THIS UNIT IS ASSESSED USING A STANDARD THAT
EXPIRE AT THE END OF 2012
Framing the Figure within Interior/Exterior
Level 2: Unit Standard 9050: Demonstrate basic black and white photography procedures and
processes
6 credits – internally assessed.
Overall duration: 30–40 hours
This unit uses the Digital Handboek: Ans Westra Photographs, Visible Evidence available through
Learning Media, Item 30882 . To order this resource contact:
Ministry of Education Publications Customer Services
Phone: 0800 800 565 Fax: 0800 800 570
Email: orders@learningmedia.co.nz
Overview
This unit of work is an introduction to basic black and white photography including film exposure,
film processing, black and white print processing, and compositional considerations. It may be used as
an introduction to photography as a stand-alone unit, or as the foundation for a year-long programme
used in conjunction with further unit or achievement standards such as US9055 or AS90471 (2.1) and
AS90477 (2.2).
The teaching and learning sequence has been outlined as a series of five tasks with additional teaching
resources where appropriate. It is anticipated that this unit will be adapted to meet the specific needs
and prior knowledge of the student, including any additional technical information and resources
needed.
Students will complete five tasks within the unit.
Additional resources included with this unit:
Technical teaching sequence: method for introducing the Single Lens Reflex (SLR) camera and,
basic black and white photography, exposure and print processing.
Photographic genre exercise beginning of year activity or starter activity for any unit of work,
introducing students to variety and purpose of photographic genre.
References
Beiringer, Luit., McDonald, Lawrence., Turner, John.,etal. (2004). Handboek: Ans Westra
photographs .Wellington: Blair Wakefield Exhibitions.
Freeman, Michael. (1985). The 35mm handbook. New York: Watson-Guptill Publications Inc.
Kobre, K., Upton, J., London, B., Brill, B. Photography, Seventh Edition (2001). New Jersey: Prentice
Hall.
Ans Westra, DVD Visible Evidence.
Accessed from TKI | The Arts-Nga Toi | Ans Westra teacher & student resources |
http://www.tki.org.nz/r/arts/visarts/ans-westra/
Copyright Ministry of Education New Zealand
THIS UNIT IS ASSESSED USING A STANDARD THAT
EXPIRE AT THE END OF 2012
Curriculum links
This unit is based on the following Level 7 achievement objectives from The Arts in the New Zealand
Curriculum (page 80):
Strand PK – Developing Practical Knowledge in the Visual Arts
Students will apply knowledge of elements and principles to solve particular art-making problems,
using selected conventions.
Students will extend skills with techniques, tools, and materials in photography using appropriate
processes and procedures.
Strand DI – Developing Ideas in the Visual Arts
Students will generate, analyse, and clarify ideas in a body of work in response to two-dimensional,
three-dimensional, and design problems.
Students will use a systematic approach to develop ideas in a body of work.
Strand CI – Communicating and interpreting in the Visual Arts
Students will research and analyse how art works are organised and presented to communicate
meaning.
Students will investigate and analyse how electronic media can modify ideas.
Students will use critical analysis to inform, interpret, and respond to art works.
Strand UC – Understanding the Visual Arts in Context
Students will research how evolving technologies have influenced the development of art-making
techniques and practices in past and present contexts.
Students will investigate how social and cultural contexts affect the nature and production of art
works.
Intended learning outcomes
Students will:





develop an understanding of a range of photographic genres (CI, UC)
investigate the particular genre of documentary photography and its traditions (CI, UC)
identify and analyse the basic compositional conventions employed by Ans Westra (PK, DI)
apply basic compositional conventions such as framing, viewpoint in producing 2 films and
contact sheets (PK, DI)
present evidence of a practical investigation to show understanding of basic film exposure,
composition and processing; and demonstrate basic black and white photographic printing
procedures. (PK)
Accessed from TKI | The Arts-Nga Toi | Ans Westra teacher & student resources |
http://www.tki.org.nz/r/arts/visarts/ans-westra/
Copyright Ministry of Education New Zealand
THIS UNIT IS ASSESSED USING A STANDARD THAT
EXPIRE AT THE END OF 2012
Framing the Figure within Interior/Exterior
Level 2: Unit Standard 9050: Demonstrate basic black and white photography
procedures and processes
Tasks 1 and 2
Understanding genres
These tasks involve students participating in a whole class activity, which provides a foundation of
analytical language. These tasks also introduce students to the many photographic genres; their
varied contexts, purposes, values and messages communicated. See Photographic genre exercise
(attached).
