Karl Taylor has been a professional photographer for over
15 years and has traveled the globe on assignments for
some of the world’s most successful companies. Here is a
brief synopsis of his career in the industry…
Karl left school at the age of just 16 with a talent for art and
design. After securing a promising job in the design
industry, Karl hoped to develop his skills and looked forward
to the future. However, less than a year later and only 17
years old Karl was made redundant. Out of work and not
really knowing what to do next, Karl applied for a vacancy at
a retail photography store selling camera equipment. It was
a decision that would change his life forever.
15 years and has traveled the globe on assignments for
some of the world’s most successful companies. Here is a
brief synopsis of his career in the industry…
Karl left school at the age of just 16 with a talent for art and
design. After securing a promising job in the design
industry, Karl hoped to develop his skills and looked forward
to the future. However, less than a year later and only 17
years old Karl was made redundant. Out of work and not
really knowing what to do next, Karl applied for a vacancy at
a retail photography store selling camera equipment. It was
a decision that would change his life forever.
The ART of
PHOTOGRAPHY
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During the 20th century, both fine art photography and documentary photography became accepted by the
English-speaking art world and the gallery system. In the United States, a handful of photographers, including
Alfred Stieglitz, Edward Steichen, John Szarkowski, F. Holland Day, and Edward Weston, spent their lives
advocating for photography as a fine art. At first, fine art photographers tried to imitate painting styles. This
movement is called Pictorialism, often using soft focus for a dreamy, 'romantic' look. In reaction to that,
Weston, Ansel Adams, and others formed the Group f/64 to advocate 'straight photography', the photograph
as a (sharply focused) thing in itself and not an imitation of something else.
The aesthetics of photography is a matter that continues to be discussed regularly, especially in artistic
circles. Many artists argued that photography was the mechanical reproduction of an image. If photography is
authentically art, then photography in the context of art would need redefinition, such as determining what
component of a photograph makes it beautiful to the viewer. The controversy began with the earliest images
"written with light"; Nicéphore Niépce, Louis Daguerre, and others among the very earliest photographers
were met with acclaim, but some questioned if their work met the definitions and purposes of art.
Clive Bell in his classic essay Art states that only "significant form" can distinguish art from what is not art.
There must be some one quality without which a work of art cannot exist; possessing which, in the least
degree, no work is altogether worthless. What is this quality? What quality is shared by all objects that
provoke our aesthetic emotions? What quality is common to Sta. Sophia and the windows at Chartres,
Mexican sculpture, a Persian bowl, Chinese carpets, Giotto's frescoes at Padua, and the masterpieces of
Poussin, Piero della Francesca, and Cezanne? Only one answer seems possible - significant form. In each,
lines and colors combined in a particular way, certain forms and relations of forms, stir our aesthetic emotions.
English-speaking art world and the gallery system. In the United States, a handful of photographers, including
Alfred Stieglitz, Edward Steichen, John Szarkowski, F. Holland Day, and Edward Weston, spent their lives
advocating for photography as a fine art. At first, fine art photographers tried to imitate painting styles. This
movement is called Pictorialism, often using soft focus for a dreamy, 'romantic' look. In reaction to that,
Weston, Ansel Adams, and others formed the Group f/64 to advocate 'straight photography', the photograph
as a (sharply focused) thing in itself and not an imitation of something else.
The aesthetics of photography is a matter that continues to be discussed regularly, especially in artistic
circles. Many artists argued that photography was the mechanical reproduction of an image. If photography is
authentically art, then photography in the context of art would need redefinition, such as determining what
component of a photograph makes it beautiful to the viewer. The controversy began with the earliest images
"written with light"; Nicéphore Niépce, Louis Daguerre, and others among the very earliest photographers
were met with acclaim, but some questioned if their work met the definitions and purposes of art.
Clive Bell in his classic essay Art states that only "significant form" can distinguish art from what is not art.
There must be some one quality without which a work of art cannot exist; possessing which, in the least
degree, no work is altogether worthless. What is this quality? What quality is shared by all objects that
provoke our aesthetic emotions? What quality is common to Sta. Sophia and the windows at Chartres,
Mexican sculpture, a Persian bowl, Chinese carpets, Giotto's frescoes at Padua, and the masterpieces of
Poussin, Piero della Francesca, and Cezanne? Only one answer seems possible - significant form. In each,
lines and colors combined in a particular way, certain forms and relations of forms, stir our aesthetic emotions.
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11:00am to 3:00pm Saturday.
11:00am to 6:00pm weekdays
11:00am to 3:00pm Saturday.
LESSONS IN PHOTOGRAPHY BY - KARL TAYLOR
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