An essay on urban photography. By Paulo Barros Cardoso
Title: London Calling Author: Paulo Barros Cardoso 1st Edition Number of views: 15.000 Publication Date: June 2012 Special thanks to: Ana Margarida Santos
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Provided that the City of London remains as it is at present, the clearing-house of the world.â€? Joseph Chamberlain
To Isabel and Diogo for sharing their taste for art and because they always welcoming us so well.
With about eight million people and perhaps one of the most cosmopolitan cities in the world, what captivates me most in London is not only the proliferation and lush mixture of many different ethnicities and cultures but above all and beyond the excellent public spirit and patriotism of its citizens also the constant motion and accelerated breathing of the city. Although my impossibility to find a daylight that fascinates me as a photographer, maybe because of a certain lack of vivacity which leads me to become more focused on ancient history and the eerie essence of nostalgia than in glamour and miscegenation that takes the city to the highest level of artistic currents of both gallery and urban art, fashion, design and culture. Anyway, when I drop the eyes at some development wrapped in night-light the sensation that I acquire during the day evaporates, not only allowing me to search around the structure of Rembrandt but also for taking me to an ecstasy of light and color as possibly only Tokyo, Hong Kong or New York offer. It is here that I start to feel the true meaning, as in all other trips, that use a camera for this propose is an extension of life itself, and my heart speeds up, heading me immediately to demand around my photographic conception of graphics and to escape from monotony that sometimes the trade photo technique imposes. And because an essay is just this, an essay, an undertaking of a search for unconventional or little explored ways, no other city better for me to take a few steps further by the research of the movement, color and light translation, without, of course, relegating technicalities, but remaking them into a synchronous multiplier function of these same factors, almost as if, before my own conception of reality, to gather them on each click, in my mind I could fuse all of them simultaneously. With no other intention but amusement, along with the ability to let go of conceptual moorings, I hope that by sharing these images, somehow, the possibility to achieve photographically the translation of the facts which permit identify and give shape to the landscape of London become possible. Believing that this is a kind of remaking of it great movement and albeit in a strange way, share London like this with those who identify them selves with this kind of expression is a privilege. Paulo Barros Cardoso
London goes beyond any boundary or convention. It contains every wish or word ever spoken, every action or gesture ever made, every harsh or noble statement ever expressed. It is illimitable. It is Infinite London.â€? Peter Ackroyd
“London is a modern Babylon.” Benjamin Disraeli
â€œThe man who can dominate a London dinner-table can dominate the world.â€? Oscar Wilde
â€œWhen a man is tired of London, he is tired of life; for there is in London all that life can afford.â€? Samuel Johnson
â€œNothing is certain in London but expense.â€? William Shenstone
â€œA broken heart is a very pleasant complaint for a man in London if he has a comfortable income.â€? George Bernard Shaw
“I loved living in London, and I didn’t want to leave.“ Delta Burke
“By seeing London, I have seen as much of life as the world can show.” Samuel Johnson
“Flowers are as common in the country as people are in London.” Oscar Wilde
â€œThis melancholy London- I sometimes imagine that the souls of the lost are compelled to walk through its streets perpetually. One feels them passing like a whiff of air.â€? William Butler
“I’m leaving because the weather is too good. I hate London when it’s not raining.” Groucho Marx
Portuguese photographer born in Angola in 1964 and sought refuge in Portugal during the military revolution in this country in 1974, Paulo Barros Cardoso began shooting at age 13 with a â€œRolleicordâ€? lent by an uncle. At 14 gets his first SLR and, at 21, concludes advanced studies in photography in the Portuguese Institute of Photography. Revealing early appetite for portrait and shooting people, his photographic work finds inspiration and influence in the Hellenic figure and in the Renaissance painters Caravaggio, Rembrandt and Vermeer, as in the mastery of the photographers Robert Doisneau, Josef Coudelka, Paolo Roversi, Marco Glaviano and Richard Avedon. Specialised in communication, editorial marketing and art direction, received academic training in two distinct areas - marketing and corporate communications and photography. His career includes commercial and marketing managing of publishing companies and he was one of the founders of some publishing companies and Web portals. As photographer PBC has been performing editorial work regarding portraits and fashion photography, not only for modelling and advertising agencies, but also for some of the most important Portuguese magazines. His obsession for communication and visual arts additionally took him to work as art director for film an TV producers, in areas such as cinema, advertising and fiction, where he signed the decoration of soap operas, TV series and films, video clips, shorts stories, movies and TV commercials. Recently wrote and directed his second short film. Due to his capacity of writing communication, marketing strategy skills and consumers behaviour knowledge, he has also been asked to provide advice and consultancy in script doctoring, corporate communication strategies development, rebranding, repositioning and implementation of new projects in the editorial field. Other aspect of his work is the scriptwriting and the conception of the design for some institutional books and brochures. Shooting is his great passion.