of photography, shot The Guinea Pig (US, The Outsider, 1948), Seven Days to Noon (1950) and High Treason (1951). From this point, Taylor began to use bounced and reflected light gaining a more naturalistic look, whereas the use of direct light was still the common practice by his contemporaries. Because it was necessary for London to look unpopulated in Seven Days to Noon, the first of three "end of the world films" Taylor worked on, it was necessary for him to arise at five-o-clock in the morning during a seven-week shoot. Kubrick, Lester and Polanski Taylor worked on a number of films commended for their black and white photography, such as Stanley Kubrick's Dr. Strangelove and Richard Lester's A Hard Day's Night (both 1964). Taylor, without Kubrick who was unwilling to fly in an aircraft, filmed material in the Arctic to be used as background plates in the flying sequences. He commented later: "Strangelove was at the time a unique experience because the lighting was to be incorporated in the sets, with little or no other light used". Concerning the war room set designed by Ken Adam: "Lighting that set was sheer magic, and I don’t quite know how I got away with it all". He continued: "Much of it was the same formula based on the overheads as fill and blasting in the key on faces from the side". Although Kubrick and Taylor had a rapport, he found the director to be autocratic. An easier project to work on was the Richard Lester film with The Beatles which was heavily improvised. With Lester, Chris Pizzello wrote in 2003, Taylor "adopted a roving, multiple-camera technique (aided by new, versatile 10:1 zoom lenses) so that the Beatles could move about freely and not worry about technicalities like hitting marks. This fast, fresh brand of filmmaking was a perfect fit for the film’s tiny budget, tight schedule and simple black-and-white aesthetic". Taylor and five other operators on the film used hand-held Arriflex cameras. "The key is not to hold the camera completely still", he once commented "but to let it 'breathe' with you, to move with it". His work on Dr Strangelove led Roman Polanski to seek Taylor for Repulsion (1965). In committing to the Polish director's first English-language film, Taylor rejected the opportunity to work on a Bond film (Thunderball) because he thought Polanski "was a very interesting guy". According to