NCEA Level 2 – 91322
Photography 2013
Examples of Candidate Work
This portfolio s in this document offer evidence to meet the criteria
consistent with The New Zealand Curriculum, Learning Media, Ministry of
education, 2007. Criteria relate to the following strands in Visual Arts, Level
7: Understanding the Arts in Context; Developing Practical Knowledge;
Developing Ideas; Communicating and Interpreting.
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Excellence
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This portfolio has been verified verified in the middle of the
Excellence grade range.
‘Anzac Girl’
This submission investigates ideas of family history, identity and related historical events that are
introduced with landscape and architectural settings on panel one and move into still life and
personal memorabilia. While the investigation is a very personal one, the candidate uses iconic New
Zealand imagery such as the shed, Swanndri, poppy and war medals to communicate ideas, enhance
meaning and assist with pictorial concerns. These allow the candidate to clearly explore ideas in
depth. The use of a vignette technique has been employed to emphasise specific subject matter and
create an aesthetic that demonstrates criticality.
Sequences of work are successfully linked and contribute to a fluent, sensitive and clearly articulated
submission. Images transition back and forth from digital manipulation to more formal photographic
conventions in an entirely appropriate manner. Variations in scale, depth of field, a variety of
viewpoints and the use of montage all contribute to the success of the submission.
Models like Natalie Robertson, Robert Frank, John Stezaker, Kenneth Josephson, David Hilliard and
Eadweard Muybridge could have been used to inform the student’s decisions.
The theme of the submission is highly appropriate and innovative. The candidate has used familiar
material related to personal heritage to intelligently develop ideas. There is a consistent and fluent
control of photographic conventions throughout both panels.
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Merit
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This portfolio has been verified at the higher end of the Merit
grade range.
The submission explores the relationship between people and the environment. Panel one
introduces formal studio portrait studies in black and white that includes frontal and profile
views and overlays that are developed with the addition of projections onto the figure. These
images are then re-contextualised on the second panel with the introduction of natural forms
and the glass beakers that suggest precipitation. The candidate successfully merges figure and
nature through collage and blended imagery in the sequences on this panel. The intention is
clear as colour and different compositional formats are explored. The drowning effect in the
final sequence appropriately completes the submission with a clear extension of ideas.
Models like Dan Mountford and Sarah Byrne have influenced the candidate’s development.
Studio portraiture, digital projections, overlays, collage and transparency have also been used
to enhance and inform decision-making.
To move into the Excellence grade range, more critical decision making and editing, a greater
range of ‘drawing in’ ideas on panel one and further attention to exposure techniques could
have provided opportunities for the regeneration of ideas and degree of fluency required.
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This portfolio has been verified at the lower end of the Merit grade
range.
‘Pink Flowers’
This submission investigates the relationship between garden furniture and flowers. Early on
board one the formal qualities of picture making are established in a purposeful manner with
pattern making and a limited colour palette. The sequencing and sizing of images allows ideas
to show sufficient extension based on the narrow proposition established at the beginning of the
submission.
Formal pictorial concerns in the body of work on panel one are investigated with camera
viewpoints, texture, limited colour, depth of field, framing, mirror reflection and the
juxtaposition of blur and crisp sequenced imagery. The editing and sizing of work on this panel
allows the work on panel two to demonstrate sufficient generation, development and extension
of ideas.
The circular table, wood textures, pattern and flowers are developed in board two through
digital processes such as montage, double exposed layers and overlays, to explore a flattened
pictorial space. The portfolio references artist models such as Gavin Hipkins, David Hilliard’s
use of the triptych and Uta Barth’s investigations into shallow depth of field.
To sit more comfortably in the Merit range, the candidate could have resized and edited further
the works on panel two to allow for a more purposeful series of images to complete the
submission.
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Achieved
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This portfolio has been verified at the higher end of the
Achieved grade range.
‘Stencils’
The submission begins with an exploration of man-made structures that focus on shape and
repetition. The use of framing and a series of close ups identifies interior and exterior
juxtapositions. Possibilities for exploration into light, shade and cast shadow are introduced.
These are explored further on panel two as organic forms are introduced.
The submission begins systematically using line as a pictorial concern before introducing shape
and reflection. Smaller works on panel one help inform the larger images on panel two. The
candidate could have been informed by the work of Harvey Benge’s close-up geometrical
shapes, Neil Pardington’s use of the grid, repetition and line, and possibly Jasper Johns.
The submission’s strength is in its formal study of contrasting elements like positive/negative
shifts, interior/exterior viewpoints and man-made/organic subjects. Viewpoint, focus and depth
of field also contribute to the degree of understanding of photographic conventions for a formal
study of this nature.
To move into the Merit grade range, the candidate could have explored in more depth the use of
framing and viewpoint as a compositional device. A greater range of subject matter and further
editing and sizing on panel two to allow for further exploration into volume, light and
reflection could have created opportunities to show extension.
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This portfolio has been verified at the lower end of the Achieved
grade range.
‘Trucks’
The candidate has documented the day in the life of a truck that includes the road that it travels
on in a systematic sequence of imagery. A narrow proposition is generated on panel one with a
combination of logos, road views and the truck in context. Light plays a key role in the
documentation of the individual works and assists in linking these to form a related series.
Panel two develops ideas with the use of framing, reflection, multiplicity, and depictions of
light that allude to notions of time and distance. Sizing and formatting of images is consistent
throughout this panel and while this assists readability, it also restricts possible development.
In spite of a limited number of images presented, the candidate has made sound decisions with
editing and sequencing. Pictorial issues associated with reflection, repetition and framing are
explored with sufficient understanding. Shifts in viewpoints with the camera used as a drawing
tool, are consistent with traditional documentary photography. Light, colour and tone are
articulated consistently throughout the submission. A basic understanding of camera settings
and compositional devices are demonstrated throughout.
Further consideration to layout, sizing and conventions like depth of field, variations of shutter
speed along with a deeper investigation of subject matter could have moved the submission
more securely into the grade range.
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