Edward that can be reused or resold but without

Edward Burtynsky’s photography is
spectacular. Documenting industrial landscapes, Burtynsky reveals the truth
behind industrialization and urbanization: we destroy as much as we create. This
universal and dark truth is a central theme throughout all of his works. Each one
of his photographs is a social critique on how we as humans take for granted
the purity of Earth’s natural landscape. There is a level a richness in
Burtynsky’s that drew me in immediately; each image is thought provoking. With his
large-format view camera, Burtynsky depicts these industrial landscapes in
astonishing color and relentless detail. The photographs feel epic: the spaces
depicted have a monumental, unending air, and the pictures themselves are
printed strikingly large. Burtynsky urges his audience to pay attention to the
visual scars that capitalism and industry have left on our surroundings. These are
human-altered landscapes that we might otherwise never see, and Burtynsky asks
that we look at them and consider the environmental and social ramifications of
our actions. But while he nods to the consequences global consumerism, he never
exactly takes up the larger stakes that his photographs raise. Burtynsky describes
his photographic work as neither a condemnation nor celebration of his subject
matter.  

            Edward
Burtynsky’s large format color photographs document the ramifications of human
industry on the natural world in a perversely beautiful manner. Bold swatches
of color and rich texture render his images of mines, industrial refineries,
shipbreaking yards, and other scarred landscapes. In his series titled, China, Burtynsky
casts his gaze at dumps holding discarded electric and electronic equipment. While
people in the West engage in recycling for ecological reasons, the Chinese do
so out of financial need, picking through outdated equipment for parts that can
be reused or resold but without taking into account the toxic waste thereby
released into the environment. Burtynsky also explores the social ramifications
in his urban renewal series where modernity visibly collides with tradition. “Urban
Renewal #1 Factory Construction Outside Shenzhen, Guandong Providence, China”
(2004) is a stunning visual metaphor as a modern factory is covered entirely in
traditional bamboo scaffolding. Burtynsky’s almost intimate, ground level
photograph is dwarfed by the aerial views of Shanghai’s Old City being overrun
with massively multiplying modernist towers. The endless skyline of Shanghai
resembles a grotesque caricature of New York City that is both comic and
appalling. From beneath the bamboo façade, Burtynsky reveals the brightly
colored factory cities that have emerged in China with their armies of color-coded
workers. The dehumanizing images of endless rows of factory workers in the
manufacturing series are daunting by Western standards. Burtynsky’s pictures
are meticulously composed to highlight patterns of color and line that are
found in these man-made environments. These images are taken with a large
format camera, and as a result, are filled with exquisite detail. The result is
an unsettling contrast between the singular beauty of the composition and the
underlying dysfunction that we all know is just beneath the surface. This tension
between the technical quality and the ominous (and sometimes awe inspiring)
undercurrent of the subject matter make the photographs work, especially when
they are printed large.

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            I was
attracted to this photograph by Burtynsky as a result of its visual interest
and furthermore in light of what Burtynsky is attempting to state with his
work. Burtynsky takes delightful scenes of some of man’s most merciless affront
to nature. This photograph, Silver Lake Operations #1, was taken at Lake Lefroy
in Western Australia in 2007 at a mine. The lines of the streets into the mine
hover down into the pit, tastefully attracting the watcher to investigate. Be that
as it may, not exclusively is Burtynsky endeavoring to attract you to
investigate the picture, yet additionally to investigate what man is doing to
nature. In this day and age we are regularly so far expelled from the negative
effect of what it takes to make our lives more agreeable and simpler. We get
our gas from (ideally) clean corner stores, we get our meat in slick bundles at
the supermarket, we get our power conveyed to our homes. We devour and expend,
disposing of things that are broken or never again required, frequently not
thinking about the suggestions. I adore how Burtynsky utilizes the visual
excellence of these spots to bring the cruel reality of what a great many
people never observe or disregard about the aftereffects of our utilization.

            The focal
subject in the photo of Edward Burtynsky isn’t determined to any sole
individual yet rather on the impact of mankind in general. The scarred and
harmed scene portrayed is a one of a kind scene photo. At initial, one can’t
resist the opportunity to gaze in wonderment at the brilliant red trail
superbly cut onto the rich dark surface that is reminiscent of a normally
happening magma stream. It isn’t until after we read the photo title that we at
that point understand the shades of the scene are definitely not common. The
magnificence of the hues blurs and the red acquires to a greater extent a
resemblance to a wicked and fatal trail over an officially dead and fruitless
scene with the unpleasant trees and a fairly dimly strange sfumato barometrical
impact out of sight. The photo is trademark in topic to different works by
Burtynsky in that it unequivocally demonstrates the negative implications that
emerge from indiscreet utilization of the land with no solid executions set on
its supportability. The outcomes on the traded off land are unmistakably
obvious all through. In Nickel Tailings No. 34, the picture effectively
archives the effect that humankind is having on the planet and enables us to
look again at what some call “advance” when as a general rule it is
just the negative consequences of our present living style. The photo
unmistakably delineates the incomprehensible connection amongst excellence and
pulverization. The made scenes are interesting yet astonishing and display the
arresting manners by which humankind has changed and everlastingly reshaped the
Earth it possesses.