Self-Paced Programs

Go deep on one skill on your own clock — light and composition, editing a photo essay, pacing a short film. Start today, keep access, rewatch whenever the work calls for it.

Live Cohorts

A few weeks, a small group, real deadlines. Shoot, share, and get critique that moves your work forward — with people making things alongside you, not watching from the sidelines.

The Studio Membership

The ongoing room: monthly shooting challenges, feedback threads, guest sessions, and every core program in one place. For the creator building a body of work, not just finishing a course.

Digital Toolkits

Presets, story frameworks, shot lists, and prompt decks you can use on your next shoot. Small, sharp tools for the moments you don't need a whole program.

Story before settings.

Most training drowns you in gear and technique and hopes meaning shows up on its own. We start the other way around. Every program begins with seeing — what your image is actually saying, who it's for, and why anyone should stop scrolling. The technical craft is here too, but it serves the story, never the reverse.

Critique that actually changes the work.

You can't fix what no one will point out. In the cohorts and the studio community, your images get honest eyes on them — direct, specific, and kind. It's the part students say they can't get anywhere else, and the part that turns a decent shooter into someone with a real voice.

I booked three editorial jobs in the six weeks after my cohort. The critique alone was worth the whole thing.

My wedding galleries finally read like a story, not a highlight reel. Bookings are up and I'm charging more.

I stopped hiding behind gear talk and started shooting with intent. My personal project got picked up by a festival.

Learn from someone who's spent a career finding the frame.

For fifteen years, Marisol Vega shot documentary and editorial work across four continents — the kind of assignments where you get one chance and the story has to be in the frame. She learned the hard way that gear is the easy part, and seeing is the whole job.

She built this school because the training she wished she'd had didn't exist: small enough that your work gets seen, honest enough to actually improve it, and built around story instead of specs. Everything here — the programs, the cohorts, the community — runs on that one belief. You're not here to collect settings. You're here to make people feel something.

Before Storyframe, I owned three cameras and still felt like a fraud. I could nail exposure but every gallery looked the same — technically fine, completely forgettable. In my first cohort, Marisol pushed me to shoot one story over three weeks instead of chasing pretty frames, and the critique stung in the best possible way. By the end I had a photo essay I was proud of — and six months later, that essay is what landed my first paid documentary commission. I didn't need a better camera. I needed to learn how to see.