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.

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Get More Confident Pricing Your Work

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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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3 Ways I Can Help You Manage Your Photography Projects Better

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If you are a Professional Photographer, what is the one thing you want the most? To take photos. Sadly, anyone who runs a photography business can tell you that 95% of our time is spent dealing with the business side of things and managing our projects. Successful Professional Photographers have to be excellent project managers to be able to balance multiple projects at the same time while still running their business, promoting their work and finding time to work on personal projects to update their portfolios. However, even amongst those who successfully deliver projects consistently, there is a vast majority of Professional Photographers who lack Project Management skills. Here's how I can help.

I am a Socially-Conscious Photographer with more than 25 years of Project Management experience in different countries, and more than 10 years of experience in mentoring peers and students in the Creative Industries. I designed a set of tools to educate and empower other creatives to run their projects successfully and achieve their potential as change agents.

To help you manage your Photography Projects better, be it personal or client work, I offer One-On-One Mentoring Sessions and Consultations for Individuals, and Talks, Webinars and Workshops for Organisations, to help them turn their ideas into projects, successfully manage their projects from inception to completion, and run a practice with a social orientation while creating projects for social transformation.

Mentoring

I know first-hand that having a mentor can change your career forever. When I changed careers at almost 40 years old, I started anew in a different industry, a different country, a different work culture and a different language. I wouldn’t have been able to get a foot in the new industry if it hadn’t been for those who lend me a hand. So I decided to offer that chance to other people, allowing myself to have a positive impact on someone else’s career and see them thrive while they feel supported.

These tailored 1-hour mentoring sessions allow us to discuss Photographer-to-Photographer anything you might need support with:

  • Turning your ideas into photography projects.

  • Planning your photography projects.

  • Keeping you accountable for the progress of your projects.

  • Creating projects with a Social Impact.

  • Running a purpose-driven practice.

Find out more about my mentoring sessions here.

Project Consultations

These 2-hour working sessions allow me to help you design your project or help you unstuck a project that you've been dragging on:

  • Feedback on ideas and approach.

  • Support on Project Development.

  • Practical Advice on Planning and Managing Tasks.

  • Advice on Execution and Management Tools.

  • Accountability for progress, actions and goals.

  • Guidance on developing projects for Social Transformation.

Find out more about my project consultations here.

Talks, Workshops and Webinars:

I am available for Talks, Workshops and Webinars for Organisations that include group dynamics, activities and discussions on any of the following topics, or I can even design a topic tailored to your needs:

All the talks, workshops and webinars can be tailored to the organisation's needs and I can also design a tailored one that fits the requirements of your organisation. Just get in touch!

Taking amazing photos is no longer enough. The truth is that there are more photographers out there than we'd like to admit that are as good or are better than we are. But, running a successful photography practice takes more than just knowing how to take good images. And knowing how to successfully manage your projects is a mandatory skill. If you are ready to run your projects better, let’s have a talk.

Photo credit: behind the scenes by Facundo Bustamante.

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Your Worth Is Greater Than You Give Yourself Credit For

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In November last year, I moderated a panel discussion with photographers and filmmakers of all levels and backgrounds in support of the Aldridge Foundation. The panellists discussed what it means to work in the Creative Industries in order to inspire young people who want to become creatives. The Aldridge Foundation is a charity that aims to inspire and equip young people with the skills they need to take control of their futures. During the conversation, the advice that was offered the most by the panellists was that creative people have to work hard in building up their self-confidence. Only with confidence in yourself and your work is that you can thrive in this industry. But, in my personal experience and the experience of most creatives that I know, this is easier said than done.

Last week I had two conversations with two very different young persons that made me think of how far I've come in terms of building up my confidence. One of them told me that they were really nervous about an interview but not for the reasons that one might expect. They weren't worried about the skills or work experience part of the interview. What was giving them anxiety were the personal questions. According to them, their life was very uneventful and they had nothing to say about themselves that sounded interesting.

The other conversation was with someone who told me that they didn't know how to meet people in person. Young people these days are so used to having interactions through technology that the thought of having an in-person conversation with another human being can be daunting for some. When I asked if they knew why this was, they said that when they are chatting via any messaging app or when having a videocall conversation they feel at ease. But, as soon as the protection offered by technology is taken out of the equation they feel uncomfortable to the point of not being able to utter a single word.

