On altering reality in post-production… One is already altering reality by taking a photograph. It is important to remember that there isn’t a collective reality in art, just the reality of the artist and the reality of the viewer. These don’t always have to be the same.
The hardest part of a shoot… On set you have the final word, but there are generally a few people who also want to also have the last word. I would say managing and manipulating these expectations is probably the only ever-changing variable… and the most dangerous.
On the possibilities of commercial projects and art coming together… I think you can rely on commercial projects to support you financially, while perusing more personal aspirations. I also feel the lines between commercial and art photography are more blurred than ever. But when someone is paying for you to be there and has their own set of expectations and requirements, it is important to remember that your ego as an artist has to open to those expectations. It becomes as much about working within parameters as it is about your vision.
On how he wants his photos to be interpreted… Anything more than a swipe or double tap will do.
Eye of the beholder: Misha Taylor
From using photography as a form of activism to capturing some of the world’s most famous people, the work of this South African photographer is gaining traction at home and abroad
Taylor, whose father was also a photographer, has always loved images and the tales that come with them. He believes that more than other mediums, photography offers a wonderful mixture of timing, bravery, and chance; and this all lives in the balance between timing and illusion
On altering reality in post-production… One is already altering reality by taking a photograph. It is important to remember that there isn’t a collective reality in art, just the reality of the artist and the reality of the viewer. These don’t always have to be the same.
The hardest part of a shoot… On set you have the final word, but there are generally a few people who also want to also have the last word. I would say managing and manipulating these expectations is probably the only ever-changing variable… and the most dangerous.
On the possibilities of commercial projects and art coming together… I think you can rely on commercial projects to support you financially, while perusing more personal aspirations. I also feel the lines between commercial and art photography are more blurred than ever. But when someone is paying for you to be there and has their own set of expectations and requirements, it is important to remember that your ego as an artist has to open to those expectations. It becomes as much about working within parameters as it is about your vision.
On how he wants his photos to be interpreted… Anything more than a swipe or double tap will do.
This article is adapted from one originally published in 'Sunday Times The Edit Spring/Summer Holiday '16'. Available to select print subscribers, and all digital subscribers, this magazine is your ultimate seasonal fashion guide. Read 'The Edit' online now.