NCEA Level 2 – 91322
Photography 2012
Examples of Candidate Work
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Excellence
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This portfolio has been verified as clearly within the
Excellence grade range.
‘Surveillance’
The portfolio presents outstanding evidence to meet the criteria consistent with The New Zealand
Curriculum, Learning Media, Ministry of Education, 2007, relating to the following strands in Visual
Arts, Level 7: Understanding the Arts in Context; Developing Practical Knowledge; Developing
Ideas; Communicating and Interpreting.
This submission generates a rich proposition based on the idea of surveillance and voyeurism. The
theme is cleverly introduced at the top of panel one with a range of intriguing options. Small
sequences of images throughout the submission portray mini narratives within the broad theme of
surveillance. The presentation is intelligently executed with a high level of fluency clearly evident. A
range of artists like Thomas Ruff, Uta Barth, Stephen Shore, Anne Noble, Michal Rovner and Megan
Jenkinson could have been used to implicitly inform the student’s own critical and original decisions.
Excellent control of manual camera function is demonstrated by the candidate. The use of a limited
colour palette throughout and the effective use of the grid and framing devices employed on panel
two, critically aid the pictorial proposition developed. The candidate also understands conventions
associated with video and camera surveillance with the high viewpoint, overlaid numbers and the
grainy quality of some images.
The submission is a clever, sophisticated and very well executed example of photographic practice at
level two. Evidence of regeneration of ideas is clearly evident in the series of works presented on
panel two. There is depth of thinking as the work gathers and maintains momentum. Critical decision
making is evident in the sophisticated editing and sequencing of the work throughout.
The final work successfully concludes the narrative but also has the potential to continue, adding to
the intrigue of this submission.
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This portfolio has been verified at the lower end of the
Excellence grade range.
‘Blue’
The portfolio presents convincing evidence to meet the criteria consistent with The New
Zealand Curriculum, Learning Media, Ministry of Education, 2007, relating to the following
strands in Visual Arts, Level 7: Understanding the Arts in Context; Developing Practical
Knowledge; Developing Ideas; Communicating and Interpreting.
The submission successfully combines still life and portraiture as it develops a series of
surrealist like images. It is a fluent body of work and shows sufficient criticality in the selection
of imagery as ideas are regenerated and clarified in the strong conclusion.
The candidate introduces subject matter with a series of convincingly articulated images that
show understanding of photographic processes where light and surface effects are skilfully
captured. Artists like Jerry Uelsmann, Jane Zusters, Jan Groover and Uta Barth could have
contributed to the student’s understanding of picture making conventions and processes.
Fluency is demonstrated in the editing, sizing and placement of images. The blue
monochromatic palette aids and enhances the contemplative nature of the submission. A variety
of viewpoints are presented as compositional ideas areinvestigated. Digital processes are used
to layer and superimpose imagery in a surrealist manner and the use of selective focus that
captures the movement of water is effectively employed. These elements all contribute to the
submission being awarded Excellence. Work continues to develop throughout both panels
culminating in the effective and skilfully manipulated final four images.
For this sample to sit more comfortably within the Excellence grade the candidate could have
edited some of the earlier imagery to allow space to continue to regenerate ideas developed in
the successful final sequence.
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Merit
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This portfolio has been verified at the higher end of the Merit
grade range.
‘Red Ribbon’
The portfolio presents sound evidence to meet the criteria consistent with The New Zealand
Curriculum, Learning Media, Ministry of Education, 2007, relating to the following strands in
Visual Arts, Level 7: Understanding the Arts in Context; Developing Practical Knowledge;
Developing Ideas; Communicating and Interpreting.
An imaginary ‘friend’ is introduced into this narrative submission as an overlaid hand drawn
image. The candidate develops the story through a series of tightly edited sequences over both
panels. Colour is introduced through the flowing shape of the red ribbon. The submission is
very purposeful in its intention as ideas are developed quickly and clearly extended with the
concluding sequence.
The candidate references and understands conventions used by photographers like Duane
Michaels and Wayne Barrar. The hand-drawn figure is layered over the photographs in a
convincing manner through effective use of digital processes. Red paint is also applied over
photos sympathetically. The candidate shows significant technical competency in the way the
camera is used to frame, treat scale and employ a viewpoint that echoes that of a child.
The ordering and sequencing of the series of images in the submission shows confident
decision making. This and the linear sequence on panel one and the series of the red ribbon
connecting to the environment and wrapping around the poles, contribute to the work sitting
near the top of the Merit range. To move into Excellence the candidate could have edited back
earlier work to allow for further regeneration of the final sequence.
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This portfolio has been verified in the middle of the Merit grade
range.
‘Twins’
The portfolio presents sound evidence to meet the criteria consistent with The New Zealand
Curriculum, Learning Media, Ministry of Education, 2007, relating to the following strands in
Visual Arts, Level 7: Understanding the Arts in Context; Developing Practical Knowledge;
Developing Ideas; Communicating and Interpreting.
The submission is a personal exploration on identity that takes a nostalgic approach to being a
twin. The journey focuses on and extends ideas concerning the twins’ similarities and
differences as comparisons are convincingly presented. A collaboration of ideas from artists
like Lorna Simpson and Barbara Kruger’s use of text, colour and composition are employed to
reinforce the message.
