For the Magnani's responses I have done so far, I think that they are similar style wise as opposed the composition. The photographs I have taken so far have been more experimental; taking photographs in an indoor environment and looking at the different shapes and textures created by the background. I like how the angles and lines created by the flooring or by the lighting is then shown within the photographs,  

For further development and responses, I will think more about the angles and placement of the mirror - capturing more elements with interesting features/aspects. For what I've done I think that editing and enhancing the image also needs to be worked on; by increasing the contrast and experimenting with the tint/warmth of the images - also brightening the image so that the contrast would be more visible. 

Continue to explore more compositions with changing the angles or location. 

What I liked about the responses so far is how experimental each piece is, looking at different ways to include frames within picture frames to Polaroids. Personally, I enjoy recreating pieces with the Polaroid film and focusing them on new areas which are familiar to where it was originally taken. I also like introducing colours on to black and white photographs - providing certain areas to reveal colour, however, I feel that it's quite a simple concept and is something that can be easily done but if done correctly it will be pieces which will look high standard. 

I would experiment more with the composition and instead of capturing areas with/without colour I will go more towards mixing and matching various photographs in familiar places. I should think more about each placement and how I should edit the photographs to make them more like her style - they're quite mundane/less saturated photographs. 

I will focus less on colour and more on the various locations where each photograph will be next taken. I will travel to newer areas and experiment more with the placement of the picture frames and Polaroids. I will also try printing photographs and matching them similar to how I recreated them with the film. 

Her works are more traditional/ taken physically but I will explore creating responses digitally by slicing images together or layering them on top for them to match - similar to John Stezaker's works. Although, it may not have the same effects as if it were created physically. 

Recreating pieces similar to Lynette Jackson turned out extremely well, especially the tradition hand rendered collages as it felt more organic and truer to her style. What I liked were the varied textures and deep vibrant colours that each pieces have, stacking and overlaying different coloured paper to give the illusion that the colours overlapped and blended to create another colour. For my final traditional piece, I think that was the most successful as it incorporates the textures from the different papers alongside the recreation of the vignette filter, which I used soft charcoal blended against the edges of the background. Cutting out various shapes and lines going into different 90 degree directions. I find that incorporating multiple buildings into the college worked out much better than using only 1 image as there is more details and aspects. 

I like how the traditional pieces are presented as the uneven and textured feel makes it completed and more organic, the jagged lines and the smaller shapes cluster of cut out pieces placed in a way which works well from the unevenness. 

However, I would experiment more with layering more textures or semi-transparent paper/coloured film to have elements of something that were to be edited digitally. I find that cutting out small shapes to keep straight lines were to be a challenge but should take more time to neaten them. I should increase more of the contrast in the photographs as most of them were quite dull or flat making them not feel as full or complete.  

For the digital pieces, I experimented quite a bit with the composition and placement styles of the photograph. Combining elements of overlaying shapes with the actual image. The quality and stylistic choices worked out very well, I like the how the lines run across the image matching with the elements within the photograph; from the diagonal roof or to the angles windows. The responses I have created I think are very successful with how polished the pieces are, there are much more elements and finer details where I can't include in a tradition piece. I personally, love the use of overlaying blocked colour halfway on the image, as it gives the feel that its two different worlds. 

Although, I would experiment a little more with textures - including some of the colour blocked shapes to have texture similar to the tradition pieces. Also expanding the range of colours used as I mainly focused on the same red and yellow rather than having different tones. Trying to incorporate textures proved to be a challenge as I didn't want the image to lose its vibrancy or become darkened due to the textured layers. 

Responding to my previous evaluation, I made edited/enhanced the photographs to be brighter and increase the contrast to create more depth. Utilising the heal tool and brush tool to remove any major imperfections; it was difficult to accurately and smoothly remove all of the smaller scratches and marks.  

