Memories Carried at Palestine House

Images from my project Brexiters were part of a fundraiser at Palestine House May 8, 2025, raising funds for human rights and humanitarian charities working in Palestine.

After touring in the UK and Europe throughout winter 2024, the Memories Carried international campaign and touring exhibition finally came to London supporting:

· Al-Haq

· Al-Mezan

· Health Workers for Palestine

· Ghassan Abu Sittah Children’s Fund

Memories Carried is an Art Forward in collaboration with Amnesty International UK.

EXHIBITING ARTISTS:

Cherry Adam, Belal Adnan, Koutaiba Al Janabi, Ahmad Badarne, Mohamed Badarne, The Bearded Skot, Dan Burwood, JC Candanedo, Julio Etchart, David Hall, Zeina Idris, Eylem Fidan, Roxy Herve, Zeina Idris, Dalia Jacobs, Liron Leibu, Andy Martin, Yamam Nabeel, Julia Neal, Zisis Ntalakouras, Ishtar Obaid, Matt Payne, Celia Peterson, Viktor Shekularatz, Mauricio Sierra, Hanif Shoaei, Hareth Yousef, Ahmed Zarrouki and Fraser Harban.

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It Happened Here

“It Happened Here” was a participatory performance project designed by Gustavo Dias-Vallejo where residents of Kentish Town were invited to recall meaningful events in their lives that happened in specific places in the area.

I took portraits of the participants as they guided us through a collective walk where they shared their stories.

The portraits were exhibited as part of the 40th anniversary celebration of Torriano Meeting House.

Torriano Meeting House is a user-funded grass-roots volunteer-run arts and community organisation in Kentish Town. It is a meeting place for the arts and the community.

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Finding Our (Creative) Voice

Over the month of April, I took part on Kakilang Arts ‘Finding Our (Creative) Voice’ workshop at Shoreditch Town Hall.

The workshop was aimed at helping artists to discover their creative voice through inspiring sessions exploring the art of storytelling in whatever medium participants chose.

Acclaimed writer, performer and filmmaker Daniel York Loh and interdisciplinary artist Rebecca Goh guided participants to discover our stories and then explore how to tell them.

I developed a performance piece that explores the experience of queer Latin Americans in the UK when we use the NHS Sexual Health services. Can’t wait to share it with you all!

Kakilang (自己人), meaning ‘one of us’ in the Hokkien dialect, produces and presents world-class interdisciplinary art from a wide spectrum of Southeast and East Asian voices. Kakilang represents people coming together through art, championing diverse voices and shared experiences.

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1200 Years of Queer ARTivisim

On March 19, 2025, I gave a talk on "1200 Years of Queer ARTivisim” for The Westminster LGBT+ Forum exploring the lives of some of the artists who throughout history paved the way for queer rights activism.

From the courts of Baghdad, to rural Costa Rica, to the Channel Islands, I took the audience on a journey through time discovering queer artists who openly defied the status quo and claimed their place in history.

The Westminster LGBT+ Forum welcomes all members and allies of the LGBT+ community who live, work, play, visit, or simply love Westminster.

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Exhibition in Margate

As a founding member of the Quiet Storms Collective, I’m excited to announce that our first exhibition will take place at Joseph Wales Studio in Margate from August 15 to 26, 2024. Open daily from 12 to 5 pm. All welcome!

Unearthed is an interdisciplinary exhibition by Quiet Storms Collective that brings together a group of local and international contemporary artists from diverse backgrounds and disciplines who use visual storytelling to question power structures, embody inner-worlds and memories, and reclaim liminal and wondrous spaces.

Featuring painting, photography, mixed-media and sculpture, artists in the exhibition include: Fiona Stewart, JC Candanedo, Jo Mason, Josie McCoy, Kristin Rawcliffe, Laura Hope, Lisa Snook, Sheila MacNeill and Sinead McKillican.

Quiet Storms Collective is a group of contemporary artists transcending borders who are bound by their exploration of untold personal and collective stories. Whether it be stories of land and peoples, or myth and magic, their exceptional talents reveal unspoken emotions that hide on the threshold of strength and vulnerability.

