@ the movies
Manufactured Landscapes opens with an eight-minute tracking shot of a gigantic factory in China, the camera moving past row after row of workers assembling widgets until you feel like the factory floor circumnavigates the globe. The point of the shot, as with Edward Burtynsky's photography, is to encourage the viewer to do some rudimentary mathematics about the scale of industry in the world:
eight minutes to move across one factory + look at all those employees + how many factories like this are there in China? = wow, that's a lot of widgets
While it's unfair to say that the movie goes downhill from there, the tracking shot packs such a punch that the rest of the film seemed lacking in comparison. It was the only shot in the film that really felt like the cinematic equivalent of Burtynsky's photography...a long photograph, if you will.
The oil sands of Alberta have created an oil boom in the Canadian province.
And how much oil is there? Estimates bounced around for years until 1999, when Alberta got serious about determining its potential. Based on data from 56,000 wells and 6,000 core samples, the Energy and Utilities Board (EUB) came up with an astonishing figure: The amount of oil that could be recovered with existing technology totalled 175 billion barrels, enough to cover U.S. consumption for more than 50 years. With the new math, Canada slipped quietly into second place behind Saudi Arabia's 265 billion barrels in oil reserves, followed by Iran and Iraq.
Edward Burtynsky took some photos of the oil sands to accompany the piece. (thx, marshall)
Update: VBS.tv did a report on the oil sands as part of the Toxic Series. Elizabeth Kolbert wrote about the oil sands for the New Yorker late last year; unfortunately only an abstract of the article is available online. (thx, meg, ben, sanj, and greg)
Manufactured Landscapes is a documentary about Edward Burtynsky and the photos that he's taken in China of the Three Gorges Dam, factories, and other vast industrial projects. Trailer is here and it's available on DVD at Amazon. (thx, scott)
Update: Manufactured Landscapes is playing in NYC at Film Forum starting tonight through July 3.
Running the Numbers, a great new series of photography from Chris Jordan, is kind of a combination of Chuck Close and Edward Burtynsky, with a bit of Stamen thrown in for good measure. (via conscientious)
Photos of the Bangladesh shipbreaking yards by Brendan Corr. Strict environmental laws in the Europe and the US make "recycling" these ships there difficult, so US and European companies outsource the salvage to Bangladesh, where laws are looser. Compare with Edward Burtynsky's photos of the same. (thx, malatron)
Update: Article from The Atlantic about shipbreaking (thx, john) and a soon-to-be released book called Breaking Ships (thx, john #2).
I can't remember where I first ran across Edward Burtynsky's photography, but I've been developing into a full-fledged fan of work over the past few months. From a Washington Post article on Burtynsky:
Burtynsky calls his images "a second look at the scale of what we call progress," and hopes that at minimum, the images acquaint viewers with the ramifications -- he avoids the word price -- of our lifestyle. But what if viewers just see, you know, some dudes and a ship?
"Another photographer might focus on the loss of life or pollution," acknowledges Kennel of the National Gallery. "He uses beauty as a way to draw attention to something. It's a very particular strategy."
The Brooklyn Museum of Art is displaying an exhibition of Burtynsky's photos until January 15. Well worth the effort to try and check it out. The scale of modernity, particularly in his recent photos of China, is astounding. In Three Gorges Dam Project, Dam #4, this huge dam seems to stretch on forever and you don't know whether to goggle in wonder or shrink in horror from looking at it.
The Burtynsky exhibition at the Brooklyn Museum of Art sounds good. I hope to get over there before it closes on January 15. Here's his site with lots of photographs. "He often will shoot an image on three or four different brands of film, then print each image on three or four different brands of paper...then chooses the combination that produces the richest and most vivid look."