Time: 2 hours
Compositional analysis of selected images
a) Students will be provided with a list of analysis vocabulary and definitions. See Documentary
photography analysis sheet (attached).
Class to analyse the selected image (Lambton Quay, Wellington, 1974) and students will record their
individual responses and class discussion in their workbooks as a framework for further individual
analysis (task b). See Compositional analysis examples (attached).
b) Students will then be provided with 3 images to analyse individually. See Compositional analysis
examples (attached).
Images for student analysis may include:





Fairground, Agricultural and Pastoral Show, Carterton, 1975
The Purple Onion, Vivian Street, Wellington, 1974
Ringatu hui, Wainui, near Whakatane 1964, Ratana Pa 1971
Jerusalem Post Office, Hiruharama (Jerusalem, Whanganui River, 1963)
Te-Waiherehere, Koriniti, Whanganui River, 1961.
Questions to be explored:
1. Where is the figure placed within the frame?
2. Identify any diagonal, horizontal, vertical lines within the environment that have been used to
frame the figure?
3. What is the focal point of the image or is there more than one?
4. What angle has the photograph been taken from?
Accessed from TKI | The Arts-Nga Toi | Ans Westra teacher & student resources |
http://www.tki.org.nz/r/arts/visarts/ans-westra/
Copyright Ministry of Education New Zealand
THIS UNIT IS ASSESSED USING A STANDARD THAT
EXPIRE AT THE END OF 2012
Task 3
As a class, summarise key compositional conventions that could be explored in practical tasks.
Students could explore composition within their own photographs by photographing a group of people
within an environment where figures are placed in the foreground, mid-ground, and background.
Emphasis to be placed on how the figure is framed in relation to the surrounding interior/exterior
structures. The students are to use background internal or external building structures to frame the
figure and the diagonal as a pictorial device for leading the eye through the image.
Due to the practical nature of the technical component to this unit, students may complete task two or
one concurrently or in reverse order. This will allow for students to be divided or broken into smaller
groups for ease of management. Students will need to have an understanding of the following.
Additional learning opportunities or resources maybe required depending on the prior knowledge of
students. See Technical teaching sequence (attached).
Camera






Single Lens reflex
35mm film
Shutter speed and movement
Aperture and depth of field
Exposure and light
Focus
Film





Film loading
ISO and film speeds
Chemical handling
Processing
Negative drying and negative sleeves
Darkroom








Safe lights
Wet and dry zones
Photographic paper
Enlarger, filters and timer
Print processing and drying
Chemistry paper handling
Making a test strip
Making a contact sheet or proof sheet
Time: 5 hours
Accessed from TKI | The Arts-Nga Toi | Ans Westra teacher & student resources |
http://www.tki.org.nz/r/arts/visarts/ans-westra/
Copyright Ministry of Education New Zealand
THIS UNIT IS ASSESSED USING A STANDARD THAT
EXPIRE AT THE END OF 2012
Task 4
Planning for a practical investigation
This task involves students planning for their first film. It is essential that emphasis be placed on the
students' application of the studied compositional conventions for example, the placement of the figure
within the interior/exterior (see task three). Students will have identified these conventions and
principles in their workbooks and planning should reflect their intended use.
It may be necessary or appropriate to limit the environment or event to be documented. For example;
the relationship between a figure and an interior/exterior such as a doorway, window frame, archway
etc. This could take place within school environment, within their home, or in a designated public
place.
