Sign in to turn on 1-Click ordering.
Trade in Yours
For a £5.56 Gift Card
Trade in
More Buying Choices
Have one to sell? Sell yours here
Sorry, this item is not available in
Image not available for
Image not available

Tell the Publisher!
I’d like to read this book on Kindle

Don't have a Kindle? Get your Kindle here, or download a FREE Kindle Reading App.

Manufactured Landscapes: The Photographs of Edward Burtynsky [Hardcover]

Lori Pauli
5.0 out of 5 stars  See all reviews (1 customer review)
RRP: £35.00
Price: £29.80 & FREE Delivery in the UK. Details
You Save: £5.20 (15%)
o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o
Only 4 left in stock (more on the way).
Dispatched from and sold by Amazon. Gift-wrap available.
Want it tomorrow, 4 Sept.? Choose Express delivery at checkout. Details
Trade In this Item for up to £5.56
Trade in Manufactured Landscapes: The Photographs of Edward Burtynsky for an Amazon Gift Card of up to £5.56, which you can then spend on millions of items across the site. Trade-in values may vary (terms apply). Learn more

Book Description

4 Mar 2009
Over a period of 25 years, the internationally renowned Canadian photographer Edward Burtynsky has been an explorer of unfamiliar places where human activity has reshaped the surface of the land. His astonishing large-scale colour photographs of the landscapes of mining, quarrying, railcutting, recycling, oil refining and shipbreaking uncover a stark, almost sublime beauty in the residue of industrial "progress". The implicit social and environmental upheavals that underlie these images make them powerful emblems of our times. This catalogue of a major retrospective of Burtynsky's work features essays by Lori Pauli, Kenneth Baker and Mark Haworth-Booth, as well as a wide-ranging interview with the artist by Michael Torosian. The book includes 64 colour plates.

Frequently Bought Together

Manufactured Landscapes: The Photographs of Edward Burtynsky + Manufactured Landscapes [DVD]
Price For Both: £48.70

Buy the selected items together
  • Manufactured Landscapes [DVD] £18.90

Customers Who Bought This Item Also Bought

Product details

  • Hardcover: 160 pages
  • Publisher: Yale University Press (4 Mar 2009)
  • Language: English
  • ISBN-10: 0300099436
  • ISBN-13: 978-0300099430
  • Product Dimensions: 33.3 x 27.9 x 1.8 cm
  • Average Customer Review: 5.0 out of 5 stars  See all reviews (1 customer review)
  • Amazon Bestsellers Rank: 381,068 in Books (See Top 100 in Books)

More About the Author

Discover books, learn about writers, and more.

Product Description

About the Author

Lori Pauli is Assistant Curator, Photographs Collection at the National Gallery of Canada. Kenneth Baker is the art critic for the San Francisco Chronicle. Mark Haworth-Booth is Curator of Photographs at the Victoria & Albert Museum. Michael Torosian is a photographer and publisher in Toronto.

Sell a Digital Version of This Book in the Kindle Store

If you are a publisher or author and hold the digital rights to a book, you can sell a digital version of it in our Kindle Store. Learn more

What Other Items Do Customers Buy After Viewing This Item?