In this exhibition, the artists individually explore echoes of unearthed stories, each in their own way, to capture subversive narratives on a journey towards empowerment, resilience, and positive transformation unravelling power and place. In doing so, they confront the duality of journeying through inner-worlds while rebelling against established structures of power.

Unearthed offers an exclusive insight into their visual language and an opportunity to experience the fusion of their distinct styles.

Exhibition Info

Unearthed

Date: 15 - 26 August, 2024

Location: Joseph Wales Studio, 2a Dane Hill, Margate, Kent CT9 1QP

Tickets: Free entry

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Exhibition At The Barbican Library

From 5th to 29th July, at the Barbican Library, the 'Shifting Narratives' exhibition will be showcasing the 'Decolonising Fashion and Textiles' project outputs curated by Camilla Palestra.

Over the past two years, I've been collaborating with researchers from the Centre for Sustainable Fashion at London College of Fashion on a project 'aimed at challenging the status quo and empowering refugee and asylum-seeking participants to build connections and voice their concerns for our collective uncertain future, while advocating for positive policy change.' - Dr Francesco Mazzarella and Dr Seher Mirza.

CSF researchers Dr Francesco Mazzarella and Dr Seher Mirza reflect on the 'Decolonising Fashion and Textiles' research project, explore valuable insights and share their new policy paper and petition. ⁠

Also on show, the series of portraits that I took in collaboration with Lucy Orta for the "Lifeline Activation" in the hopes to shift the mainstream narrative that negatively affects individuals and families seeking refuge and asylum in the UK and advocating for a more compassionate future.

You are invited to the exhibition's free public programme which includes guided exhibition tours, workshops and an in-person and online symposium.⁠

🔗 Click here to learn more and book your free tickets! 🎟️⁠

Exhibition Info

Shifting Narratives

Date: 5 - 29 July, 2024

Location: Barbican Library, Barbican Centre, Silk Street, London EC2Y 8DS

Tickets: Free entry

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DOCUMENT NOW: No Borders - Group Show

I'm excited to announce that I'm taking part in DOCUMENT NOW: NO BORDERS, an exhibition at the Royal Society of Arts from June 18-21, 2024. This group show invites global photographers to share stories of migration and identity, investigating community and culture in a world of rapid globalisation.

In this group show, I will be showing some of the photo-textile artefacts from my series Pro Mundi Beneficio alongside my video performance piece entitled This Is (From) America. In Pro Mundi Beneficio, I tell the stories of the plants endemic to the American continent that have greatly benefited the economies of other parts of the world, but that have also been influential in the creation of new cultural identities around the globe. This series is named after the motto on the coat of arms of the Republic of Panama and is Latin for “For the Benefit of the World.”

On Friday 21st, and in commemoration of Pride month, I will be premiering my latest video performance piece entitled People Like Me, a 5-minute short film in which I explore homophobia, conversion therapy and familial relations. The presentation of the short film will be followed by a Q&A and an opportunity to view the DOCUMENT NOW: NO BORDERS exhibition with the artists.

Group show

Document NOW: No Borders

Date: 18 - 21 June, 2024

Opening Times: Tuesday, Wednesday and Friday, 9am-8.30pm

Location: RSA House, 8 John Adam Street, London, WC2N 6EZ

Private View

Date: 18 June, 2024

Time: 6 pm - 8 pm

RSVP: on this link.

Film Screening and Q&A

Date: 21 June, 2024 Postponed. New dates TBC

Time: 7 pm - 9:30 pm

Tickets: £5 donation on this link. All proceeds go to Medical Aid for Palestinians.

Exhibiting artists:

Hajar ALMUTAIRI

JC CANDANEDO

Christian CROSS

Julio ETCHART

Fatma FAHMY

Rollie D. HOLEY

Yamam NABEEL

Curated by Andrew Etherington

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Thanks to Everyone Who Came To Teddington Artists Art Fair 2022

Thank you ever so much to everyone who came down to see me at the Teddington Artists Art Fair 2022 at the beautiful Victorian Normansfield Theatre at the Langdon Down Centre in Teddington this weekend. It was my first time at an art fair and I really enjoyed the feeling of community that artists who showcase at these fairs have. So many lovely people stopped by to show me support and also new friends who have just discovered my work for the first time.