Other considerations
Other considerations that could be discussed with reference to Westra's work include:



How could students sensitively approach the person/people that they intend to photograph?
What consent or permission should they obtain? What light will be available and how will that
affect exposure?
How could depth of field be used to place different emphasis within the image?
Time: 2 hours
Remind students that when photographing people, shutter speeds must be over 1/60 of a second or
camera shake will affect the quality of their images. The correct corresponding aperture must be
selected.
1 2 4 8 15 30 60 125 250 500 1000 2000+ /sec
Task 5
Exposing film, recording exposure and processing films
This task may involve students exposing film out side of classroom hours. Students should record their
exposures, shutter speeds and corresponding apertures.
a) After processing the film and printing the contact sheet, students should select five images and
make notes about the compositional devices they have used. They identify foreground, background,
use of framing, compositional divisions etc. and then list ideas to try in second film for example,
variance of camera angle, different placing of figure, etc.
These notes, contact sheet, test strips, and negatives should be shown to the teacher before continuing
with the second film. It is advised that students meet with the teacher in between each film for
authentication and feedback prior to planning and exposing the second film.
Accessed from TKI | The Arts-Nga Toi | Ans Westra teacher & student resources |
http://www.tki.org.nz/r/arts/visarts/ans-westra/
Copyright Ministry of Education New Zealand
THIS UNIT IS ASSESSED USING A STANDARD THAT
EXPIRE AT THE END OF 2012
b) The exposure and processing of a second film. Students should record their exposures, shutter
speeds and corresponding apertures. After the film has been processed, the students make a contact
sheet. They must document all test strips and exposure selections in the journal for assessment.
Time: 20 hours
Assessment schedule
Framing the figure within interior/exterior
Unit 9050 Level 2: Demonstrate basic black and white photography procedures and processes
Evidence
Judgment
The answers or performance
A statement that defines the
Task
Element
expected from the students
standard to be achieved
Exposures show use of correct
2 sets of negatives (minimum 12 metering/shutter speeds/depth of
4a & 4b
1.1
exposures each) and
field to achieve sufficient film
corresponding 2 contact sheets
density to ensure best results for
light conditions
At least half of the images
demonstrate framing and basic
compositional principles for
4a & 4b
1.2
2 Contact sheets, journal notes
example, figures framed within
2b & 2c
exterior building structure.
Foreground and background
identified
Film is processed using accurate
3
photochemistry processes to
1.3
2 Sets of negatives
4a & 4b
achieve negatives with clear tonal
range
Journal notes including test strips
Test strips and contact sheets
3
and analysis of exposure times
2.1
show analysis of suitable
4a & 4b
exposure times for printing
Contact sheets
Contact sheets evidence accurate
3
2.2
2 Contact sheets
photochemistry and correct
4a & 4b
exposure
3
Contact sheets show all images
2.3
Contact sheets
4a & 4b
exposed on the film
Accessed from TKI | The Arts-Nga Toi | Ans Westra teacher & student resources |
http://www.tki.org.nz/r/arts/visarts/ans-westra/
Copyright Ministry of Education New Zealand
THIS UNIT IS ASSESSED USING A STANDARD THAT
EXPIRE AT THE END OF 2012
Unit Standard 9050: Technical teaching sequence – Black and white
photography
Order of introduction, resources and activities
The following provides a possible method for introducing the Single Lens Reflex (SLR) camera and,
basic black and white photography, exposure and print processing. Technical diagrams of camera
functions and their applications can be obtained from most photographic textbooks and will support
classroom notes and demonstrations. This material should be adapted where necessary and practical
exercises added if time allows.
Introductory darkroom exercise
As an introduction to basic black and white photography, this simple exercise can be exciting and
highly informative:
Process steps for teacher:
1. Pre-cut a sheet of plain black 20.32 x 25.4cm (8 x 10in) paper into four 10.16 x 12.7 cm (4 x
5in) squares – students to cut out any shape they like.
2. As a group take the shapes into the darkroom. Introduce students to wet/dry areas, sinks,
enlarger bays, white light and red light etc.
