Sølve Sundsbø - Photographer

[flyingace]

the most terrible of Sundsbo's eds ever, the styling/hair styling is (80's telefilm)

numéro 29
model: Kristina Chrastekova

from yangabin.club.fr

 

[Omnis]

Thanks for posting, flyingace and everyone else .. I think Sølve is by far the most interesting "major" photographer at the moment. I hope he will get even more recognition soon ..

 

[flyingace]

Hogan fw 07
styling: Karl Templer
models: Jeisa Chiminazzo, Fabiana Semprebom, Kelly Rippey


the first 3 scanned by fujiko, the 4th one from hoganonline.it, the 5th and 6th ones scanned by laketahoe at bwgreyscale, the rest from lebook.com

that floor is veery Miles Aldridge in my opinion

 

[Kanna]

#201 However the color and light are so beautiful as his usual work..

Didn't know that his exhibition was held in London. That's why his pics have been showcased in many mags these days, including Karen's portrait which is one of my favorites.
I really want to go there..

 

[flyingace]

Eva
paradis #3
model: Eva Herzigova



scanned by me

 

[ChrissyM]

are those recent photos?
i don't think she's pregnant at the moment, is she?

didn't even realize she had a baby..

*also, not sure how i feel about pregnant nudes...
but the lighting is nice and flattering..

 

[flyingace]

^the issue is fw 07/08 so they're not totally new.
I must say that I don't like shoots with pregnant women either, but I guess it can be interesting because of the curves and volumes... like in picture 5, it's some kind of geometrical picture. I would have liked more pictures like that one, maybe with an even darker figure, so that yo can't recognise her, and then it would be just shapes.

 

[tadda89]

He assisted a photographer in Norway as well. The same photographer Dusan Reljin assisted.. a large format photographer, which is where he gained his 8x10 and 4x5 experience.

Do you know what the name of the Norwegian photographerer he assisted for, Im dieing to know, and did he go to some kind of school?

 

[flyingace]

aparently he studied at the London College of Printing before assisting Nick Knight.

By Lena Corner
Sunday, 3 February 2008

When fashion photographer Solve Sundsbo started his career, for a while it seemed as though he would get no further than the dole queue. "People would say to me, 'I'm not sure I can hire you, I'm not sure what you're doing. What is your style?' I was mortified and thought I was never going to make a living as a photographer."
The problem was that curiosity had got the better of the young Norwegian and he couldn't help but embrace every photographic technique going. His work incorporated everything from X-rays and 3-D scanning to hi-tech manipulation and laborious hand-painted retouching. "If I've got a style," says Sundsbo, "it's that I've got no style."
Undeterred, and still in his early twenties, Sundsbo hopped on a plane to London to set about seeking his fortune. And four months into a photography course at the London College of Printing he got a call from Nick Knight, who was looking for an assistant. For a young fashion photographer, there are few better places to start. Knight is not only regarded as one of the world's most visionary fashion photographers, but his Show Studio gallery continually pushes the boundaries of artistic possibilities. "It was hard – almost medieval in the way that you devote yourself utterly to your teacher for nearly four years. But you get that same devotion back from your teacher."
The hard work paid off and Sundsbo is now regarded as a fashion-world institution.
The designer Tom Ford cannot speak highly enough of him. "Solve is a great talent in the fashion industry," he says. "His photographs speak for themselves. They are powerful, beautiful, always fresh, and I am lucky to have worked with him over the past decade."
Sundsbo's portfolio reads like a who's who of luxury designers – Yves Saint Laurent, Dior, Gucci, Hermès, Bally and Armani. He has also branched out into short films, teaming up with Alexander McQueen to produce a piece for the Florence Biennale. "We set Eva Herzigova on fire," he says. "She was really floating on water but it looked as if she was going up in flames." He's also responsible for the covers of this month's Dazed & Confused and the current issue of Pop, featuring supermodel Stephanie Seymour.
Despite his versatility, it's easy to spot a Sundsbo image. His pictures look as if they've been digitally altered, when in fact often they haven't. "People assume my work has been through a computer but actually I also use a lot of old-fashioned techniques," he says. The concept is also more important to Sundsbo than the finish and he probably has more in common with a fine artist than slick fashion snapper. When he was asked to take a picture of Nitin Sawhney, for example, he made a plaster-cast model of the musician's head and took a picture of that instead. And when YSL hired him to shoot a fragrance campaign, he persuaded a former member of the French Olympic tae kwon do team to appear in advertising's first full-frontal male nude shoot. "We're raised to understand that women's bodies sell products," he says, "but when you apply the same notion to a male, people can't accept it. It was an interesting exercise in people's perceptions."
Sundsbo is now intent on railing against mediocrity in fashion imagery. "Photography has become democratic – anyone with a digital camera can shoot something and alter it in Photoshop to make it look polished. For the past four or five years there's been a lot of dull, perfected work around, but there's an industry backlash going on now."
To coincide with London Fashion Week, Sundsbo is launching his inaugural exhibition in London's Spring Studios, a former paint factory that is now a devoted fashion gallery. Sundsbo's work will be blown up and reproduced to the highest quality – a luxury that fashion magazines can't afford. One of his best-known pictures on show is of the British model Karen Elson, with the colours slightly altered to give the image a harder, otherworldly edge. Then there are shots of Canadian model Jessica Stam smiling through a tiny set of fangs, and designer Gareth Pugh in a knitted American football kit. "The great thing about being a photographer is that you can manipulate your own universe," concludes Sundsbo. "It would be wonderful if the world was inhabited by these creatures. I'd love it if any one of them walked out of the frame and into my world."

