Edward Burtynsky

This is a new, redesigned edition of Edward Burtynsky's (born 1955) China from 2005, one of the first books by the Canadian photographer known for his contemplative work on nature and human existence. In images both arresting and unsettling, Burtynsky gave visual form to the immense economic and social transformation that China was undergoing at the start of the century. He gained rare access to both remnant and new zones of industrialization, including the Three Gorges Dam, vast sites of steel and coal production, the shipyards of Qili port in Zhejiang, as well as fading manufacturing complexes in the northeast. Burtynsky's lens penetrated entire villages dedicated to recycling economic waste, where painstaking sorting work still takes place by hand; seemingly endless factory floors; and high-density cities that have displaced an older, more graceful world. Burtynsky's original book was both a documentation and premonition of change; now, two decades later, his work affirms the wide-reaching and questionable results of that change, both in China and beyond.

"In 1997 I had what I refer to as my oil epiphany," says Edward Burtynsky. "It occurred to me that the vast, human-altered landscapes that I pursued and photographed for over 20 years were only made possible by the discovery of oil and the mechanical advantage of the internal combustion engine. It was then that I began the oil project."
Newly reissued and redesigned, this book surveys the ambitious decade Edward Burtynsky (born 1955) spent exploring the subject of oil. Burtynsky traveled internationally to chronicle the production, distribution and use of one of the most critical fuels of our time. Pictured here are landscapes altered by the extraction of oil, alongside cities and urban sprawl generated around its use. From aerial views of oil fields to highways ribboning across the landscape, Oil is the definitive photographic documentation of this central and controversial topic.

There is no life without water. Canadian photographer Edward Burtynsky's (born 1955) Water, a redesigned edition of the out-of-print original photobook from 2013, tells the story of where that vital resource comes from, how we use it, distribute and waste it. Often taken from a bird's-eye perspective, Burtynsky's images show us water's remote sources, remarkable ancient stepwells and mass bathing rituals, the transformation of deserts into cities with waterfronts on each doorstep and the compromised landscapes of the American Southwest. Burtynsky also returns to his favorite places to explore water management: from the massive hydroelectric dams in the heart of China to the vast irrigation systems of America's breadbasket. His photographs remain both lyrical and relevant: they reveal a necessary component of our life on earth that drives civilization and foreshadows the extent to which our future depends on our everyday interaction with this increasingly scarce resource.

Somewhere a building is created while a landscape is destroyed; this tension between attraction and repulsion is at the core of Edward Burtynsky's (born 1955) Quarries. This book, a new edition of the out-of-print 2007 original, focuses on over 100 of the Canadian photographer's thought-provoking photographs of large-scale quarries he made worldwide over the course of 17 years—including the creamy marble of Carrara favored by Michelangelo, the high-grade granite of Xiamen, some of the planet's deepest quarries in Vermont and immense pits in southeast Portugal that read like an architectural plan turned inside out and upside down. From the painterly patina of abandoned quarries to the checkered surface of a rock face, Burtynsky reveals the processes of creation and the techniques of the quarrymen, drawn to the aesthetic force and overwhelming scale of these deconstructed landscapes as much as to the irrevocable damage they show.

Over the course of seven years, Canadian photographer Edward Burtynsky (born 1955) traveled across sub-Saharan Africa, capturing incidences of terraforming, extraction, urbanization and deforestation. Shot at a bird's-eye view, his photographs reveal the patterns and scars of the human-altered landscape. While initially appearing to form an abstract painterly language, these man-made marks evince tremendous destruction to the natural world.
Out of print since 2023 and now re-released with a new design, African Studies documents the unsettling reality of sweeping resource depletion in Africa. The photobook culminates with China in Africa: a series depicting the economic inroads being made by China, including the interiors of gigantic newly built manufacturing plants. As with all of his photographs of landscapes impacted by human industry, Burtynsky's collection impresses upon the viewer the dire need for global initiatives to protect what stands to be forever lost.

Published with International Center of Photography, New York.

A retrospective of Edward Burtynsky's (born 1955) photography from the past 40 years, The Great Acceleration reveals the depth of the photographer's investigation into the human alteration of natural landscapes around the world, showing their present fragility and enduring beauty in equal measure. "The Great Acceleration" is an established term used to describe the rapid rise of human impact on our planet, among them population growth, water usage, transportation, greenhouse gas emissions, resource extraction and food production, each of which Burtynsky has photographed the signs of in great detail throughout his career. From open pit mines across North America to oil derricks in Azerbaijan, from rice terraces in China to oil bunkering in Nigeria, Burtynsky has traveled the world and back again as part of his restless and seemingly inexhaustible drive to discover the ways, both old and new, that organized human activity has transformed the earth. Including many of Burtynsky's landmark images, and which have never been published, the book is an urgent call to action, inviting us to appreciate the sublimity that remains in nature while deepening our understanding of the challenges and responsibilities confronting us today.