I presented work from my series Migration, in which I investigate themes of displacement and restriction of Movement. I had a really good time and I hope to see you all at the next one!

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Join us in our Art-making Workshops!

Sandy Abdelrahman and I invite you to come along to our weekly workshops to explore identities, sense of belonging and representation through various creative activities and take part in a full-day doll-making workshop! Learn new skills, let your creative juices flow and be part of a lovely community of people who also consider themselves 'Others'. The workshops will take place in Central London on August 16 and August 23, from 6:30 pm to 9 pm, and on a Saturday in September to be confirmed, from 11 am to 5 pm.

You can sign up on this link: www.eventbrite.co.uk/e/383338354337

The workshops consist of a variety of group dynamics and short exercises that will be followed by art-making sessions in which participants will learn how to make dolls from different materials such as fabric, paper and clay. All the pieces created by the participants will form part of a collective artwork that will be exhibited in the future to increase awareness and support for members of the 'Other' ethnic groups in London.

These workshops are aimed at people who consider themselves as 'Others' and who have lived experiences of otherness. All the artworks created during the workshops will take part in a collective exhibition and will be photographed for the social media, website, marketing and impact report of the project.

LOCATION, DATES AND TIMES

  • Evening Workshops

Dates: August 16 and August 23

Time: 6:30 pm to 9 pm

Location: Marchmont Community Centre, 62 Marchmont St, London WC1N 1AB

  • Saturday Workshop

Dates: September 3

Time: 11 am to 5 pm

Location: Story Garden, , Ossulston St, Somers Town, London NW1 1DF

Be aware that the workshops will be photographed and short video clips will be taken for marketing purposes.

COVID

In line with current government advice, restrictions due to Covid-19 have been lifted across the UK. Wearing masks is a personal choice. If you are experiencing symptoms or test positive, we would ask you to consider the community and stay at home. We do not have a stock of tests at the venue, but masks and sanitising gel will be available.

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Teddington Artists Art Fair 2022

This year, I will have a stand at the Teddington Artists Art Fair showing work from my series Migration, in which I investigate themes of displacement and restriction of Movement. The art fair will take place at the beautiful Victorian Normansfield Theatre at the Langdon Down Centre in Teddington on July 23 and 24, 2022, from 11 am to 5 pm. The Langdon Down Centre is located at 2A Langdon Park, Teddington TW11 9PS in SW London.

Admission is £3. No need to register.

The Art Fair

Teddington Artists is a group of artists founded in 1990 who strive to show the wide degree of diversity in both media and style of the artists who live and work in the local area. They meet regularly to exchange ideas, provide artistic support and promote a high quality of work.

This year, the list of artists taking part in the fair includes Jim Woodman, Elaine Coles, Tracy Florance, Wick Hutton, Peter Taunton and many more from a wide range of styles: prints, paintings, ceramics, objets trouvés, photography, textile art, jewellery and sculpture.

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The Importance of Storytelling

Thanks to everyone who came to see me talk at the launch of The Reclaimery where I talked about the relationship between storytelling and pre-worn clothes. The event took place at The Lab E20, a space that has been repurposed by Christopher Raeburn as a creative hub which exhibits the work of eco-conscious designers, provoking thoughts on the processes behind our clothes.

During the talk, I spoke about why storytelling is important when we talk about our work and what are the necessary elements that form a story.

I used as an example El Viaje, a collaboration with The Reclaimery that was born from a conversation on how no one is from anywhere, and we are all from somewhere else.

I also presented a piece that I created as a response to Traces: Stories of Migration, a programme from the London College of Fashion and Making for Change in which I used cyanotype and silk organza to explore the migration journeys of my family in an attempt to answer the question of why was I born in Panama.

Photo credit: Francesco Mazzarella

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Thanks for Coming to Mode Sirens and The Hidden Entity!

Thanks to everyone who came on Saturday to Shane Bradford’s Studio to see my new work entitled Migration and a choreography The Hidden Entity that I co-created with Max Gershon and The Ensemble Project. In Migration I combined photography and dance to investigate themes of displacement and restriction of movement. The session took place in the same building where I presented the work, a disused book works that is being used as a collaborative artistic space.