I remember a time when I was afraid of talking to other people. I thought I didn't have anything interesting to say about myself. Before going to university, my self-image had been built up (more like torn down) by years of psychological abuse by family, neighbours and classmates. I was made believe that I was anti-natural, I was made feel different, I was called a faggot, I was called fat and effeminate, I was told that I spoke weirdly, that I had an accent, that my acne was horrible, that I had an odd shape, that my hips were too wide, my torso too thin, my legs looked like women's legs... and the list could go on. I was a walking mess of insecurities because I let everyone else build the image that I was supposed to have of myself.

And then came university. It was the first time in my life that I was away from familiar surroundings. At university, nobody knew me. It was the perfect opportunity to tell the world who I was with my own voice. Don't get me wrong, my insecurities didn't just vanish. They stayed with me for almost 20 more years. But, what was different was that in every new interaction I was telling my own version of my life story. Not the version that included the image that other people had had of me so far. And that gave me confidence.

How did I go from feeling like the ugly duckling to feeling like a swan? I think it was the realisation that we all have something to offer others, no matter how dull we think our lives are. We might feel like our lives are uneventful because we are the ones living them. But no one else has our background, our families, our experiences, our hobbies, and no one else sees life the way we do.

So, when I started to meet people at university I soon realised that some people were interested in the things that I had to say. Even the simplest of things like what I did during the weekend was completely different to the plans that other people had. Not because I was different or special, but because I was me and they weren't me. My anecdotes weren't interesting to everyone, but those who were interested really wanted to know more. And this gave me more confidence.

At some point, I also learnt the phrase: "We are not gold coins. We can't possibly be liked by everyone". These words freed me from the pressure of trying to please everyone.

Somewhere in here is a lesson for everyone struggling with their confidence, especially for all creatives. Do your thing. Just be yourself. As cliched as it may sound, the more you try to imitate others the less authentic you are and the more difficult it gets to present your work. Your audience will appreciate you and what you do. Finding that audience is difficult, I won't lie to you. But after building your portfolio for some time and getting yourself out there you will start seeing how some people engage with your work more than others. Those are the people that you have to talk to. Those are your people, your audience.

Cultivate them, talk to them. Don't force things, just continue being you because that is what they like. They don't want you to be anything other than who you are. As you grow, you will evolve. And some of those followers will not relate to the evolved version of your work and they will inevitably stop following you. That's ok, it's natural. But those who remain will grow stronger links to your stories and will want to know more.

When we are starting out, we often think that we have to fish the market with a massive net and catch whatever falls in it. But this fishing technique is not sustainable. Not everything that you catch is useful, and with this technique, you might end up hurting the environment because you hurt other species that weren't supposed to be fished out. But, if you put the right bait at the end of a fishing line you will catch just the right type of fish for you.

The more confident you look to others, the more they will want to be with you and the more they will appreciate your work. And it's ok if some people don't like you or what you do. It's their right. The same way that you have the right to not like some people or what they make. Someone not liking you or what you do does not invalidate you or your work. Your work is still valid, you are still valid. You just need to cross paths with those who can appreciate both. And when that happens, your confidence will do the rest.

Photo credit: behind the scenes by Stef Mic.

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Attention Students: These Are Tough Times But There Is Hope

This post is also available in audio form:

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Every student of any age going to school or university during these difficult times, particularly those graduating this year, has to find a way to cope with the current situation and manage their mental wellbeing. Finishing studies and having to navigate a very uncertain world and job market is not the optimal way of starting off a career. Olivia Pinnock, a London-based fashion journalist and lecturer, and I discussed how the pandemic has affected students and their mental health. We focused on what graduating students can start doing now that they are entering the job market in such overwhelming and unpredictable times. You can listen to the full conversation on the audio version of this post.

Olivia Pinnock is the founder of The Fashion Debates, a platform that she uses to promote a more sustainable and ethical fashion industry. She is also a lecturer at the London College of Fashion, the London Metropolitan University and Norwich University of the Arts.

During the conversation, we touched on how these are such trying times for students and how every single one of them has had a very individual experience coping with isolation and the pandemic. Olivia mentioned how some students haven't been able to produce the body of work that usually helps them create a portfolio that they can show to potential clients once they finish their studies.

She also offered some advice for people entering the job market at the moment. She said that, even though it's not great and wonderful right now, university is not just about the grade you get at the end of it. The university experience is about what you learn, the connections you make, and the experiences that made you who you are. And you are taking all of these things away with you.

She also said that students mustn't compare themselves to others, everyone has got their own timeline adding that for students with an entrepreneurial spirit, particularly in the fashion industry, now is the time to shine because the industry desperately needs solutions.

Whether you are a student, or someone interested in the challenges that students are facing these days, you can listen to the full conversation on this link.

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.

Subscribe to my weekly blog posts here! You may subscribe to the audio version wherever you get your podcasts.

