Moxica
I aim the mic at the neckjoint, a coupla feet away. I so happens that the "mike stand" is attached to a bookshelf (with books in it) so this is my background wall. Just don't use a microphone without obvious quality flaws. I've used a lots of more or less cheap mics with "good" results.: Røde NT2, AKG414, Shure SM57, Shure SM7b, Neumann TLM 102. 
Interestingly, I find that the cheap Chinese Superlux S241/U3 works great in this setting, and is now my favourite.
I'll give you a link, because it is unbelievingly cheap for what it delivers:
h***s://www.thomann.de/gb/superlux_s241.htm

To me, the sound of an internal/bridge mic is one of the most annoying sounds i know. ("Tick-tick-quack")
I have a few high quality acoustic guitars, and I want to hear the guitar, body and all. Not a "string signal"

Those are some great mics. 
Thanks for the heads up on the Superlux.

I have a Taylor guitar and to me, the expression system for recording, doesn't do the guitar justice.  I don't even bother DI'ing it any more.  I use an LDC positioned about 1 foot away from the sound hole but turned to aim it at the 14th fret.  I think it gives a nice balance of body and strings.  Check out my song Up North in my soundcloud profile for an example.

I think using a mic - live - in the room is much better than a pick-up. With any decent mic you should be able to make just about any guitar sound good. Considering you have a Taylor, I'd definitely use a live mic and not the pick-up as you will lose all the great quality of the Taylor. If you want a cool sound, use two mics and place one of them 3 feet further back than the other so you get more air and breathing room. When you are done, you will have to raise the volume up on the mic further away but when you pan them both slightly left and the other right ... it will sound great.

I would start with one mic, 1 foot away from the sound hole but angled away to point at the 12th fret.  With the normal cardioid response on the RODE the boominess of the soundhole is reduced, and you get some brightness from the fretboard without that being overbearing. I'd then do some test recordings in a few different locations in the room to see if there are resonances which are colouring the sound, and then choose to record in the place that gives you the sound closest to what you want.
 
I have generally found that  if you can record decent vocals in a room you should be able to get a decent guitar sound with one mic.  If you have got a truly unusable room for recording with one mic, then I don't think more microphones are going to solve your problems (and they can bring other distracting issues such as phase) in which case you would probably be better off with the internal p/u and try to get a more acoustic sound with EQ and reverb.

Thank you for all the great ideas in this thread.  It's good to talk about music again, not corporate shenanigans...

Sdc for most cases and long takes with lots of different song styles.

For quick attack rhythms I prefer a ribbon or a tube condenser.

I used ldc mikes for years and years. I'm often surprised when I use an ldc and Sdc that the Sdc sound is so much better.

Consider removing guitars not necessary to the performance from the room.

I've tried pretty much every approach to this you could imagine over the years, and here's what I've ended up with:
 
Single good quality large diaphragm condenser, pointed approximately at where the body meets the neck. Warmer tone = point more towardes the body, brighter tone = point more towards the neck.
 
That's it! Never use internal pickup unless I absolutely have to (live recording, for example). OR unless we particularly want the sound of an amplified internal pickup (this happened on a recent production). Have never managed to make an internal pickup sound like a regular acoustic guitar.

AKG 451 and Rode NT1 (not NT1A) close to each other over the soundhole, diaphragms in line with each other and pointing slight outwards towards body and neck. Careful that it's not too boomy, so listen before you start recording and move the mics back if need be. Line out for low-end (low-pass filter applied) in case it's needed. 
Pan the two mics hard left and right.
 
Get the player to play in the booth while YOU wear the headphones and move each mic around to decide on position.
 
Or one mic and one DI left and right.
 
Or another fun way is to mic from the top "Player's perspective).
 
Or you can also do all of the above and two distant room mics and blend them all in to taste, but rather track them to separate tracks for safety as sometime that great idea just sucks the next day :O)
 
NO matter how good an internal pickup system is, normally a decent mic will be better..
 
And NEVER underestimate how much a nice chunk of compression can help an acoustic guitar mix..
 
Others may, of course, disagree with all of the above!

LJB
 
Get the player to play in the booth while YOU wear the headphones and move each mic around to decide on position

That is really good advice.