The responses for Sebastian Magnani turned out extremely successful. Considering the difficulties in focusing on both foreground and background, the final pieces are much better than I anticipated. The deep contrast of assets and textures within each of the pieces give them personality and character. What I liked was the whole process and experimentations of angles and composition, I found that it was quite calming taking in the different environments; becoming more aware of the surroundings and finding interesting locations even if they're were in awkward positions. There is something interesting about leaving the reflections blurred /not in focus as you're still able to visualise what the subjects view is.  

Experimenting further with the angles and placement of the photographs; placing the mirror on bushes/trees or angling them in a way to present a different reflection/ interesting view of the mirror. I mainly kept the settings the same or adjusted the ISO to 200-800 depending on the location - if it were under a tree or out in the open. Trying to keep the ISO at a consistent level at 400. The shutter speed was kept at a slower pace, which I think wasn't ideal for how I was photographing - not using a tripod. 

For quite a few of my raw images, some didn't have a reflection as I focused purely on capturing the background. I loved how some of them turned out, however, I wanted to keep this project away from slicing two different photographs together to create a fake reflection; my intentions are to keep my outcomes traditional/physical. 

I originally thought that it would be difficult in finding locations and producing a variety of photographs as most plants were withering away - the best time would be spring or summer as there would be a plethora of wildflowers. However, the autumn season worked just as well, producing success pieces; during the later shoots there were more foliage and fallen leaves on the ground which created various textures and more contrast/depth as they were piled collectively to create shadows/tones. Alongside were random lots of sticks/branches breaking down the bunched leaves. 

Mainly focusing on physical/hand taken photographs rather than combining two photographs together to create the mirrored look. I wanted to understand the process and time it takes in creating traditional pieces. There were difficulties with mirror itself, as it was an acrylic mirror there were parts which were deeply scratched or had a foggy texture which couldn't be cleared - next time I would use a glass mirror in a slightly larger size. I would also consider using a tripod to have a more exact focus on the images, as I originally hovered over the mirror which did cause some of the photographs to be of centred or blurry on the contact sheets. Using a bigger mirror would make it so that I am able to capture more of the subjects behind and within the reflection with a reduced number of imperfections against the mirror. 

My responses for Severino Canepa turned out extremely successful; creating a variety of responses with 3 final pieces which I think best reflect his works. Originally, I thought that the process would take quite long, but once I found the flow, I was able to create a couple responses per day (3 - 4). Alongside using a variety of colour palettes and gradients for the different shapes and linework which surrounds the piece. I have met my goals for this artist, completing a series of responses created through photoshop. 

What I liked about my final pieces were the arrangement of colours and the different shapes places subtly in the background. 

Using the photographs taken from Trafford centre I edited them in bridge to black and white, upping the contrast and brightness + changing the highlights, blacks and whites. I took them during the afternoon/midday, where the sun was slightly setting and was the brightest with golden hour. It definitely shows within my work the lighting and shadows on the statues faces which make the piece feel more alive rather than flat. 

I only did one shoot for this artist as I wanted to get all the pictures at once, so I went to Trafford Centre as there were a good variety in a reasonable distance. Some statues were quite far to take a clear shot and positioned in poor lighting, however, the pictures I did take were good enough to be converted to black and white + edited. I was originally going to visit art galleries for more photographs of statues; however, I wasn't sure If I was allowed to bring a camera or even take pictures especially in a dark setting (I would have to use flash). I also considered taking photographs of the large statues in Piccadilly Gardens, but the faces would've been unclear or out of reach. The lighter statues worked the best I think as the facial features and textures were more visible in a dark background style like Canepa's. 

For some of my pieces, I think that I could've experimented further by adding more layering of the statue to make it more cluttered/crowded similar to his style. Possibly changing the types of shapes present in both the background and main sections of the statue. Additionally, introducing more font types so that each piece is unique and different rather than continuing having only 1 set font - but I think that having the same font makes the piece feel more organised in a sense that they match. 

For my first shoot, the photographs turned out quite dark due to poor lighting (not enough). I used a tripod and used a self-timer + remote to be able to take photographs of myself, however, it was difficult to see what I was shooting along with trying to find the right angle. 