The Hidden Entity is a performance art presentation inspired by the collection of Mode Sirens from Shane Bradford and the very building in which it is performed. The building, a former publisher and book works in the heart of old Borough is due for redevelopment at the end of the year. The choreography echoes the aura of past activity, manifesting a sense of loss, breakdown and separation whilst enacting a vigorous ritual of optimistic and youthful energy, akin to rebirth and reparation.

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I Have Been Named Member of the Board of Trustees of AXIS

I’m very happy to announce that I have been named a member of the Board of Trustees of Axis, a charity that supports artists and champions best practices in the creative industries in the UK. I was attracted to the role because Axis was looking for trustees who consider themselves champions of equal access, anti-racism, and fair distribution in whatever field they work in. Those words strongly resonated with me!

Axis was founded in 1991 as an organisation that supports artists all over the UK by nurturing a culture of collaboration and growth, and creating opportunities for artists while encouraging and facilitating good practice in the visual arts.

They do this by creating access to the arts through their multiple programmes: Vacant Spaces (pop up art spaces in high streets all over the country), Graduate programme to ease the transition of students of art into the creative industries, Fellowship scheme with commissions, Hardship Fund, and more.

I couldn’t be prouder of being a member of the board of trustees of this organisation because they represent everything that I stand for. You can find out more about Axis and the work they do on their website axisweb.org or any of their social media @axisweb.

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Mode Sirens & The Hidden Entity

Shane Bradford, The Ensemble Project and I are pleased to invite you to an exhibition of painting and performance entitled “Mode Sirens & The Hidden Entity”. The project is a collaboration between artist Shane Bradford and the Ensemble Project, a choreographed assembly of six individual dancers, co-created by Max Gershon and me.

The opening is on Saturday, 7th May, 2022 from 3-7pm with two performances at 4pm and 6pm at 4 Bittern Street, London SE1 1PJ.

Mode Sirens ‘is a systemisation of tropes endemic to paint, pigment, movement and medium. Mistakes are isolated and categorised into groups of intentional action. The error, in all its forms is mitigated, in turn, by the repair. In the background the human body lurks. Breaches of covering canvas expose frail glimpses of bodily vulnerability. Slits, holes, openings and apertures hint at the venal imaginary flesh below the surface.’

The Hidden Entity is a performance art presentation from the Ensemble Project inspired from the collection of Mode Sirens and the very building in which it is performed. The building, a former publisher and book works in the heart of old Borough has served as the artist’s studio for the past decade and is due for redevelopment at the end of the year.

As such, it becomes another vulnerable body, a Hidden Entity living within its own time, housing the vestige of its own secret history and those who have passed through. The bespoke choreography by Max Gershon with JC Candanedo echoes the aura of past activity, manifesting a sense of loss, breakdown and separation whilst enacting a vigorous ritual of optimistic and youthful energy, akin to rebirth and reparation.

Mode Sirens & The Hidden Entity exist symbiotically as a multi-format mode of expression.

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Recent Work Showcase

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T S Eliot wrote in his 1919 essay Tradition and the Individual Talent that ‘No poet, no artist of any art, has his complete meaning alone.’ Admittedly, he was referring to tradition and those who come before us but one could also say the same about the communities that surround us. Humans are social animals, and only when we are surrounded by a supportive environment is that we thrive. For me, that support network has been The Trampery. Since I became a member many moons ago, both the organisation and the members of their community have been my rock. Never before in my life have I been so inspired by anyone as I am inspired by my fellow members of The Trampery.

This week, The Trampery is hosting a member showcase featuring work by members of their creative community. From photographers to architects, musicians, fashion and digital designers, come over to The Trampery on the Gantry and enjoy exciting work from East London's creative community.⁠ Running from the 6th to the 10th of September from 11 am - 4 pm every day.⁠ Find out more on this link.

During the showcase, I will be featuring work from my recent projects some of which are straight out of the oven. Hope you enjoy it and please let me know in the comments below if you were able to make it.

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I Made It To The Shortlist Of The Taylor Wessing 2021

Photo credit: ©2020 Thaïs Verhasselt

Photo credit: ©2020 Thaïs Verhasselt

This year, an image from my project “Seeing Changes” was shortlisted alongside other 441 images for the National Portrait Gallery’s Taylor Wessing Photographic Portrait Prize 2021. There were a total of 5,392 images submitted that represent the very best in contemporary portrait photography. Sadly, I didn’t make it to the finals, but I’m very proud of this accomplishment! Particularly with an image from this project that I’m very fond of.

