Tim Flach & Karl Taylor Photography Workshop: A Visual Journey
World-renowned animal and fine art photographer Tim Flach will be joining Karl Taylor for his first ever photography workshop in Europe, where they will be exploring the science behind our visual system and revealing how, by understanding and applying these concepts, you can take your photography to a whole new level.
This exclusive four-day workshop, hosted from 12th to 15th March 2019 at Taylor’s state of the art studio in the picturesque island of Guernsey, will feature a powerful combination of theory, practical and Photoshop sessions that will change the way you see (quite literally).
Guests will have an opportunity to observe or participate in four different photo shoots as well as follow along with interactive retouching demonstrations, working on images captured throughout the workshop. In addition, Flach, author of five best-selling books, will share valuable insight into how to publish your work, whether it be in the form of a printed book or exhibition.
Flach will undertake an equine and alternative animal shoot as well as (for the first time) reveal his post-production techniques on some of his most iconic images. Taylor will also take participants through two advertising style product shoots and a beauty shoot where he will employ his exquisite control of light. Following Taylor will also reveal his best practise techniques for retouching.
The workshop will culminate on day four with portfolio reviews, a truly unique and valuable opportunity for any photographer. Flach and Taylor will both provide professional feedback on guests’ images, offering constructive advice and useful tips.
Flach and Taylor are both industry leaders in their respective genres and are renowned for their ability to seamlessly combine light and color in the most aesthetically pleasing ways. Although they work with vastly different subjects, there is one particular technique they both employ in all of their images: the science of human visual perception.
The human eye consists of cone cells and rod cells, but our vision works through what you might call ‘two visual systems’, each with its own characteristics of perception. With the ability to differentiate between approximately 10 million different colors our eyes react very differently to each of them, depending on factors such as contrast, luminosity and opposing hues. The science behind this has led Flach, and more recently Taylor, to create images that apply this knowledge and thus deliver more impactful and engaging imagery.
Upon initial inspection, one may be forgiven for thinking the sun in Monet’s Impression: Sunrise is the brightest part of the image. However, in reality it is no brighter than the surrounding sky. Similarly, one might say the breaking wave in Aivazovsky’s Ninth Wave is brighter where the light shines through the water compared to the white breaker. Again, this is not the case.
The image below is another example of how our brains make predictions and assumptions rather than processing the visual reality. In the first image the top square looks far darker than the lower one. However, when we remove the surrounding area the two blocks are actually the exact same. So why is it that we perceive these differences?
In order to fully understand how we perceive color, it is necessary that we understand the science behind the human visual system. Flach and Taylor will be exploring examples such as this, examining famous photographers and artists work, breaking them down to understand why they are so effective.
They will then be applying these various concepts to their practical demonstrations throughout the course of the workshop, providing clear and relatable examples of why understanding human visual perception is imperative to their own photography.
The above images demonstrate color adaptation. Although the two circles are the exact same in both pictures, the top circle in the left picture appears less yellow than the bottom circle. The cells that are sensitive to colour become excited and fatigued, slightly suppressing the visual spectrum you’ve been staring at and thus enhancing the opposing (complementary) colour. In this case blue versus yellow.
For the photographer this means complimentary colours are especially dynamic as they play off of one another’s intensity as demonstrated in Karl’s exploding paint image as seen earlier in this post. Your eye wants to see that explosive pop of orange against the deep blue since they simultaneously stimulate different parts of the eye.
In addition colours with equal luminosity values can enhance three-dimensionality and Flach and Taylor also use this and other depth perception techniques to enhance their imagery, making it feel more hyper-realistic but without the need for unnatural post processing effects.
The above illusion, also known as the Lilac Chaser, is a well known illusion. The moving gap we see is caused by perceived motion, caused by a succession of still images. This is known as phi phenomenon. The moving gap is then replaced by a green disk due to the science of complimentary colors. When the retina is stimulated with a certain color, the cones of the eye react to a loss of stimulus by activating the complimentary color. In this case, the disappearance of the magenta disk means our eye replace that space with the opposite color - in this case green, despite there not actually being any green present in the image. The disappearance of the magenta disks, which occurs when you focus on the centre target, is due to the low contrast of the image - because there is nothing to stimulate the eye, the magenta disks appear to disappear but the green remains. This is known as Troxler's fading.
Once we understand how and why we perceive particular colors, contrast and luminosity values it allows us to take our image creation a huge step further. This, essentially, is the difference between taking or making a photo.
With limited spaces available, the workshop guarantees the highest calibre of tuition and exclusive opportunities to watch and learn first-hand from two of the industry’s leaders. The workshop will be limited to just 16 places, with the first 10 early bird bookings available for £3875, (with spaces thereafter priced at £4260) To avoid disappointment, secure your booking here.
- Venue: Karl Taylor’s 4000 sq ft fully equipped studio located in the beautiful island of Guernsey
- Horse and alternative animal photo shoot with world-renowned photographer Tim Flach
- Product, Advertising and Beauty shoots with lighting expert Karl Taylor
- Post production techniques with Tim Flach and Karl Taylor
- Complex theoretical ideas explained clearly
- Practical and theory demonstrations on lighting
- Portfolio reviews
- Social and networking opportunities
- Publishing and fine art exhibiting explained by Tim Flach
- Hotel accommodation with breakfast and lunch included
- One evening dinner with Tim Flach and Karl Taylor and team