My second shoot was taken in college during my photography lesson, where I took photographs directly under the corridor light. This significantly worked better as there were more direct light shining through the face without creating too much of a shadow on the outside. I think that the ceiling lights work much better than using concentrated light, without using a tripod I was able to angle the camera more freely than it being stuck in one narrowed location. 

Additionally, I experimented using textures and liquids to overlay on glass to create a similar style of Nick Fancher but in BONNINSTUDIO's layout/composition. Wanting to incorporate a horror type style/feel by using blurred effects or slight distortion to the face.  

For my next shoots, I will look more into lighting and different facial expressions rather than just looking at the eye. 

My responses to Ioana Burtea's have been quite successful with certain photographs. I enjoyed the process of visiting new locations and cities to mix & match photographs. 

The photoshoot I took in Salford Quays + Media City where I think the best overall. The scenery worked quite well considering it wasn't taken in a rural area - the photographs with the body of water capturing some sort of bridge or subject looked to be nice with the picture frame. 

I did experiment with types of effects and filters within the frame original to Burtea's works, though I think that changing the saturation and vibrancy looked visually better. It's capturing a joyous view in a mundane world - you could say that it is like reminiscing on past memories or significant places and remembering view in colour. 

However, If I were to travel to locations which are similar to Burtea's setting I think it would have worked much better than taking photographs in a busy city. The process was quite simple, though trying to take photographs without people in the shot was inevitable in cities like Manchester. Visiting places such as country sides or fields with interesting landmarks would create a better collection as a response. 

For this artist, I decided to look at more technical photographers. Xavier Portela incorporates colours into his long exposure pieces. 

My first shoot, I experimented with locations and lighting. I walked around various locations and China Town stood out the most, as it has much more lighting from lanterns, signs, and banners. I wanted to incorporate different coloured lighting to have a bases of the colour scheme for the final edited piece - didn't want to entirely rely on editing the colour of each light. 

With the editing, I mainly experimented with colour palettes and the saturation, hue, and temperature/tint of the piece; alongside enhancing the contrast and brightness. 

My first shoot didn't turn out as well as I expected, as my camera lens or couldn't capture the full building and the distance from taking the shoots were quite close. The next photoshoots I will use a much wider camera lens and further experiment with long exposure trail lights from cars. It did take quite some time to take the right photographs as on the main roads, especially at night were incredibly packed. 

This is my second attempt at redoing BONNINSTUDIO as I have previously worked within their style, however, I think that there was so much that I could've done to improve. I think my responses for BONNINSTUDIO have been quite successful as I was able to recreate photographs in their style. Focusing on photographing facial features which are framed by triangular shapes. I think that I accurately was able to work within a similar setting, in terms of same subject matter and overall view. I would say that the feel and emotions are still to be improved on, but the composition and experimentation of these pieces worked quite well. 

The first half of this project, I directed my focuses into accurately trying in their style. Using cut out card/paper to have a triangular view to be as a viewing window. I focused on incorporating the subject's skin texture and detail within the iris/pupil when photographing their eye. However, I didn't want all my images to be just on one area, so I tested with other body parts and facial features such as; the nose, ears, mouth and hands. Additionally, I experimented with incorporating hand positions into some of the pieces, combining both facial elements with hands covering certain parts. 

Because BONNINSTUDIO's images are quite similar to horror type posters with their expressions and widened eyes, I tried to simulate that into my work. Making more shocked and exaggerated faces and moving the eyes to look into a certain direction. I think that the challenging part was to have a variety of different photographs of different parts of the body. There was only so much that I could photograph so that the image wouldn't just be a view of skin.  

With the second half of this artist, I introduced Nick Fancher and his eerie and distorted type photography. Because their visual moods and subject focus is quite similar, I incorporated that element into this work. I took photographs but instead of using paper of cut out shapes, I used a glass panel (taken from a picture frame). Experimenting with different liquids to see which results worked best. I landed on 2 main sources, hand sanitizer and hair gel as they both have different properties and created different textures/ distortions. 