Selective colouring and text are used purposefully to reinforce the message. Shifts in thinking
are clearly evident through changes in scale and in the sequencing of ideas. These and the
extension of ideas developed from the models are a clear strength in the work presented.
Photographic conventions like selective colouring, the use of the frame and shifts in scale are
purposefully employed throughout the submission
To move into the Excellence grade the candidate could have regenerated further ideas from the
concluding images in the submission.
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This portfolio has been verified at the lower end of the Merit grade
range.
‘Motocross’
The portfolio presents sound evidence to meet the criteria consistent with The New Zealand
Curriculum, Learning Media, Ministry of Education, 2007, relating to the following strands in
Visual Arts, Level 7: Understanding the Arts in Context; Developing Practical Knowledge;
Developing Ideas; Communicating and Interpreting.
The submission investigates movement and speed through a documentary based on a motocross
event. Ideas have been purposefully selected and ordered to show extension within a narrow
proposition. Shifts in scale, multiple imaging referencing photographers like Anthony Goicolea,
and layering effects all contribute to the purposeful nature of the works. The candidate
explores these pictorial devices to convincingly convey notions of movement, freedom and
speed. The essence of the activity is effectively captured.
The final grid composition that picks up on the David Hockney influenced image introduced in
the first half of panel one, extends ideas and purposefully references a winner’s chequered flag
to bring the submission to a conclusion.
The selective colouring sequence of digitally manipulated compositions on panel one are
particularly effective images. This idea could have been developed and extended further in
panel two to allow the submission to move more securely within the Merit range. A small
sequence could also have been added to support the final image.
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Achieved
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This portfolio has been verified at the higher end of the
Achieved grade range.
‘Wrapped figure’
The portfolio presents sufficient evidence to meet the criteria consistent with The New Zealand
Curriculum, Learning Media, Ministry of Education, 2007, relating to the following strands in
Visual Arts, Level 7: Understanding the Arts in Context; Developing Practical Knowledge;
Developing Ideas; Communicating and Interpreting.
The candidate generates and develops a series of staged figure images that focus on the notion
of entrapment. This idea is emphasised and reinforced in the poses that use gesture and
movement. Artists like Francesca Woodman, Anthony Goicolea and Magritte could have
informed the ideas presented.
The conventions employed and level of understanding demonstrated, place this submission
near the top of the Achieved range. The sequences of images are systematically presented as
ideas and conventions grow across both panels. Understanding of the camera is evident in the
use of focus and shutter speed throughout the submission.
To move this portfolio into the Merit grade the candidate could have extended the range of
compositional ideas more purposefully and explored some of the subject matter (like the spider
webs) in more depth. Some resizing, providing more convincing links between the sequences,
and the editing of images, especially on panel one, could also have contributed to a more
purposeful submission.
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This portfolio has been verified in the middle of the Achieved
grade range.
‘Weatherboards’
The portfolio presents sufficient evidence to meet the criteria consistent with The New Zealand
Curriculum, Learning Media, Ministry of Education, 2007, relating to the following strands in
Visual Arts, Level 7: Understanding the Arts in Context; Developing Practical Knowledge;
Developing Ideas; Communicating and Interpreting.
A formal investigation of a demolition yard is introduced on panel one and developed
systematically throughout the submission by successfully framing and cropping imagery.
Colour, line, shape and surface texture are investigated as space is flattened. The final three
images consequently become semi abstracted as the ideas generated earlier are developed and
re-contextualised. This sequence shows understanding of the formal qualities of picture
making.
The candidate has shown understanding by recognising successful images through appropriate
sizing and systematically building on earlier ideas. Throughout the submission, the camera is
used as a drawing tool to frame and develop images. Artists like Sean Scully, Aaron Siskind
and Edward Weston could have influenced the candidate’s own decision making.
For the candidate’s portfolio to move into the Merit grade range, ideas investigated in the final
three works could have been extended with further investigation into formal picture making
conventions. This would have required some editing and resizing of earlier sequences.
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This portfolio has been verified at the lower end of the
Achieved grade range.
‘Forest Journey’
The portfolio presents sufficient evidence to meet the criteria consistent with The New Zealand
Curriculum, Learning Media, Ministry of Education, 2007, relating to the following strands in
Visual Arts, Level 7: Understanding the Arts in Context; Developing Practical Knowledge;
Developing Ideas; Communicating and Interpreting.
The submission systematically documents the idea of a journey through selected landscape
images. It begins with a sound proposition that indicates a sense of place. A triptych format is
introduced at the bottom of panel one and this is developed on panel two. Artists like Ans
Westra, Mark Adams, David Hilliard and Natalie Robinson have been used to influence the
student’s decision making.
Photographs demonstrate sound control of the camera with effective compositions and a variety
of viewpoints.
The submission could have moved further up the Achieved range by presenting more images
especially on panel two. Providing more convincing links between the urban and natural
landscape and resizing images to define key ideas would also have enhanced the submission.
The triptych format could also have been developed further.
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