According to curator Marc Mayer, photographer Edward Burtynsky has three main facets to his identity: “The Technician,” “The Journalist,” “The Artist.” Published on the occasion of Burtynsky’s largest and most comprehensive exhibition to date at the Saatchi Gallery in London, Extraction/Abstraction looks deeply at the key subjects and signature images spanning his 45-year career. The catalog and related exhibition present a dichotomy of Burtynsky’s image-making imperative: the lucid and informed documentation of large-scale extractive processes, and how, through his practice, Burtynsky transforms the landscape of industry into complete abstraction. Other essential themes in his oeuvre, such as agriculture, manufacturing, infrastructure and waste, also find their rightful place here.
With more than 130 color plates, the book also has a special section, the “Process Archive,” featuring previously unpublished, behind-the-scenes photographs showing Burtynsky at work on the ground and in the air throughout his career. The archive provides a glimpse into the artist’s progression through the evolution of the medium itself, from mid-20th-century large-format analog cameras through to 21st-century high-resolution digital technologies, including explorations into photogrammetry and augmented reality.
Edward Burtynsky was born in St. Catharines, Canada, in 1955. His remarkable depictions of global industrial landscapes are held in the collections of over 60 major museums including the National Gallery of Canada; the Museum of Modern Art and Guggenheim Museum in New York; Tate Modern, London; Museo Reina Sofia, Madrid; and the Los Angeles County Museum of Art.

In Edward Burtynsky’s recent photographs, produced across the African continent, the patterns and scars of human-altered landscapes initially appear to form an abstract painterly language; they reference the sublime and often surreal qualities of human mark-making. While chronicling the major themes of terraforming and extraction, urbanization and deforestation, African Studies conveys the unsettling reality of sweeping resource depletion on both a human and industrial scale.
From natural landscapes to artisanal mining and mechanized extraction, several distinct chapters culminate with China in Africa: a series depicting the economic inroads being made by China, including the interiors of gigantic newly built manufacturing plants. This project brings together the work of seven years, the latest installment in Burtynsky’s ongoing oeuvre.
Edward Burtynsky (born 1955) is regarded as one of the world’s most accomplished contemporary photographers. Since the early 1980s Burtynsky’s imagery has explored the collective impact we as a species are exerting on the environment. Renowned for his sustained investigation of the “indelible human signature” caused by industrial incursions into the landscape, previous projects have explored mining, quarrying, manufacturing, agriculture, shipping, the production of oil, and the development of China. In addition, he has made three award-winning films with director Jennifer Baichwal, Manufactured Landscapes (2006), Watermark (2013) and Anthropocene: The Human Epoch (2018). Burtynsky’s books with Steidl are China (2005), Quarries (2007), Oil (2009), Water (2013), Salt Pans (2016), Anthropocene (2018) and Natural Order (2020).

In spring 2020 Edward Burtynsky (born 1955) found himself, like most of us, in lockdown due to the COVID-19 pandemic. At the time Burtynsky was in his beloved Grey County, Ontario—an area of wild beauty where he made his earliest photos—and he used his isolation there to reflect and create: with a new camera in hand he began recording nature in images which, in his words, are an “affirmation of the complexity, wonder and resilience of the natural order in all things.”

Over the past 40 years Burtynsky has compellingly explored the shocking variety and scale of industrialized landscapes, from oil refineries to quarries, from aquaculture to salt extraction. Yet in Natural Order he captures a moment when humankind has been temporarily stopped in its tracks, businesses suspended and economies disrupted—a moment for nature to breathe. These photos of trees and other flora show nature on the dynamic cusp between winter and spring, a time of melting snow, sprouting shoots and the promise of bounty: for Burtynsky, “an enduring order that remains intact regardless of our own human fate.”

Anthropocene is a multidisciplinary body of work by Edward Burtynsky, Jennifer Baichwal and Nicholas de Pencier, which includes a photobook, a major traveling museum exhibition, a feature documentary film and an interactive educational website. The project's starting point is the research of the Anthropocene Working Group, an international body of scientists who are advocating to officially change the name of our present geological epoch, Holocene, to Anthropocene, in recognition of profound human changes to the earth's system. The AWG's research categories, such as Anthroturbation, Species Extinction, Technofossils, Boundary Limits and Terraforming, are represented and explored in various mediums as evidence of our species' impact on a geological scale.

The works of Toronto-based photographer Edward Burtynsky (born 1955) are included in the collections of over 60 major museums, including the National Gallery of Canada, the Museum of Modern Art, the Guggenheim Museum in New York, the Reina Sofia Museum in Madrid and the Los Angeles County Museum of Art. His previous publications with Steidl are China (2005), Quarries (2007), Oil (2009), Water (2013) and Salt Pans (2016).

Jennifer Baichwal (born 1965) has directed and produced documentaries for over 20 years. Manufactured Landscapes, about the work of Edward Burtynsky in China, was released in 12 countries. Nicholas de Pencier is a documentary director, producer and director of photography. Selected credits include Let It Come Down: The Life of Paul Bowles, The Holier It Gets and Act of God. He was also director, producer and director of photography of Watermark and Black Code.