I personally love the outcomes for the experimentation pieces, they're much clearer and crisp compared to my first pictures I have taken. I also like the incorporation of the outer unseen parts which have been distorted/blurred. I find that the hand sanitizer makes the glass have this water like effect; as it created ripples as it dried quickly. Compared to the hair gel which had a much firm texture it created nice spikey effects. Although, trying to create straight edges/lines on the glass did prove to be a challenge. I would occasionally smudge some of the gel or add fingerprint onto the glass. 

With the set up, I approached it different ways. I first used a tripod and natural lighting, however, that didn't work as well as I would have hoped. The images turned quite flat or too much light in one area. I originally placed the light behind the piece of paper, but I didn't like the look of the shadows. The tripod also made it difficult in quickly adjusting the angle and would limit the number of shadows. The lighting was also an issue as I used a handheld light behind the paper. Further along into the project, I changed the set up and instead free handed the photographs (not using a tripod), but still used the handheld light but concentrated it in front of the window. I did have to have help in holding the light at different angles to create a softer or shaper shadow at different angles. 

However, I could've improved on the lighting situation and having a variety of people. I mainly focused on taking photographs of my family members and 2 other people which limited the chance of having different facial structures and texture. Maybe include colour or muted shades of the original colour to create a more eerie and spookier type feel.  

I would also like to have more exaggerated hand movements within the glass photographs, like having the palms of the hands press against the glass to create this nightmare horror effect. 

I first started taking photographs for Maik Lipp's responses, I think that they turned out quite will. With the editing process, I cropped the image to a 1x1 square and placed it on corners of buildings/edges. Focusing on the different structures and textures of buildings. I did have to wait until there were days which wasn't cloudy and took all my photographs during the bank holiday Monday; taking as many pictures as I can to make the most of the day. I further enhanced the photograph by changing the colour values of each tone - with the reds, oranges, yellows lowered the saturation and with the blues I upped the brightness and saturation (also slightly adjusting the temperature). 

Some of my photographs I've edited didn't turn as well as I expected, as some parts of the image had colour bleeding or were too blurry due to cropping it too closely (zoomed in). I tried to gather different views and take a variety of photographs within Manchester city centre, focusing on mainly modern architecture. 

Comparing my work to his, I think that I closely matched his style, but I could've taken more photograph of build textures/ designs. 

My film responses for Lewis Baltz I think turn out well - was successful. I spent quite some time trying to find locations and waiting for the weather to clear up. The dark room process didn't take as long as I had some previous experience from my previous years' work. 

Comparing Baltz's work to mine, I think that there are many improvements could've done which include the type of composition and subject I'm photographing. I did waste some film slots (10) taking photographs of buildings for Maik Lipp's responses, which I don't think would have worked due to the film camera not being able to zoom in and cropping the image would lose detail and make the photograph blurry. If I were to continue/started this earlier, I would do another photoshoot with the film camera to capture different walls/entrances in newer locations. Or places which match his locations. 

My digital and traditional responses turned out well. I did come across some issues in blending the two vastly different images together and tried to make it work well. I used old photographs my parents and their childhood and recreating them into a collage type image - scanning each different photographs which I thought would have worked well. I focused on having images which have large objects or surfaces which could be replaced with another image; also incorporating silhouettes of people.

Editing the images to in black and white and slightly lowering the saturation of the backdrop to match. However, I did have to add a colour overlay/filter to make the colour more muted and coherent with the base image.

The comparison between my work and his is quite different in a sense that the overlaying images are not of landscapes/sceneries but are old photographs of flowers. For my traditional responses, I overlaid images from postcards and physical film photographs.

My improvements would be to create more high-quality responses and experimenting with more photographs instead of using the same or similar photographs. Thinking more about the paring of photographs and also the use of colours - I mainly focused on the various shapes and silhouettes rather than the types of colours used. Time management was also an issue as I had left this work until the very end giving me little time to experiment more with the types of scenery.

I know what works well, as close shots of objects to be placed behind the image doesn't work as well as using landscapes as it gives a more expressive and window like feel.

Additional Photographs taken.