler at t...

he time it wasn't easy because I would have trouble with the ten second timer and understanding different things about it but it was a lot better for me than going and asking a stranger to model for me I didn't have anybody around I didn't really have that many friends still don't it's just life I guess but so I now I asked people to model me for me who are my friends I meet them I become friends with them they model and I know how to direct them because I do self portrait er they're not traditional models a lot of the time they're people who have very little modeling experience but I know how to tell them to do things because I've done it myself so I know what it feels like so we're going to talk about technique exactly how to work the camera what buttons you have to push and stuff like that how to focus different things like that that often come up with self portraiture and we're going to talk about posing of course so what we just did in the last segment we're going to be applying that to this how to pose yourself in that way directing models so directing yourself it could be difficult to direct yourself because you're trying to think about okay what's my exposure and what's in the background and then what what is a white changing and then you have to pose yourself which can be really hard and confidence how to get past that hurdle of being able to photograph yourself and being okay with how you look because it doesn't matter how you look somebody is going to have insecurities I mean I have photographed the thinnest models who then I take a picture in the photo shop and they say can you make my arm a little bit thinner and it makes me so sick because I'm like I really can't believe you just said that like like you're you're like twenty pounds thinner than I am and you want your arm thinned out but everybody feels that way about themselves that it never enough there's always something to change I want to look a little bit different this in that I mean I've had my own insecurities round like oh gosh my thighs look too big and my arms look too big and I have a double chin and I've had those moments in self portraiture I've looked at the picture and I thought oh my gosh I can't believe that I look like that in that picture but then you get past it and you start to think so what if I looked like that that's just how I look does it really matter is anybody really going to judge me so this is my first example of a self portrait this is not what I'm talking about when I say self portraiture this is an absurd picture this is a selfie I just learned that that was like a real thing that people say when they take a picture of themselves so this is not what we're going to be doing today we're not going to be holding the camera out snapping and hoping that it looks good not the point the point is to create something artistic and to learn from it these are examples of my self portrait it's these are examples again with the goose were who but these are examples where we've got me in a picture where I've been completely alone when taking the shots okay I take that back that bottom with the umbrella down there I wasn't completely alone I had somebody throwing water on me which was very hopeful for that picture but in general I'm too totally by myself I go out alone me and a tripod nothing else and I take a self portrait and this I can do because I'm shooting and even light on leon overcast days before the sun has come up after it's gone down there's nothing to worry about with setting up lights or not being able to carry my equipment it's very simple and I have the privacy of being able to do it by myself so I don't have everybody watching me try to pose and try to get it right and understanding what I've done wrong and judging me essentially but that's how we're going to do today I'm gonna let everybody judge me think what you want call me fat I don't care it's ok so we're going to be doing that today and I'm really excited about it so I think that it's good to put yourself out there and let other people know that you don't care how you look it's just it's just a thing that we need to get past to get to the real meat of the situation which is who you are as a person and how you can portray that in an image so why take a self portrait why would anybody want to do this some people are naturally drawn to it maybe you were a supermodel before and you're like I'm hot I'm gonna take a picture of myself generally that's not what happens though generally it's normal people who happened to want to express themselves in some way so toe learn how to direct a model number one reason why I suggest doing self portraiture to express yourself to be able to say this is who I am and I'm putting it out there in an image to become part of your imagination to say you know what I'm going to be a character in these stories that I come up with that is really empowering to be able to put yourself out there in that way and make yourself into somebody that you aren't that's what I do is self portraiture I don't usually take a picture of myself based on an emotion that I'm feeling and then express who I am I express who I am in my imagination in my daydreams that's what I love to understand what the model feels like not just how to direct the model but you actually need to know what you're putting them through so recently I photographed my model in a cess pool it was really gross and I was like you know what you're not getting in there alone I'm coming with you and we both waited in to the cess pool and I took her picture and afterwards she was like you know what that's really cool that you do what your model does because I don't want to be in here all by myself and she didn't want to be and I didn't want her to be in there all by herself so I do what my model does and after doing self portrait so I know what it takes to have to want to get in that water and to do something like that do something uncomfortable convenience I don't really like organizing shoots very much I don't like having to find all this whole team to go run out and do a shoot I like to be spur of the moment I've got an idea I've thought it through I'm ready I'm going to do it then I run out with me and my camera my tripod that's it we go do a picture together me and my camera my tripod shyness I was very shy when I started way too scared to ask people to model and this is a really good way to get around that because the