Norwegian fashion photographer and filmmaker Sølve Sundsbø infuses his imagery with sharp, otherworldly concepts and experimental techniques, including x-rays, 3-D printing and smoke effects. His works have been favoured by the likes of Italian Vogue, Love Magazine and W Magazine, brand such as Dolce & Gabbanna and Louis Vutton, while also featured as Cold Play's 2002 album cover for "A Rush of Blood to the Head". He arrived in London in 1995 to pursue a short course in photography at the London College of Printing and became a photography assistant for acclaimed experimental imagemaker Nick Knight .
Sundsbø's interest in photography was piqued when he worked at a Ski shop in Norway, where he discovered VHS tapes documenting ski terrains. Travelling to British Columbia and the Canadian province Alberta for 13 years, the young photographer captured what would today become a travel book in partnership with Louis Vuitton for it's "Fashion Eye" book series, this time focusing on British Columbia through Sundsbø's lense.
During his time at the London College of Printing, Knight’s mentorship, which spanned four years, helped Sundsbø become a highly decorated fashion photographer in his own right. Voted best newcomer at the International Festival of Fashion in Hyeres, France, in 1999, his editorials have also featured in publications like Love Magazine, i-D, Vogue China, Interview, Numéro, and Dazed & Confused. His advertising campaign clients include Gucci, Chanel, Hermès, H&M, and Yves Saint Laurent .
He has also branched out into filmmaking, having directed short films for Nike, SHOWstudio, and Alexander McQueen. His film for The New York Times titled "14 Actors Acting" won an Emmy Award. In 2018, the photographer staged an exhibition at Milan's Palazzo Reale, titled "Beyond the Still image", celebrating the photographer's over 20-year career in the industry, and opening the Photo Vogue Festival that year. Sundsbø's works also appear in the permanent collection of London's National Portrait Gallery.
Although his works appear digitally altered, owing to the frequent use of trompe l’oeil and dramatic colouring through manipulation light, movement, and water, Sundsbø actually employs many “old-fashioned techniques” and prefers considered snaps to a "shoot now, fix later" mentality.