Understanding Water Through Photography: Edward Burtynsky

Edward Burtynsky's exciting water collection is a natural condition intended to explore the use of water on our planet and that water by humans. (Meyers 2013) A series of underwater photographs shows us a new perspective that we can observe human influence. Burtynsky's work is very unique and deliberately, in the picture, he can awaken the audience's sensitivity and through a series of photos, he is meaningless behavior we do underwater or underwater You can talk about. Our planet

Due to the center of water's living, countless artists try to draw it from many different perspectives. One of the artists who captured the beauty of water and the environmental disasters it faced was Edward Bartinsky, who caught the vast water surface far beyond the surface of the airplane. These images are majestic and beautiful, and they demand attention to many ways that human intervention can weaken this important natural resource and threaten the future of the planet.

In fact, photographer Edward Burtynsky expresses 3D printing as "Photography 3.0". 2.0 is a digital photograph, it is not a film. Digital photographs have personally struggled when I graduated from college, but I excluded traditional film photographs. I spent hours at the university to study manual film photography, a delicate balance of exposure and shutter speed, and exact chemical reaction in the darkroom, and to count on countless film rolls and camera papers I experienced it. Elements will cooperate to create the final work. When digital photos suddenly appeared on the stage with its automation and software tools, it is easy to get rid of the mistakes that seem to be policemen. If someone can accomplish it by pressing a few buttons, I think, is it still a form of art?

I first read a picture of Edward Buttonski in a long piece in New York. From his helicopter taken above, his work is often terribly polluted, but they are visually convincing and will challenge the audience. Among the Metamorphoses series shot between 2003 and 2016, Karen cleverly cuts between nature and culture and skillfully combines the skill to combine the image of the animal and the luxurious and historically important interior It was. Here, she challenges the boundary between reality and creation: animals fit, but also absurd