from independent.co.uk

 

[flyingace]

Another interview, the original version in german here (translation by google)

Soon famous (39 The Norwegian fashion photographer creates with its bizarre and surreal images a reality

VANITY FAIR ONLINE represents people in this series, in which you better today than tomorrow should know

For photography came Sølve Sundsbø rather casually. He neither comes from a family of artists even as a teenager, he was a passionate amateur photographer. Nevertheless, the Norwegians managed to get a name in the fashion scene. The special Sundsbøs to work is the combination of a simple approach, an eye for detail and a variety of technology both behind the camera and on the computer. His disarming and provocative productions photo appeared, for example, in "Pop Magazine", "id", "Dazed and Confused" or "Vogue Nippon." Advertising campaigns, the photographer for the really big names in the fashion business shooting, including Yves Saint Laurent perfumes, Nike, Etro or Lancome. Similarly, he photographed the album cover of bands and musicians like Röyksopp, Coldplay and Sophie Ellis Bextor.

In an interview with VANITY FAIR ONLINE Sølve Sundsbø talking about the democratization of photography, poetry and inspiration.

Vanity Fair Online
What is so great photography?

Sølve Sundsbø
In fashion photography, it is possible, according to the characters to create their own ideas. So photography is comparable to write stories or films. The photography can transform the reality. In my eyes she is not a good way to describe reality. With images of the photographer, however, show how he or she sees the world itself. Ultimately, it is about communication.

VF
How did you come to photography?

S.S.
After I mainly as a teenager while skiing and recordings at concerts made, I decided to study to go to London. That was the early 90s. During this time, the fashion photography pushed boundaries. I think it was a very interesting time, because the digital photography just came. A similar period of change, there were 20 or 30 years. Since the 60s had not really done much. The mid-nineties four years, I assisted the fashion photographer Nick Knight, until 1998, I even began to make pictures.

VF
Do you remember your first camera?

S.S.
Honestly, I no longer remember it. I do not even remember how old I was when I got my first camera. This is because I am not with ten years ago have made pictures. I must be 15 years old, 16 years old. At that time I did not really actively photographed, but rather randomly shooting pictures as it seems every teenager does.

VF
Polaroid has announced the production of instant picture cameras. Are you sad about it?

S.S.
I had until very, very late in a Polaroid camera. What I find very unfortunate. I have already signed a petition, asking the manufacturer, the production of the camera. But I think the time of instant picture cameras is over. Now everything is digital

VF
What do you think about the digital revolution?

S.S.
I think digital photography is generally a very good and interesting thing. It makes photography more democratic. Everyone can take pictures and immediately check what he or she is right and what is wrong, whether the recording is too light or too dark or whether the image sharp enough. It gives people the opportunity to better photographers. For professional photographers is the same. Firstly there is a problem because people with normal computer programs or mediocre images so that they look as if they really succeeded. Most of the pictures, however, are in my opinion nothing but empty sleeves. There is no content, it's just the surface.

VF
When is a beautiful picture?

S.S.
Beauty is a very individual thing. Some describe something as ugly what others really beautiful. That to me like a picture, it must be interesting and show something that I have not seen. In this respect, it is like poetry. The art is a thing in all its complexity, yet simple to explain.

VF
What inspired you? Is there a particular influence?