more that you work with yourself the more confident you'll be when you do work with a model practice if you want to try something new and you're not sure how it's going to go or you have a new lighting set up and you don't want to ask a model because maybe the pictures won't turn out and you won't have anything to give them do it with yourself first see how it goes see what the lighting is like and if it's going to turn out well or not and then bring the model in okay now the issue of you don't like how you look who here loves the way that they look josh loves the way that he looks that's great okay perfect wonderful I'm glad oh he says no okay never mind just doesn't like the way it looks all right so now I think that everybody has insecurities about this and there's loving yourself and then there's really little loving every single physical bit of yourself it doesn't happen that often that's okay you don't have to love every bit of how you look you just have to love who you are and be able to get past that self portraiture is not about how you look in the least bit it's about understanding that you're more than what you look like and that's why I love self portrait ce I go out and I take a picture and I'm looking beyond what I look like in the picture it's not about oh my face looks weird there oh I really like this angle of myself it's not at all it's about saying this is not even me this is a character that I'm creating and I just happen to be playing that character so even you do self portraiture right do you feel the same way when you're creating a paper when I looked back at the picture when I'm editing I don't think of it as myself same here yeah it's easy to remove yourself if you can think of it in that way that's a character I'm the photographer I'm just editing this person's face and it's not me and I do that all the time I mean sometimes I forget that it's me in a picture I'll be looking at I'll be like oh yeah I modeled for that picture it's easy to do sometimes so once you find meaning beyond your looks then you're free to create your spirit so if you can get past how you look and you can say this is who I am inside and I'm going to create that in the picture it doesn't matter what you look like in that picture it just doesn't I have taken pictures where you know I've gotten like a weird angle on myself and I think that I look a little chunky or something like that and that's what I'm thinking to myself when I'm editing and they don't think I'm going to keep it that's how I look so what I'm not going to fix it I'm going to go with it and if that's how I look that's how I look and I try to push myself past that and I say you know what maybe I'll put this on the internet maybe somebody will say you look fat but probably nobody's going to say that because people don't care that much in general I don't hear negative feedback about the way that I look it's generally about why do you take self portrait or you really full of yourself that kind of thing if anything and I get it I understand that association with self portraiture but if you've done self portraiture you know that it's not about that it's about something far more than that so there are too many people willing to bring you down for you to be one of them I think that this is such a huge problem is that we judge ourselves so harshly and in judging ourselves we bring ourselves down more than anybody else and we become scared to share a picture so we think that other people will share those opinions of ourselves but in general they're not going to share those opinions the masses probably won't feel that way about it you feel that way because you're so close to the situation that you can't separate yourself from it the more confident you are the more confident others will be in you so if I put my picture out there and I originally thought my arm looked a little big and maybe I was scared to put that out there and I didn't want people to think that well if I put that out there and I say this is me and I love it then people aren't going to say you look fat they're just going to say oh that's really cool that you're confident enough to do that I know that people say that because that's what's happened with my self portraiture I put it out there and I just say this is me take it or leave it and if people leave it that's okay I don't care but hopefully they're able to jump on board everyone is too busy worrying about what they look like to care what you look like that's my favorite thing to think about right we're all so like into ourselves right like we're like oh gosh you know how do I look in the mirror today I'm gonna fix my hair I'm going to do this I'm going to do that but does anybody really care really I mean there are so few people in that category who are just out there to judge others there's so many more people who are wonderful and caring and kind and we need to focus on that put ourselves out there and be okay with what anybody has to say I would rather photograph somebody who's confident than somebody who's traditionally beautiful every single time no matter what this is something that I really believe in I don't care if the most gorgeous model in the world contacts me if they're not confident if they don't love themselves I don't care I don't want to photograph hm I will photograph anybody and I mean that I mean give me a challenge I will do it I don't mind I think that it's beautiful to photograph normal people people who aren't necessarily traditionally beautiful or who were signed to an agency or something like that so much more inspiring to be able to take somebody who's not used to posing or who hasn't had their picture taken and show them how amazing it can feel the longer you buy into beauty the longer our beauty standards will exist I think that this is a huge problem that we feed it's not just that you know the magazines put out a certain type of beauty it's the fact that we won't step up and take our own picture and say I'm beautiful the way that I am and I'm going to do this because I love my self so we stay in the shadows and we say I'm not going to take my own picture and I'm just going to look at these magazines and say yep that's whatever they say that's what it is but it's not what it is it's about what we feel what we're going to put out there in the world so I take my own picture I put it out there and I say this is my standard of beauty whatever I look like that's