The National Portrait Gallery’s Photographic Portrait Prize, sponsored by Taylor Wessing since 2008, is one of the most competitive photography awards in the world. Since the competition began in 1993, it has established itself as one of the leading photography competitions in the world.

The National Portrait Gallery holds the most extensive collection of portraits in the world. Founded in 1856, its aim is to promote through the medium of portraits the appreciation and understanding of the people who have made and are making British history and culture, and the appreciation and understanding of portraiture in all media.

“Seeing Changes” is a photography project in which I explore how a supportive environment can change a young person's life forever. The series includes portraits of students and staff from the Waltham Forest College in London who took part in a personal development programme run by the Prince’s Trust.

The Prince’s Trust supports young people who often come from difficult backgrounds or are at risk of exclusion. Some of the students have dealt with trauma, have had problems with the law or have experienced mental health issues that have affected their self-confidence and their outlooks for their future.

The Waltham Forest College is located in Walthamstow, an area of East London with a rich industrial heritage. After the Industrial Revolution, it was famed for its manufacturing companies that included manufacturers of transport, arms and photographic equipment. However, post-war and up until the 2012 Olympic Games the area faced many challenges such as high levels of crime, poverty and deprivation.

Since the 2012 Summer Olympics, this part of London has become increasingly gentrified and property prices have skyrocketed which has contributed to a change in the local economy and demographics. Still, Walthamstow remains one of the most ethnically diverse areas in London.

Noora, from the series Seeing Changes © 2020 JC Candanedo

Noora, from the series Seeing Changes © 2020 JC Candanedo

The college was built in 1938 in response to a demand for qualified labour for the industries in the area. One of the most notorious manufacturing companies of the time was Barnet Ensign, LTD, one of Britain's most successful camera-makers.

Barnet Ensign were the makers of the Ensign cameras, one of the most popular cameras of its time in the UK. The building where these cameras were produced stood three blocks from the College up until the 60’s when the factory was closed. The company never recovered after the building was bombarded during the Blitz in WWII.

All the portraits of this project were taken using an Ensign Ranger camera produced a decade after the college was built. This creates a direct link between the importance of Walthamstow in the history of photography, the place that the Waltham Forest College holds in the industrial heritage of the area and the work that the Prince’s Trust is doing in shaping the future of today’s youth.

Once the film was developed, I wanted to give a voice to all the participants so I asked them to write directly on the negatives and tell me their experiences of taking part in the programme. Due to the sensitive nature of some of their personal stories, I assigned the negatives at random so that no one wrote on their own portrait. This way, their personal experiences were kept anonymous.

While working on this project, I also led some of the workshops and offered mentorship to the students. I can honestly say that seeing their lives change from when they started in the programme to when they finished, knowing that we’ve contributed to the look of accomplishment in their faces, has been one of the most enriching experiences of my life.

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I've Been Selected As A Fellow In The UK Creative Community Fellowship

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I am really excited to announce that I have been selected to be one of the 25 arts and culture entrepreneurs to take part in the 2021 cohort of UK Creative Community Fellowship organised by Derby Museums, National Arts Strategies, and the Center for Social Impact Strategy at the University of Pennsylvania.

UK Creative Community Fellows is a learning experience which brings together artists, community organisers, administrators, and entrepreneurs from around the United Kingdom to explore new tools and frameworks around driving physical or social transformations through arts and culture. This will be achieved by learning to make deeper connections with our community and build key partnerships with local organisations that will see our project thrive.

Derby Museums is an independent charitable trust operating three museums: the Museum and Art Gallery, Museum of Making, and Pickford’s House. It cares for the collections of cultural heritage on behalf of Derby City Council for the people of Derby. It also houses the Royal Lancers Museum.

National Arts Strategies builds and supports a diverse community of arts and culture leaders who drive inspiring change for the future. They envision a world in which everyone working in arts and culture is empowered with equitable access to resources and connected within thriving networks that benefit all people and our planet.