3. With the safe lights on, give each student a 10.16 x 12.7 cm (4 x 5in) sheet of pre-cut
photographic paper – stress students take note of the shiny side.
4. Instruct students to place their shape (or the remaining piece of paper from which the shape
was cut) onto the shiny side of the paper and place the shapes in groups of four at an enlarger
bay (if there is not enough space the darkroom floor works perfectly well). Glass can be placed
on top of a group of four at once.
5. Turn the house lights on for a second or two. Process them though the labelled chemistry in
batches (with willing students to assist).
6. Send the dry print and matching shape away with the student to be stuck in the front of their
journal and documented with notes about the process of light and photographic chemicals
immediately.
An alternative approach is for students to bring in ‘an object’ to use instead of a cutout shape – the
result is far more experimental. Prior to starting formal lessons other ‘housekeeping’ information,
specific to the needs of the department, may need to be given.
Teaching and learning
As all students learn differently and at a different pace, each key technical concept is best introduced
with written information, a diagram, a photographic example or application, and then a practice or
demonstration.
Sequencing
Depending on the facilities, teacher experience, and class numbers the following sequence may need
to be adapted. Key technical concepts may be taught out of sequence; simplified further, condensed, or
practical demonstrations taught in conjunction with written work as a way of splitting or reducing
student numbers in the darkroom.
Accessed from TKI | The Arts-Nga Toi | Ans Westra teacher & student resources |
http://www.tki.org.nz/r/arts/visarts/ans-westra/
Copyright Ministry of Education New Zealand
THIS UNIT IS ASSESSED USING A STANDARD THAT
EXPIRE AT THE END OF 2012
The single lens reflex (SLR) camera
It may be of benefit to introduce students to the range of cameras available including examples from
photographic history. Demonstrating that the simplest of cameras can make interesting photographic
images (such as a shoebox pinhole camera) provides a context for the SLR camera. If time and access
allows, examples of pinhole cameras, medium format cameras or even large format photography could
be shown or if possible used in class.
What is a single lens reflex?
Students could draw the camera that they intend to use, locate and label its key functions; Shutter
release, shutter speed selector, f-stop, focal ring, battery, timer, power, ASA/ISO selector and so on.
Students need to become used to handling the camera and caring for it. Some students may not have a
camera and a photocopy of a diagram is useful.
What is 35mm film?
The different camera formats, shown earlier, and their corresponding film types provide a framework
for introducing 35mm film. The following should be covered:
 film types and characteristics
 emulsion
 film faults; identifying faults and where possible correction
 International Standards Organisation (ISO); the different film speed options for different light
and subjects
 examples provided or shown of the various results achieved through different film speed use
 grain structure
Shutter speed and movement
As this is a key function of the Single Lens Reflex (SLR), along with the aperture, it should be taught
in conjunction with a practical exercise. Ideally, students should first be provided with written
information (what shutter speeds are, which are fast/slow and so on, which need to be used with a tripod etc.) then expose a film, perhaps in groups, with recorded fast, medium and slow shutter speeds.
Examples of artist work that make use of fast and slow shutter speeds can be sourced and displayed.
An example of the selection of a fast shutter speed to capture a moving subject. [link to Ans Westra
image ‘Bishop Panapa in haka party, Anglican hui Aroha, Solway Showgrounds, Masterton, 1961]
Aperture and depth of field (DOR)
This is also a key function of the SLR, and needs to be taught in conjunction with a practical exercise.
Ideally, students should first be provided with written information (what is depth of field or DOF,
what are f-stops and how do they effect the point of focus within an image) then expose a film,
perhaps in groups, with recorded wide, medium and narrow depth of field. Examples of artist work
that make use of depth of field can be sourced and displayed. [Link to Ans Westra image “Working
Men’s Club, Hokitika, 1971 or “Lambton Quay, Wellington 1974”]
Exposure and light
This is essentially the relationship between depth of field and shutter speed, each as a value combined
to capture the image accurately. The best way for students to grasp this concept is to practise with their
own camera or the camera that they intend to use, even with no film in the camera. Each student will
use a different camera each with its own way of indicating available light. For example, a needle,
lights, coloured lights, a digital screen.
