Schlagwort-Archive: David Cabrera

#FacesOfPhotography – Teil 68: David Cabrera aus London

Warum und wo David Cabrera aus London einen Wellensittich gefunden hat, was er über kreative Pausen denkt und was er glaubt, wann wir wieder zur Normalität finden werden, darüber hat er bei den #FacesOfPhotography gesprochen:

David, how are you in these strange times?
First of all thanks for making these interviews happening, its great to read about what other photographers around the world are experiencing.Things are quite stable now in London. Back to Mach, I was in Anfiield with a friend watching the Champions League match between Liverpool and Atletico de Madrid, all looked fine but the news around the world were very concerning. My family and friends in Spain are fine so that makes me feel better, same as all my friends here. I haven’t watched any news on TV, only read the papers headlines every morning online and carry on with my day.
I had the chance of working on some projects outdoors and I saw London from a different perspective after working and living here in the last seven years. My main subject is architecture so I could experience the landmarks completely empty, seeing the financial districts and all construction sites empty. This break allows London to show itself in a unique way without residents, student, tourists and vehicles.
I have seen more kindness outside that any of my previous years here. Every problem or argument you had in the past seems trivial, that friend or relative you did not talk to for months or years, now its the perfect moment to make that call.
My girlfriend found a budgie next to London Bridge the day before the official lockdown and been with us since then. His name is Pepe Camilo and we will look for the owner soon, he is in good condition and happy.

If we weren’t in crisis, what would you be working on?
Few projects were going on in the UK and Europe, mainly photographing buildings. Most of them are on hold but some projects are alive. It was an excitement moment prior to the lock down but there are bigger issues to be solved now. We were about to make a trip to South Africa to meet my girlfriend’s family and friends in Durban but it will have to be rescheduled. It is normal to get frustrated and feel fear but if you reverse it you can play things better, you definitely appreciate more the people who is next to you. You are supported and you are their supporter at the same time.

What are you working on instead?
I created a routine and I was working on some assignment outdoors, and then at home processing or creating strategies for the future. Then lot of spare time to catch up with some documentaries and series.
I finally completed my drone license and did the right paperwork to help clients to get nice aerial images when hiring a helicopter is not an option. I have been lucky to fly over London on a helicopter lots of time before, it was the nicest feeling but its a pain to book all the process, you need to go to a heliport far from London, weather could change anytime and nail the job once you are up there.

Is it already clear what the crisis means for photography industry in GB?
Unfortunately lot of creative work will have to be rescheduled and you have to fill the gap with other activities. It is a one life time opportunity to catch up in another areas of your life like family, partner, friendship, training…
The ones who have been longer in the industry will recover quicker. The students or people who just step into the market will have to think new strategies and be more patient but its not impossible. I just felt like started last year and I never lived any sort of golden era so will keep the hard work. Creative people always find a way to fill the time with something productive but you also have the right to slow down and rest, to catch up with life. We will have to listen carefully to the market and find where are going to be needed.
The Bulli restaurant in north Catalonia in Spain (3 Michelin Stars and now closed for good), was shut down in purpose for some months and then opened again every season. They used the break to slow down and create new dishes, to experiment , to taste new options. They had offers to create a franchise and new restaurants in the US but they said NO in order to keep their values and brand. Creative breaks can have a positive effect.

Do you think that ways of seeing and visual languages will change against the background of the crisis?
I guess more personal work than ever will be created and the online platforms are there to show it. More meaningful and honest personal work maybe.

What is your personal photographic wish for the time after the crisis?
As a photographic wish is mainly patience and perspective. We may need two years to get back to normal so no point in get too distressed in something you can not control.

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Natürlich können Sie auch gerne über Fotogloria Kontakt zu David aufnehmen – melden Sie sich jederzeit unter 040 609 42 906 -0 oder

OSRAM und Fenwick: Foto, Film und Timelapse von David Cabrera

Eine Herausforderung ja, aber eine spannende: Für OSRAM hat fotogloria-Fotograf David Cabrera das von dem Münchner Traditionsunternehmen illuminierte Kaufhaus Fenwick nahe London in Foto, Film und Timelapse festgehalten. Wir haben ihn dazu befragt:

You came to do the OSRAM photo shoot via fotogloria – what was it about and what exactly needed to be photographed?
A new Fenwick store in a Mall in Bracknell, next to Reading, an hourdrive from London. A nice building with a perforated metal mesh with the LED system behind it so it was something unique. We also were asked to shoot video.

How did you prepare for the photo / video shoot and what equipment did you take with you?
Usually we start with some meetings to see what are the client expectations. Then I like to do a recce myself and explore the place as any other customer that goes there for shopping. I take some snaps with the Phone and then back to the studio to start planning the shoot, arranging permits and equipment. We met with part of the team project on site so we got some useful input about the place.
I always have worked with Canon DSLR and TS lenses, I like it lighter and flexible, this equipment allows me to focus in the essentials.

Did you have free rein in the choice of motifs and the compositions, or did the client brief you about what was required?
There is always stuff that needs to be in and that is what I try to include it first: the materials, technology or people interaction, but those are ideas. There is a lot of room for creativity in terms of composition and lighting. Shooting at dusk and night is a must, is the best way to enhance the project itself. For the video, we created a story board and an action plan to follow to avoid chaos.

How did you go about the photo shoot? Did you achieve the best photographic results?
I split the shoot in two days, one day I focused in the stills and the next one I went with a friend and we did video and time-lapse together. The project itself was wonderful so we just needed to wait for the best weather possible and it went quite well. It is crucial to have a clear dusk, you don’t want to go too moody or with flat boring skies.

Which was the toughest and/or best moment during the photo shoot?
The video was the part more complex, we had some interviews and then we needed to tell a story at the same time. The best moment for me usually is driving back home after the long hours around the site, I like the hassle around the project seeking ideas and perspectives until I can really feel the project. If you think for a sec how many months or years architects or designers spend on their projects, and we just go for a couple of days…

Which is your favourite picture from the photo shoot and why?
I love the views from the Library at dusk and night time, its the most iconic view of the building and the LED displays simply beautiful.

Last but not least, how did you find the collaboration with fotogloria?
Fantastic. It is been great having Mike in contact all the time, there was lot of feedback and made my life easier.

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