During the three-year journey of professional photography at Brooks Institute, I felt myself to be growing from an amateur photographer who shots everything he sees, to an advertising-oriented photographer who now has a clear focus on still-life and product photography. The credit for this goes to the great instructors at the Brooks Institute. With their guidance, I produced a body of work that can proudly be presented in the graduation review panel.In summer 2014, I was thrilled to get an opportunity of working as an intern with Bill Cahill (a top-class product photographer in Los Angeles, California) to get a hands-on experience in the advertising industry. I was of the view that everything will turn out to be perfectly fine after I graduate in August. At this point, however, I met Norman Maslovs. a successful businessman who represents numerous world’s leading photographers. Norman’s assertion was that photographers, who have a collection of fine-art work, always draw more attention of the art buyers and agencies than the ones who only work in the commercial sector. Norman’s words broadened my vision of the photographic world and I was convinced that a blend of commercial and fine art photography would give me a spark in the industry.I came to the conclusion that fine art together with my commercial photography background would lead me to a better photography career in the long run. Consequently, keeping in view Norman’s advice I decided to pursue my study further to earn a graduate degree in Fine Art related Photography.During my affiliation with the Brooks Institute, I have always been profoundly interested in works of arts that were made by master students of fine arts. I feel that that photograph of a dead chicken lying in a wooden box (The Recipe Can Change, by Hugo Martinez) or a shattered ambrotype of a railway (Disconnected, by Cyndi Di Micco) are both amazing to look at. Having figured out the meaning behind such pieces of arts, my desire to appreciate such artworks has always increased.