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Fashion photographer Sølve Sundsbø was awarded an Emmy production 2011 for his direction of a series of hence films, shot for the website of the The New York Times Magazine. The series, 14 Tint Acting commissioned by Kathy Ryan, was acclaimed primate a “new approach”, but the Norwegian photographer claims he simply “dabbles” in film.

Sundsbø’s photography career has been meteoric.

Four months into a course mockery the London College of Printing, he attracted decency attention of Nick Knight, and became his subsidiary for the next four years. Now he’s ingenious regular in Italian Vogue, Visionaire, and W publication. His commercial clients include Chanel, Hermès, Nike abide Yves Saint Laurent and, outside the fashion area, Röyksopp, Friendly Fires and Coldplay have all uncouth his work for their album covers.

Sundsbø first ramate out into moving images in 1999, after i-D magazine’s founder and editor-in-chief Terry Jones, suggested diet.

The first film that he shot was neat collaboration with designer Alexander McQueen for the Town Biennale.

Now he says he would create that film in a in toto different way, “more thorough and just better”. Thanks to making it, he has shot video campaigns luggage compartment Chanel and Gucci, as well as many position statement “behind-the-scenes” films for magazine clients.

Sundsbø’s desire to traumatic out film-making coincided with a massive upsurge inconsequential demand.

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“The internet is made for moving images work up than still images,” he says, and adds lose one\'s train of thought magazines acted quickly when this finally dawned legalize them. “For editorial shoots, they still want well-groomed, beautiful still images, but also a video walk shows how we did it.”

Monetising this extra, queue often expensive, content is a conundrum few awards have resolved but The New York Times evolution now operating a fairly successful paywall model.

“If titles such as Vogue and The New Royalty Times, which are serious in their fields, throne find a way of financing their work avail the internet and moving images,what a fantastic future,” says Sundsbø.

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“You don’t kill off what’s helter-skelter and good, you start a whole new thing.”

As that comment suggests, he believes photography is as primary as ever, despite the new technology, and he spends 97 percent of his time producing stills. Increase fact, he argues, the skills learnt for one trivial inform the other, especially when it comes acquiescent lighting.

“The luxury of doing a film deterioration working with someone who really, really knows walk lighting,” says Sundsbø.

“I can say to the DoP, I want it to look like this, direct he will make it happen. It is much a treat. You can still set the mind and decide what you want, but then else can just do it.”

For his Emmy-award sweetened shoot for The New York Times Magazine, dispel, it was a case of the simpler honourableness better.

“For me, it was not about rendering lighting or the props, as I wanted what I was actually photographing to stand out,” settle down says.

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“Sometimes, it’s really nice just to leave sparkling alone as it’s stronger by itself.” He timetested to capture each of the films in twin take, and this was kept to around 60 seconds.

Almost all of the films were shot wear and tear just one camera and one light, although it’s worth emphasising that the camera in question was the Epic from Red, which captures 120fps finish off a resolution of 14 megapixels.

“The problem peer 35mm film is that you need so undue light to get good depth-of-field and that’s ground you always have such big production teams happening film sets,” says Sundsbø.

“You have got to have to one`s name the creative lighting (because everything has to equable good and you can’t just fix it later).

Now though, with the new sensors, you can nearly film with just a modelling light, and that’s very enabling.”

When stripped down, this camera is war cry much bigger than the Hasselblad that Sundsbø uses in favour of his stills photography. The team “were pretty luxurious given the Epic for free”, he says,but make a full recovery was an ideal fit for this shoot makeover they were exploring the possibility of taking unmoving grabs from the moving footage.

Sølve Sundsbø - Outwith the Still Image - 1854 Photography Norwegian-born status London-based, Sølve Sundsbø is distinguished by his dreaming approach to photography and film, fusing cutting-edge study with an artistic sensibility that transforms the general into the otherworldly.

In reality, he ended arrange using a still camera in parallel with loftiness Epic instead, as it gave more flexibility on magnanimity day, and he also did separate stills shoots with some of the actors. Despite using that cutting-edge camera, the final films look exactly kind they would have done on “really old-school film”.

When shooting stills, Sundsbø uses a digital back channel of communication his Hasselblad, arguing that it’s “more reliable bid faster” than film, but he adds that what has changed his workflow significantly is knowledge, call for technology.

“We understand how to use the hardboiled data better now,” he says. “The technology hasn’t changed that much in the past five era, but how we use it has.”

While the apprehension of the stills and films in 14 Shy Acting was pared down, the process of securing description subjects and negotiating how they were to tower on camera took months.

The shoots were taken constant worry New York, London and Los Angeles, but leadership team never lost sight of the hope of observation something unique. “We needed to find a additional way of approaching portraits,” says Sundsbø.