S.S.
Sometimes, it is certainly useful to a particular source of inspiration to take back. I think we should influences from various areas, such as music, popular culture, politics or painting. Everything around you is one shaped.

VF
They live in London. What excites you about the city?

S.S.
London is the capital of Europe. Besides Berlin, it is the most popular city, which lies in popular culture. The youth culture in London is very inspiring, it happened so many different things and it is something constant.

VF
How important is a theoretical background for the work of a photographer? And how important is the practical experience?

S.S.
It all depends on. I think we can take at the University learn and access to the intellectual property of any photograph can be worthwhile. It is very important to the context to understand what is happening around you. As far as the practical side is concerned, we must not go onto college. It is important to go out and the opportunities.

VF
What is your favorite subject?

S.S.
My three sons.

VF
Advertising or magazine images productions?

S.S.
Both are important and can not exist without each other. The magazine embeds advertising, so that they work better and promotional pictures give you the discipline that you need for Jobs magazine.

VF
How does such a production photo?

S.S.
It is a community project. The team is made up of many parts: magazine, creative chief, chief editor, stylist, hair and make-up people, models and photographers. One has the idea and then on the other hand, this and every instance brings back something. The idea is central, everything else develops it. You are more than director dictator. It can control the direction of the set, but not at 100 percent of the situation.

VF
If you did not Nick Knight had taken, how would your career on the field? Would you still fashion photographer?

S.S.
Yes, I would be way or do what I do now. I would have perhaps a different path. What exactly, I do not know, but I would still here.

VF
Where do you want to be in ten years?

S.S.
Hopefully, I do the same thing I do now. Only better.

Not until 20 March shows Solve Sundsbo in his first solo exhibition "Saturated" together with the London art gallery Spring Studios twelve of its most famous portraits.

vanityfair.de

 

[flyingace]

Sølve Sundsbø is a Norwegian photographer who lives in London. His career began when four months into a course at the London College of Printing he became Nick Knight’s assistant. Now Sundsbø is a regular contributor to magazines including Pop, i-D, Dazed and Confused, Numéro, Visionaire and Vogue Nippon. He has also worked with various high-profile clients including Yves Saint Laurent, Hermes, Nike, Lancôme and Mac cosmetics, as well as shooting album covers for Royksopp and Coldplay. Sundsbø was voted best newcomer at the ‘International Festival of Fashion’ in Hyeres in spring 1999 and was chosen as Fashion Photographer by Creative Review for their ‘Creative Futures’ exhibition in Autumn 1999. He also contributed to the Biennale Florence with Alexander McQueen and held a personal exhibition at the International Festival of Fashion in Hyeres in 2003.

showstudio

Here it says that he started at the London College of Printing as well. Are you sure mainstay that he assited a photographer in norway? it's strange that it isn't mentioned anywhere.
I actually remember reading somewhere that he studied something not fashion related in Norway, literature? history? anyway my memory is not to trust so don't take this too seriously.

 

[flyingace]

Best of black
harper's bazaar US august 2002
fashion editor: Brana Wolf
model: Amber Valletta


from bwgreyscale.com except the last one, from yangabin.club.fr

 

[flyingace]

Invitation à la danse
numéro 91
styling: Franck Benhamou
model: Elena Sudakova



continues...

 

[flyingace]

scanned by me

 

[flyingace]

I already posted part of this editorial in #109. These are the rest and some of the other ones but with better quality.

Patriot games
harper's bazaar US february 2001
model: An Oost


from bwgreyscale.com

 

[flyingace]

Masculinity Stripped Bare
UK GQ style ss 2008


from thinkcount.blogspot.com and morphoman.blogspot.com, cover scanned bytaben

 

[Leonardo]

Yves Saint Laurent M7 Parfum Pour Homme

[WARNING] Not Save For Work


Model: Samuel Cubber

Scanned by MODA

 

[flyingace]

L'Officiel #870
Charlotte Rampling and Lou Doillon




advertising lights, times square, NY
L'Officiel #872 (from a calendar done with Michel Mallard)


all from patrimoine.jalougallery.com

 

[flyingace]

he has taken part in the showstudio project 1-1 about the relationship between art and football that is being shown in Basel coinciding with the Euro 2008:
http://www.showstudio.com/project/1-1
there are some panoramic views of the exhibition in the website.

 

[Batgeline]

Thanks for the information flyingace. Although I found it to be quite a lackluster contribution.

art+commerce