The Center for Social Impact Strategy at the University of Pennsylvania is a research and action center based in the University of Pennsylvania’s School of Social Policy & Practice. Their mission is to make tools and resources for social impact available to anyone, anywhere.

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Together, Separately. An Artists' Residency

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Last week, I took part in an artists' residency held by Cel Del Nord, a space in Catalonia designed to offer artists a distraction-free, and inspiration-rich environment to do extraordinary creative work. During the six days that the residency lasted, I was part of a group of artists from all over the planet which included really inspiring people from whom I learned so much. The residency was held online for obvious reasons, and during the week we got to know one another, share our experiences and grow our projects together, separately.

I applied to this residency to work on my project on memory impairment, which I've been developing on Patreon since the pandemic started. I wanted to work with sustainable photographic processes that could help me tell the story that I'm trying to tell with my photography work. Also, my aim was to create the first few artworks of the project and get feedback from the rest of the group.

Over the whole residency, I learned how to print cyanotypes on glass using three different emulsion recipes and played around with various exposure times under a UV lamp. For me, it was a time to slow down and to go back more than a century and a half to the very origins of photography.

Cyanotype is a photographic printing process invented in England by Sir John Herschel that uses a solution sensitive to UV light to produce a blue-coloured print. In fact, the word blueprint to refer to architectural drawings comes from the fact that these were printed using this technique. It is also the technique in which the first photobook in history was ever printed by photographer Anna Atkins.

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This technique is environmentally friendly so it only made sense to print the images on repurposed glass. For that reason, I searched in my neighbourhood for people who were giving away glass objects that they didn't want to keep anymore instead of buying new glass for the project.

The feedback and support from the residency and the rest of the artists in the cohort were priceless and I would recommend to any artist that they take part in an artists' residency at least once in their careers.

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I was very lucky to share the residency with this very talented group of people:

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Passepartout: Passepartout Duo is a music group comprised of pianist Nicoletta Favari and percussionist Christopher Salvito. Making music that escapes categorization, the duo’s ongoing travel around the world informs the multi-disciplinary collaborations, instrumental compositions, and evocative music videos that constitute their body of work.

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Twinkle Banerjee: Twinkle Banerjee is a photographer with her practice swinging between old-world nostalgia and modern-day conceptual stories. Originally from India, she migrated to Canada in 2010 and has called it her home ever since.

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Fleming Jeffries: Fleming Jeffries' works on paper rely on drawing as a means to slow down the mind’s eye and opens bridges to the subconscious.

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Kali McMillan: Kali McMillan is a photographer, curator, art historian, and urban sociologist. Her artwork centres around the experiences of humans and the spaces they inhabit.

Thanks to Odette Brady and all the staff and volunteers from Cel Del Nord for this very enriching experience.

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HELP ME PRODUCE MORE LIKE THIS

Patreon is a platform that enables me to offer you the content that you enjoy. Consider becoming a patron by clicking here. For less than the price of a cup of coffee a month you can support this blog and learn how I create my work. Also, 6% of my patrons' support goes to a different charity each month!

Visit patreon.com/jccandanedo

I Took The Sustainable Production Training Run By AdGreen

Whatever it is, the way you tell your story online can make all the difference.

Last week, I finished the sustainable production training run by AdGreen and offered to creative departments, ad agency production departments, production companies for motion and stills, and crew. AdGreen enables the industry, wherever the activity is, to act for a sustainable future and reduce emissions from productions. Its founding partners include leading industry players and key trade bodies such as the Association Of Photographers - AOP, of which I am a member.

The training offered by AdGreen is aimed at uniting the industry to eliminate the negative environmental impacts of productions and enable the community to measure and understand waste and carbon impacts. The training session is an opportunity for those working in productions to understand the key challenges we face, as well as what can be done at every level to promote environmental sustainability.

The session covered everything from the global environmental issues that we are facing, such as the millions of people displaced by climate change and the rapid extinction of species, to the industry’s impact and what reductions need to be made in our productions to counteract the climate emergency. We also learned from some interesting case studies how to measure our carbon footprint and what are the key things to think about when putting productions together.

If you are interested in learning more about AdGreen, including case studies, tips by activity area and company type, you can visit their website weareadgreen.org.