okay and that's what I want everybody to do to take your own picture put that out there and say I'm okay with how I look so by photographing your unique beauty you're saying no to a universal standard of what beauty is I think that that's the most powerful thing about self portraiture but don't expect it to be quick taking us off portrait it's a process it's something they have to learn it something they have to walk through and it's fun but it's also a little bit scary don't expect it to look great at least not the first two times when I was taking my picture to start I was so weirded out by it and I was like how do I look like that I can't even believe that me and there were so many moments where I was just like I can't believe that this is happening that I don't look the way that I thought that I looked but it's okay because you have full control over what you're doing you khun delete a picture if you don't like it whereas if somebody else is taking your picture you can't do that so that's really nice you khun light yourself how everyone you can get angles on yourself that you happen to like you have control over what you look like in that picture this is a great example of not looking very nice in the picture isn't it I thought it was a good one so I took this last time I was in seattle I think yeah I think it was then and I was in a very public space on this carousel horse with people watching in the windows and I had so so many bad pictures from the shoot and I think it's funny and I've gotten to the point where I just save all my bad pictures and I laugh with them periodically and I don't mind at all sharing a really ridiculous picture of myself because who cares I make that face sometimes I know it doesn't really matter if I share that with you do you think any less of me because I shared a stupid picture probably not I hope not I mean maybe you're just like oh what a weirdo I'm going to turn this off now but hopefully not all right now I took this picture last week and this is what I posted today and I was a little bit weirded out to post it because it's something really different for me I hadn't really done a picture like this before the biggest hurdle himself portraiture is getting past how we see ourselves and realizing that the mind is more powerful than the body so we are physical we are our bodies so much of what we do is how we interact with people how we look how we move all of that but it's more than that it's it's how we're envisioning ourselves it's our minds it's how we get past what we look like and try to put who we are into an image that's why I like self portraiture I tried to do that in this picture I did a shoot that was very personal to me it was really kind of scary to dio it was fun I was playing around a lot in this case I just had a thin wedding veil over my body and I was trying to play with those textures and I learned a lot when I was doing this picture and I learned because I wasn't scared to put myself out there and just do it okay the only real perfection is the one that we create for ourselves so if you think about that you really think about it you have control over what is perfect to you you're able to take a picture of yourself and say this will be my new standard of beauty this is what I'm going to judge myself against just me and myself alone that's it you don't have to look at the magazines you don't have to be scared to take a picture because it's all about you and you alone you're not comparing yourself to somebody else it's just you self portraiture is about feeling a connection with your character physically or emotionally so it's not so much about ok I looked great because that's what we call it selfie and so that's not what we're trying to do we're trying to do something different we're trying to create that connection were trying to become a character the moment you become a character that's the moment that you step outside of yourself and you're not just I'm not brook any more I'm whoever that characters that I'm creating maybe I'm ella and I'm that disney princess and that's me now that's great I'm not myself anymore I get into character I don't stay in character all day or anything but once I go to do that picture I understand who it is and I become it now this is a good example of how self portraiture is really helped me to pose other people so I did this shoot with myself in the red dress first and then because I had done that shoot I knew how to direct my sister when I went to photograph her very similar poses arm up arm down leaning in towards something very very similar but I was able to direct her because I knew what it felt like I knew how to tell her to get into that character so because of that I could say I need a lot of tension I told her teo archer back as much as she could issue leaned forward I had removed the dress at the same time I knew that would work on ly because I had also done it I move my dress at the same time everything worked together it became so much easier to direct her this picture this is one of the very first times that I used a model I modelled with my friend olivia here and what I had to do with sit down at that chair I put my head on the table and I had to feel what it was like to become that character afterwards I posed her and I remember telling her very specific things like okay hunch your shoulders but relax your back as much as you possibly can to really see sink into the table I told her to put her forehead on the table and not her chin that way you're creating that separation and there was still that arch going through even in the face so I was telling her all these different things to do when creating this image

Class Description


  • 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


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.


  • 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


Adobe Photoshop, Adobe Lightroom


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.


  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.



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.


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.

renee Wilson

I love Brooke and the wonderful way that she teaches. She is a gift to us all. Jane, her model, was lovely - a beautiful girl, a wonderful attitude and a real professional.. I could not do what Jane did to help Brooke convey her story.

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