Artists Are Never Old Enough

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Comedian Robin Ince was interviewed by Andrew Copson during a recent episode of the What I Believe podcast. He said that when he was in his twenties his fellow comedian Jo Brand told him that "you can’t really be a stand-up comedian until you are 30 because you don’t really know who you are." Robin said that he didn't take this statement very well when he was younger, but now that he is a middle-aged man he understands perfectly what Jo Brand meant. I agree, and I think that this is true for so many other things in life. My 20-year-old self, or even my 30-year-old self, had no idea of his place in the world. I felt lost and full of self-doubt and self-hatred until I was 40, and it took me living in 6 countries and working for more than 20 years in two very different industries to understand who I am and to know the role that I want to have in my community. I count myself as one of the lucky ones who got to understand this at such an early age. For some people, it takes longer.

We live in a world that sometimes feels like the upside-down world. We worship youth and try to slow the ageing process by all means, as if ageing was not inevitable or as if it were something bad. For sure, it must be linked to a fear of death which is often associated with older people but the reality is that we can die at any age and those who get to live to be old are actually the privilege ones. I for one have always wanted to be old. Perhaps because I was so unhappy when I was young and hoped that happiness would come with ageing. Or perhaps because I admired my grandfather so much and I always thought of him as the most intelligent person on the planet.

As an artist, getting old can be both the best and the most daunting thing that could ever happen to you. With age comes experience, and this experience enriches the stories that we tell through our work. But, as you get older, you also enter into the longest phase in your artistic career. The mid-career artist phase, as they call it, which can sometimes span almost your entire lifetime. It is in this ageing process that you get to know yourself, that you understand your worldview better and that you grow, not only physically, but also as a creative.

Everything that you are doing today will be part of the building blocks on which you are creating your future self. Time is not wasted, no experience is wasted when it comes to shaping who you will one day become. If you've only been in the world for a couple of decades and you feel like your work has no deeper meaning, that you have nothing to say, don't despair. That only means that you just have to live a couple of decades more. That is not to say that a young person's point of view of the world is not valid, but we can't expect to look at a 20-year-old's portfolio with the same eyes that we look at a 40-year-old's one. Both points of view are equally important but are infinitely different.

This is also not to say that anyone who has been on the world for more than 40 years has a fulfilled life and knows themselves well. But, 40 uneventful years do not equal 20 years filled with exciting adventures. For with age also comes maturity.

Dismissing someone because you consider them old is an act of self-sabotage. Before you know it, you will get to their age and you will have set an example for others to treat you the same way. We should aspire to grow older, to live more experiences and become wiser.

Avoid searching for the fountain of the eternal youth in order to live forever. Instead, grow as a human being into the skin that you inhabit with the urgency of knowing that time is running out and this is the only life we'll ever live. Maybe then, you'll start to see your work in a different light and you will be able to give your work and your life your own meaning.

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My 2020 Yearbook

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When I was in high school, I remember that one of the most expected events of the year was the moment the yearbook was released. The excitement of seeing your photo on print and reading what the people important to you had written was something to look forward to. However, I don't remember my school years to be a particularly good phase in my life. My memory of those years is clouded by a feeling of always being sad. There was too much going on in my personal life to be able to enjoy what were supposed to be the most enjoyable years of my life. I came out as gay in the late 80's amidst the AIDS epidemic and the fact that I grew up in a very close-minded country made things worse. It was definitely not an easy time for me. Nevertheless, I made it through. The same way that I've made it through this very challenging year. There is a lesson on resilience somewhere in there.

It has been a horrible year for humankind, but I refuse to let the pandemic stain the memory of the good things that happened this year that are worth celebrating. Thirty years from now, I don't want to look back at this year and only remember the sad moments. That's why I'm reclaiming 2020 by writing this post in the form of a yearbook. A post that I can look back to in a year, or ten, or in three decades and realise that in spite of everything that went wrong this year we managed to find a way to keep going.

These are some of the things that I choose to remember from the year 2020:


Mentor: As in previous years, in 2020 I continued mentoring both students and peers. One of my proudest moments this year was when one of my mentees scored an A+ in the project in which we had been working together.

Mentor: As in previous years, in 2020 I continued mentoring both students and peers. One of my proudest moments this year was when one of my mentees scored an A+ in the project in which we had been working together.

Volunteer: in early 2020, I volunteered at the City YMCA homeless shelter with other members from Out For Good to put together care packages to be given to anyone who comes seeking shelter when they first arrive.

Volunteer: in early 2020, I volunteered at the City YMCA homeless shelter with other members from Out For Good to put together care packages to be given to anyone who comes seeking shelter when they first arrive.