Do you like what you just read? Consider becoming a patron on patreon.com/jccandanedo where you can learn more about my creative process and the stories behind my images. I’d love to have you as part of my Patreon community.

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Get More Confident Pricing Your Work

This post is also available in audio form:

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How many times have you been asked to write an estimate for a job in which you end up undercharging out of fear of not getting the job? How many times have you written down, deleted and rewritten the figures on an estimate because you thought the client would not pay what you were asking for? How many times have you quoted so little for a job that you actually ended up regretting getting the job? If this sounds like you, welcome to the club. It happens to all of us. To this day, I'm yet to meet a creative who at some point in their careers hasn't gone down this spiral of fear when they get asked to quote for a job. It takes a change of mindset to combat this fear.

Not knowing how much to charge for a job is at the top of the list of problems that freelance creatives who don't have an agent face throughout their careers. I would like to say that it gets better with time, but as we progress in our careers the jobs keep getting more challenging which in turn worsens the issue of not knowing how much to charge.

I blame this on a lack of transparency in the industry. Very rarely we see other creatives advertising their rates on their websites or discussing them in public. Everyone is very secretive about how much they charge out of fear of other creatives charging less and stealing their clients. I have a group of photographer friends who support each other in every possible way and even with them the conversations about how much we charge seem uncomfortable.

In some industries, there is a suggested rate that everyone is familiar with. People who work in those industries use this suggested rate to know how much to charge according to their level of expertise and seniority, and clients understand these rates and know approximately how much they will have to pay. In other industries, unions set the rates.

But for most of the creative industries, and particularly for photographers, unless you are represented it is always a guessing game. There are a million websites that give guidance on how to calculate your cost of running your business and all sort of magical formulae that should help you come up with these figures. In my experience, these don't work for most creatives. Those calculations work if you can predict the number of jobs that you will have per month, but most photographers can tell you that this doesn't really apply to the type of work that we do.

Ironically, there is pressure within the creatives industries to charge fees that are fair for you but also fair for the rest of the people working in the industry. Undercharging for your work forces other creatives to lower their rates to be able to compete and this affects what clients expect to pay in the future. Charging too little affects you and the industry both in the short and the long term.

I know that we all have bills to pay, families to support and food to put on the table. If times are tough and you really need the money, I can't advise you not to take on underpaid jobs. I also might not be able to give you an idea of how much to charge for your work because I myself came up with my rates after years of experimentation, self-valuation and building up confidence in myself and my work.

What I can offer you is guidance on the things that you can tell yourself to gain the confidence that you need in order to be at ease with the figures that you are charging.

  1. My first piece of advice is that you write down your rates. Create a rate card for your services. It could be on a notebook, on an email that you send to yourself or anywhere that is easy enough for you to access when you are asked how much you charge. Resist the urge to change them every time that you have to send an estimate. Stick to them for a while and see if you feel that you are being paid fairly. If you quickly realise that they are too low and do not equate to the amount of work that you are putting in, by all means, change them right away.

  2. Don't charge too low thinking that it will attract more work. It might at first, but a photography business is not an economy of scale. You are not manufacturing goods. Your expenses won't become cheaper the more jobs you get. Quite the opposite. And you will end up overworked and probably losing money. Also, undercharging will devalue you as a photographer. As you progress in your career, you will want to have access to bigger clients and usually bigger clients do not work with cheap suppliers. Creatives who charge very little seem inexperienced.

  3. Don't charge an amount that you are not happy with and that you don't feel is fair. Some clients ask for a discount with the promise of hiring you many more times again in the future. The sad truth is that, most likely, they will never hire you again. And if they do, you will have a difficult time trying to raise your rates in the future to a level that you feel is fair.

  4. If your clients are other businesses, think that both of you are trying to make money with the photographs that you are taking. So, It is only fair that you both make a profit. If you are working for individuals, think that they probably don't know how much it costs to have their photos taken. If after defending your fee they still can't afford you, that only means that they are not the type of clients that you should be pursuing.

Most of the times, if we are uncomfortable pricing a job is not because our fees are not adequate but because we are not confident about the value of our work. Funny enough, your potential client can see the quality of your work because they want to work with you in the first place and they asked you for your fee. It's about time that you own the value of your work yourself.

Photo credit: behind the scenes by Andrzej Gruszka.

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