Customer Reviews

4 star
3 star
2 star
1 star
5.0 out of 5 stars
5.0 out of 5 stars
Most Helpful Customer Reviews
5.0 out of 5 stars Beautiful but troubling images. 8 Mar 2014
Format:Hardcover|Verified Purchase
Ed Burtynsky is the photographer I'd most like to be. His photos are arresting and thought provoking. This is a good way into his work.
Comment | 
Was this review helpful to you?
Most Helpful Customer Reviews on Amazon.com (beta)
Amazon.com: 4.0 out of 5 stars  14 reviews
36 of 40 people found the following review helpful
5.0 out of 5 stars Burtynsky Delivers Excellence With Sincerity and Humility 7 Jun 2003
By Melville McLean - Published on Amazon.com
In 2002, I first noticed Edward Burtynsky's gorgeous 40 x 50-inch color prints at the AIPAD conference in New York. To me, Burtynsky's work stood out from all the rest in that immense exposition, which annually showcases international photography galleries. I hoped his gifts would receive appropriate recognition. I didn't realize the degree to which his reputation as a master photographer was already well established by museums, collectors and critics. Since 1985, the Charles Cowles Gallery has represented his work in New York and the Mira Godard Gallery, one of Canada's most prestigious galleries, represents him in Toronto where he is based. So I am now delighted to report that Yale University Press' handsome catalogue from his recent retrospective exhibition in Ottawa is a remarkable accomplishment in every respect. The National Gallery of Canada organized the show and co-published the book. Although the 64 color plates do not deliver what I love most about seeing his work in person - that is simply not possible to achieve in small-scale, half-tone reproduction. The fact is that this book's design and color plates are wonderful. Every aspect of this book is highly accomplished and carefully, thoughtfully considered. Assistant Curator of Photographs, Lori Pauli, deserves special recognition, firstly as editor for selecting top professionals and for coordinating their efforts seamlesslessly. Secondly, Pauli also wrote a scholarly, insightful essay that sets the tone for engaging inquiry and discourse that is maintained by a distinguished panel of co-authors, each with a different approach, including Mark Haworth-Booth, Kenneth Baker and an interview of the artist by Michael Torosian. Their different perspectives should satisfy many questions that might arise for the reader who wants a broad social context without losing a sense of personal connection concerning aesthetics or individuating details about Burtynsky himself. He grew up in southern Ontario, Canada's most populous and richest province. Much of Ontario's wealth comes out of the ground itself and even more significantly, comes out of manufacturing industries, particularly auto plants. Mining and heavy industry are major themes in his site selection both close to home and far away. He traveled half way around the world for some locations. Burtynsky's beautiful art of otherwise terribly distressed places is absolutely authentic, warmly human and almost always immediately engaging. The reader learns that there is neither pretense nor opportunism in Burtynsky's choice of site selection and content. His deliberate ideological detachment also distances him from the controversy and rancor that often accompanies polemical discourse. However, his personal connection with his sites is another matter. Burtynsky reveals his distinctly individual sense of place in almost all of these man-altered landscapes. Considerable skill, intelligence, time, and expense were devoted to every composition. He certainly did not need to work this hard to simply provide compelling evidence of the consequences of large-scale exploitation of natural resources. The color reproductions are only a small fraction of the size of the original photographs but they still illustrate his career-long attraction to detail and immense, complex space. He understands color, light and large-scale abstract composition like few others in his medium. In fact, I believe that he could make anything appear beautiful anywhere -- and yet he doesn't. At the exclusion of everything else Burtynsky chooses places transformed by human desires - including his own - for commerce and comfort. His pictures of mine sites, quarries, oil rigs and rusting steel can truly astonish the viewer for their visceral impact. They convincingly demonstrate decades of demanding study, persistence, experiment and high critical standards but his conflicted passion for his sites is a separate, far more complicated matter that for the most part remains undisclosed. As a fellow large format photographer and colorist, I can attest that there is nothing he takes on to photograph that is simple or easy. Tripod-mounted view cameras are cumbersome tools to use, especially outdoors at the mercy of ever changing natural light conditions as well as the unavoidable and unexpected shifts in weather. It is slow, complex, painfully deliberate work in conditions that are always unpredictable and often physically uncomfortable. Burtynsky makes it look easy - it isn't. Ian Hunt, the designer, also hides his craft. His design reveals wise William of Occham's razor, keen balance and restraint. It is what only the very best design can demonstrate. This is certainly a book worthy of collectors but it is accessible for us all. It showcases an artist about whom we shall hear many more richly deserved accolades in the years ahead. There will definitely be more books about Edward Burtynsky, but Manufactured Landscapes will be difficult to surpass.
22 of 23 people found the following review helpful
3.0 out of 5 stars mixed emotions.... 27 July 2007
By Jakub Urbanski - Published on Amazon.com
I am a great admirer of Edward Burtynsky - and I will not hide my dissapointment with the book. I've seen an exibition "Manufactured Landscapes" twice, and have to say that reproductions in the album are of a poor quality, not to mention that at least in this particular case size does really matter...