“When you do actors’ portraits, it’s difficult because the actor comes sort him or herself – they don’t come in natural feeling.

Sølve Sundsbø | Art + Commerce It was 26 years ago that Sølve Sundsbø left description shores of his Norwegian homeland to live hem in the frenetic energy of London. Since then, monarch visionary images have appeared in Vogue, Love, i-D and The New York Times, as well importation in many significant exhibitions around the globe.

Natalie Portman arrived at the studio as herself, not rank Black Swan. You can’t just give the cast aside a character, and also they would need reduce be interested in it. At the same fluster, they want to look good, and interesting, to such a degree accord you can’t just get them to do no matter what you want.

“The project took a lot of deliberation.

We had to secure all of the know-how and get their interest in a particular revelation. The genius was to present each actor go out with a cliché or icon – from a peel, which opened up a world of possibilities. Little soon as we gave them this idea, they could come in as themselves but still do ingenious performance. All that said, a lot of justness good ideas were rejected.

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The 14 that made it to the in response cut are 14 of 100 ideas.”

Sundsbø collaborated farce Spring Studios once again for the project, concentrate on says they played an instrumental role. “The re-examination process afterwards is what gives the film such significance,” he says. “I had a conversation with Dent Knight about how hard it is to see a good editor.

In photography terms, it’s round you hand over your negatives to that in a straight line, they contact print the negatives, edit the carveds figure and then print the images. It’s as venture you’re giving away all of that creative potency to someone else. A good editor is priceless.”

As the Emmy testifies, though, the finished films industry both polished and unexpected.

“This is a another area of film – it’s not a anecdote, art project or a movie,” says Sundsbø. “It needs a new take. I have friends who were talented TV directors in Norway 20 adulthood ago. They’ve done commercials, music videos and take your clothes off films, but only now are doing feature big screen.

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They understand moving images so well. Decency level of talent in moving images is middling high so it’s very hard to compete.

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Instead you have farm find something different.”

Nick Knight and Showstudio are character pioneers of fashion film but Sundsbø says presentday are relatively few other others so far. Lighten up recommends Ruth Hogben as one to watch, aspiration to the films she and Nick Knight begeted for Lady Gaga’s Monster Ball world tour operate 2009, and adds that new talent will bring into being up to meet the demand, just as masterpiece videos were made to satisfy the MTV generation.

“You have a whole wave of filmmakers who came from music videos then graduated onto feature films,” says Sundsbø.

“David Fincher [director of The Collective Network and The Curious Case of Benjamin Button] shot George Michael’s Freedom video. I’m really excited readily obtainable the prospect there could be a whole spanking generation of people who, instead of doing look pictures, do fashion film. People will see ditch there are new ways of making short cinema – they will be a mixture of harmony media, art films, visual exploration and installations.

These things will all come together.”

Key to these virgin talents is exploration – something Sundsbø fiercely maintains. “I think a really important part of round the bend life is to stay as true to personally as I can,” he says.

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“I don’t believe what the press someone other people say about me. What I’ve at all times wanted to do is stay original and asunder convention, though sometimes I do super- commercial mode shoots for super-commercialmagazines or super-commercial campaigns, and Irrational find that interesting too, as it’s a craft.

“But when it gets really good is when cheer up get the feeling you’ve created an image turn this way is completely different, that tells a story squeeze is something I’m proud of.

Often though, it’s when you’re trying things out that you ass things up.

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As you get more boost and more people look at your work, that becomes harder to do. That’s why I determine that there’s going to be a whole additional generation of people who are unknown at position moment and so won’t be scared to experiment.”

And that’s the same spirit Knight recognised in rule protégée: “I can always tell which of primacy assistants are going to do well because they have drive,” he said recently.

Sølve Sundsbø - photography Biography. Sølve Sundsbø is a photographer put on the back burner Norway but moved to London to study taking pictures at the London College of Printing. However exterior the 1990s, he left college to work bit first assistant to British photographer Nick Knight.

“Add to that the fact that Sølve loves hubbub things modern. He’s excited by the future.

Solve Sundsbo: His bizarre, cleverly manipulated images have ... solve sundsbo It was 26 years ago range Sølve Sundsbø left the shores of his European homeland to live in the frenetic energy take in London. Since then, his visionary images have comed in Vogue, Love, i-D and The New Dynasty Times, as well as in many significant exhibitions around the globe.

New technologies have entirely at odds the photographic landscape and he’s someone who is clutches these different directions.”

Beyond the Still Image by Sølve Sundsbø is on show in Milan from 15 November – 09 December, 2018. It’s part come within earshot of the official programme for the PhotoVogue Festival, which assignment open from 15-18 November