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Guest Writer: during the first lockdown, I partnered with Partnership for Young London to write a piece for their blog which highlights the innovative ways we’ve been supporting our own and others’ mental health during the pandemic.

Creator: at the end of the first lockdown, I started my Patreon channel to share with my followers how I put my projects together. 6% of my patrons' support goes to a different charity each month.

Creator: at the end of the first lockdown, I started my Patreon channel to share with my followers how I put my projects together. 6% of my patrons' support goes to a different charity each month.

Supporter: during Pride month, I ran a photography workshop for Say It Loud, an organisation committed to providing support and advocacy for LGBTQ+ refugees and asylum seekers in the UK.

Supporter: during Pride month, I ran a photography workshop for Say It Loud, an organisation committed to providing support and advocacy for LGBTQ+ refugees and asylum seekers in the UK.

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Facilitator: I ran several workshops on photography and project management for the AOP, The Trampery, Republic and the Boxed Community.

Award-winner: I was awarded Silver in the AOP Photography Awards 2020 in the Fashion and Beauty category with my image entitled Spring Cleaning.

Award-winner: I was awarded Silver in the AOP Photography Awards 2020 in the Fashion and Beauty category with my image entitled Spring Cleaning.

Documenter: I am currently working on a project with the Prince's Trust documenting one of their youth support programmes at the Waltham Forest College in Walthamstow, helping young people aged 16-25 to develop transferable skills that are essential…

Documenter: I am currently working on a project with the Prince's Trust documenting one of their youth support programmes at the Waltham Forest College in Walthamstow, helping young people aged 16-25 to develop transferable skills that are essential to pursue a successful career in education or employment. Photo by Thais Verhasselt.

Moderator: a month ago, I moderated a panel discussion about what it means to work in the Creative Industries in support of the Aldridge Foundation, a charity that aims to inspire and equip young people with the skills they need to take control of t…

Moderator: a month ago, I moderated a panel discussion about what it means to work in the Creative Industries in support of the Aldridge Foundation, a charity that aims to inspire and equip young people with the skills they need to take control of their futures.


What good things happened to you this year that you want to remember in the future? Share them with me in the comments below.

Photo credit: I don’t know who took this photo of me but it was the year I graduated from high school.

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8 Things I've Learnt While Working On Photography Projects

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Photography projects are an integral part of a photographer's career. As a commercial photographer, you want to show your potential commissioners not only what you have been paid to do in the past but also the type of work that you like doing. However, I've met photographers who don't believe in personal work or who tell themselves that they don't have the time to embark on it. What if apart from building your portfolio you could also learn something new?

Every time that I shoot a photography project, I learn something new about me, about my craft and about the people or the topic that I'm working on. Here is a list of 8 things that I've learnt from working on my photography projects:

  • Brexiters. This was the first portraiture personal project that I worked on. Before embarking on this project, I had been working on personal projects where I didn't involve other people (i.e. urban landscapes, abstract). When I saw on the news that the Brexit vote had won, and how the white uneducated elderly rural population of England was blamed for it, I immediately wanted to find out if what the media was saying was true.

    • Lesson number 1: personal projects challenge your assumptions. On this project, I learnt that not everyone who voted Brexit fit into the profile described by the media.

    • Lesson number 2: Just be honest about your intentions and people will support you. I learnt that if you need people to take part in your projects, just by placing an ad online explaining your project and what you are looking for you will find people interested in sharing their experiences with you and taking part on your project.

  • Crisi. This was my first personal project. I shot it before I even became a full-time photographer. I was really proud of it when I shot it and I had it on my website for many years, until one person who saw my portfolio told me that it didn't fit with the rest of my projects because it didn't involve people. Thus, I took it off my website for many years.

    It wasn't until a couple of years ago when I realised that, even if the project didn't involve photographing people it portrayed how businesses were shutting down in a domino effect in my local high street and the absence of people (footfall) is one of the reasons. So, I put it back on my website and since then many people have praised it. I also use it as an example when I have to run workshops about creating personal projects.

    • Lesson number 3: a project about people doesn't need to show people. I also learnt that the absence of people on a project that speaks about humanity and human issues makes for an interesting visual narrative.

    • Lesson number 4: putting off your project because you don't have the right equipment is just an excuse. From this project, I learnt that you don't need fancy equipment to shoot a personal project. I shot the whole project on an iPhone 4s.

  • Catalonia: A Work in Progress. This was my first project that involved photographing a high volume of people living overseas. I was lucky that I knew the country very well because I lived in Catalonia for 14 years. But still, photographing so many people in so many different cities and rural areas took a lot of time and planning.