The album is good to have a general idea about the author, his work and his workshop (nice introduction, and interview with Edward Burtynsky - that's what I've missed from the exibitions) but if you haven't seen full-size prints before, do not buy this book - otherwise it might spoil your opinion about one of the best photographers ever...
31 of 36 people found the following review helpful
4.0 out of 5 stars Meager but Attractive Collection of Narrative Photography 17 Nov 2003
By doomsdayer520 - Published on Amazon.com
Edward Burtynsky surely has a keen eye for unnatural landscapes and features that have been scarred by man, and his stunning and thought-provoking photos of such matters are the focus of this book. Despite Lori Pauli's introduction, not to mention the very title of the book, I don't buy the claims that Burtynsky was dedicated to the relationship between man and nature, or is always on the lookout for "manufactured landscapes." This is certainly true for his shots of railroad cuts up and down huge mountains where they surely don't belong, indicating a desire for conquest by railroad engineers. However, I find much of Burtynsky's work, at least as presented here, to be about devastation and ruination of both the environment's health and its scenic aspects. This is most evident in his terrifying shots of uranium and other heavy metal pollution around lakes in Ontario, the bizarrely angular destruction at marble and granite mines, and the strange operations at a supertanker graveyard in Bangladesh. The main problem with this volume is that is generally meager in its offerings, and Burtynsky's shots are often presented in a disappointingly small size. Thus this book can be best seen as an incentive to explore Burtynsky's work further. [~doomsdayer520~]
5 of 5 people found the following review helpful
4.0 out of 5 stars A great read 8 April 2009
By R. Boag - Published on Amazon.com
To enjoy the images by Edward Burtynsky as they are meant to be seen would be to go to one of his exhibitions, it is out of the question to expect a book to hold the same weight as seeing the photos in person.
I brought this book for the contextual information that it holds and I was not disappointed. It is important when studying an artists work to read what is written about it as well as viewing the images. The book contains many high quality colour images of Burtynskys work and also a large amount of written material that is well worth the read.
An excellent addition to my library.
1 of 1 people found the following review helpful
4.0 out of 5 stars akanwischer 7 April 2011
By victor lee - Published on Amazon.com
Edward Burtynsky's approach to photography in Manufactured Landscapes is not to celebrate or damn his subject but rather depict it in a way that says, "This is what it is". By not stating what viewers "should" see in his work Burtynsky allows them to see things that, wouldn't be as available if the photograph was identified with a certain political agenda. Images of children knee deep in oil show how desperate we are for oil and the lengths we are going to get it. He is not pointing the finger at specific companies but rather stating that this is the problem we are all facing as a human race. The openness of his method leaves the responsibility to change with the viewer and actually motivates action.
Burtynsky's recent photographs have been about peak oil, the urbanization of China and rock quarry mining. The photographs are an interesting balance of attraction and repulsion. The colors and tonal ranges and sheer beauty of his work attract a closer look leading to the realization that the scene has been caused by humans "disrupting the landscape in pursuit of progress". This book is a good example of how reproductions can be limiting to fine art. The book feels muted compared to Burtynsky's prints. Half of what attracts me to his work is the precise craftsmanship and fine detail.
Were these reviews helpful?   Let us know
Search Customer Reviews
Only search this product's reviews

Customer Discussions

This product's forum
Discussion Replies Latest Post
No discussions yet

Ask questions, Share opinions, Gain insight
Start a new discussion
First post:
Prompts for sign-in

Search Customer Discussions
Search all Amazon discussions

Look for similar items by category