Edward Burtynsky is renowned for his monumental industrial landscapes, and his camera gear reflects decades of evolution—from 8×10 film to high-resolution digital.
Here's a detailed overview:
Early Film Era
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Large-format field cameras (4×5 and 8×10 sheet film)
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Shot iconic projects like Mines, Quarries, Shipbreaking, etc.
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Used Linhof view cameras and other large-format systems.
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Often proofed with Polaroid Type 55 during shoots
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| Linhof 4 x 5 |
Transition to Digital
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Hasselblad H6D‑100c
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His current primary camera, boasting a 100‑megapixel sensor with Hasselblad/Imacon color profile—designed to emulate negative-film aesthetics.
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Previously used the H6D‑60, which offered quality comparable to 5×7 film; the H6D‑100 elevates him to 8×10 film territory
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| Hasselblad H6D-100c |
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| Bertynsky with Hasselblad H6D-100c |
Specialized Aerial Setup
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Hasselblad digital bodies mounted on gyro‑stabilized rigs for aerial work
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Shot from helicopters or RC-copters with live video feeds, enabling detailed remote control of composition and timing
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| Bertynsky mounting Hasselblad on gyro helicopter |
Printing and Workflow
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Hybrid printing system:
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35mm film was digitized via Lambda, Lightjet, Chromira, producing photo-paper prints.
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For large-format digital work, he now uses Canon inkjet printers, achieving near film-like texture with Canon’s color profiles
Why This Setup?
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Ultra-high resolution for massive fine-art prints
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Faithful color and tonal response, similar to his film roots
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Sharp, stable aerial imagery from unstable platforms
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Consistency and control from analog prints to digital post-production
In His Words:
He describes the leap from film to Hasselblad H6D this way:
“Up until a week ago, it was a 60 megapixel Hasselblad. I just received the 100 megapixel… the 100 will bring me to 8×10.”