    For this project, I didn't place an ad looking for people interested in posing for me. I relied solely on my network. I wrote a template email and sent it to everyone I knew asking them to forward it to people they knew who they thought would be interested in taking part in my project.

    • Lesson number 5: our networks are bigger than we think. There is always someone in our networks who knows someone who in turn knows another someone who is willing to give us a hand.

    • Lesson number 6: timing is everything. The project was appealing to many publications, but it got rejected several times because the situation in Catalonia changed every other day and it was difficult to keep an editorial angle.

  • De-Stress. This was the first project in which the idea for the topic to be explored came after years of experimenting with an alternative photographic technique. Prior to embarking on this project, I had been experimenting with distressing negatives with household chemicals. I loved the randomness of the technique and the striking results.

    When I was approached by The Trampery to work on a collaboration with the members of their community and explore Mental Health in entrepreneurs, I immediately knew that I could use this technique to speak about stress and the de-stressing effects of working in supportive environments. Hence the name.

    Also, after the project was published, I was approached by other organisations that liked the concept and visuals and who gave me opportunities to work on other projects.

    • Lesson number 7: experimenting with different techniques can inform your future projects. Playing around with different techniques until you master them can eventually lead to starting a new project.

    • Lesson number 8: personal projects open new opportunities. Commissioners pay attention to your personal work to see what motivates you and how you develop your own ideas when there is no brief involved and you are in control.

I am a strong believer in working on personal projects. They have opened so many opportunities for me throughout my career but, most importantly, they have taught me so much and I've met so many interesting people while working on them. Are you stuck with an idea that you don't know how to develop? Let me know in the comments below.

Photo credit: behind the scenes by Tori Dance.

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Art Helps Us Challenge Our Own Assumptions

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Divide and conquer. The oldest trick in the book. In the times we are living, the powers that be have torn our communities apart with the complicity of the media and the aid, willingly or not, of the social media companies. Our societies are so divided that being nice to other people before knowing their stance seems like the ultimate challenge. And it has become very frustrating to see this happening around me and not having the power to make others realise what is being done to us. I talk about it, I write about it, I create photography about it, but sometimes it is evident that my efforts are not enough. I need a better strategy.

I know I can't control the things that happen around me, I can only control how I respond to them. And this knowledge is what has been driving me for years to reach out to my community and encourage them to work together to make the world a better place. I wish that others would follow, but I can only control what I do. I knew that I wanted change in the world, and that is why I started by changing myself.

I've always been a very empathetic person, but over the last few years I've also tried to become more compassionate and to hide less my vulnerabilities. And since the pandemic started, I've come to realise that these things are urgently needed in the world right now. If only our leaders shared these ideas with me they would show more empathy, more awareness and more compassion towards those they represent.

We are all in this together, but if we don't work together we are not going to get very far. We have many lessons to learn from recent events but we are stuck. Honestly, soon enough we are going to have to realise that it doesn't matter if you think you are on the right side of history and the others are not. If we don't create bridges and find common ground with others, we are not going to move past this. I know it won't be easy, and I can already hear the arguments from both sides but it has to be done.

The wrongs need to be corrected, the history books need to be rewritten. Perhaps not as tools of punishment but as factual sources of knowledge.

When I was in school, history books taught me that the Spaniards came to my country to finally give us civilisation, religion and language. Things that, according to history books, we were lacking. It took me decades and living in a different continent to start questioning these ideas that were planted in my brain when I was a child. I can only hope that children in my country today are being taught about the atrocities that were committed during the European invasion.

Therefore, I have to understand that some of the things that I believe to be true today might have also been planted in my brain to trick me into believing their veracity. The same way that other people who think differently to me might be under the influence of the groups that are trying to divide us.

My solution to this is to make myself reexamine my personal beliefs often and to engage in conversations with others who don't share my point of view. Whether we agree or not, just listening to what motivates other people's actions and choices will be a good starting point towards building those bridges.

And this is why I think that right now it's crucial to get artists not only involved but also supported. Historically, our role in times like these has always been to engage and collaborate with our communities to explore the world we are living in and offer a creative interpretation of our reality. We force those who view our work to engage in the conversation and question their own realities.

Art is more than just a mirror of society. It is a prism through which we see life from someone else's perspective. Whether you agree with the artist or not, just by engaging with art you also engage in an inner-dialogue that encourages you to question your assumptions. And these days, we are in desperate need to challenge everything that we assume to be true.

Photo credit: behind the scenes by Andrzej Gruszka.

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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