Accessed from TKI | The Arts-Nga Toi | Ans Westra teacher & student resources |
http://www.tki.org.nz/r/arts/visarts/ans-westra/
Copyright Ministry of Education New Zealand
THIS UNIT IS ASSESSED USING A STANDARD THAT
EXPIRE AT THE END OF 2012
Loading film
Loading film is a similar issue as exposure in that the method can differ for each camera; some are
automatic, some wind the entire film on first, some have to be manually wound on. The best way for
students to grasp the technique is to practise with their own camera or the camera that they intend to
use. Most technical books include informative back-up diagrams.
Chemistry handling
The use of film and paper chemistry requires careful introduction at entry level. Good habits should be
established early on. Safety is the principle concern. Students need to be provided with or copy down
information on; safety when using chemistry, how and where to get medical attention in an
emergency, how to use tongs correctly, where chemicals are stored, how they are labelled and any
systems specific to the darkroom being used. For example; replenishing and recycling systems,
disposal of chemicals and so on.
Film processing
Information and diagrams for correct film processing technique is readily available. Ideally students
should be provided with written information first and then observe/participate in a teacher/student
demonstration before processing their own film. For ease of teaching larger numbers, students could
be walked through the process in groups of four, processing the film they shot as a group.
Key aspects of film processing include; preparation of all equipment prior to lights off, tanks, reels,
scissors, film openers etc; the time/temperature relationship, chemistry measuring and mixing, opening
the film cassette, loading film on to reel, timing and agitation, development, stop, fix or hypo,
washing, wetting agent, and drying. Student also benefit from being shown a demonstration of loading
the dry film into negative sleeve.
The enlarger
Providing students with a diagram, or getting them to draw and label the enlarger can be useful,
followed by a practical demonstration and finally use of the enlarger themselves. Parts such as the
bulb, red light, aperture, focus, height adjustment, baseboard, filters and timer etc should be identified.
*Obtaining a diagram of the particular enlarger can be difficult therefore enlarger brochures are often
useful to hold on to.
Print processing
Establishing correct darkroom and print processing habits early on is essential. Students should be
provided with written information, a demonstration and finally observed to assess their understanding
of the following:
 safe Lights and house lights; their location and appropriate use
 wet and dry zones within the darkroom
 paper chemistry; handling, storage, safety, purpose
 photographic paper; handling and respect of others using the darkroom
 print processing and drying
 making a test strip; selecting the best exposure time
 making a contact or proof sheet.
*For this 9050 standard students do not need to make an enlargement, however, it may be a useful
stage to teach negative enlargement and grain focus.
Accessed from TKI | The Arts-Nga Toi | Ans Westra teacher & student resources |
http://www.tki.org.nz/r/arts/visarts/ans-westra/
Copyright Ministry of Education New Zealand
THIS UNIT IS ASSESSED USING A STANDARD THAT
EXPIRE AT THE END OF 2012
Photographic genre exercise
This exercise is useful as a beginning of year activity with your photography class to create discussion
or as a starter activity for any unit of work. Discussion could be recorded and displayed along side the
grouped images in the classroom or kept as an individual record in visual diaries.
Where do we see photographic images?
Class discussion
Brainstorm the range of sources of photographic images within the classroom, school, community,
home, a walk down the main street. Students record their responses.
Homework
Students locate and collect at least 10 photographic images or reproductions each from a different
source.
Ideas include:






posters, advertising, billboards, supermarket…
books, illustrations, diagrams, manuals, recipe books…
identification (ID) cards, passports, driver’s licences, student identification…
albums, weddings, school photographs, birthdays, travel, sports…
newspapers, magazines, cards…
galleries, on walls, framed…
What is the purpose of the photographic image?
Once the photographs have been collected ask students to categorise or sort the photographic images
into groups. This will generate discussion about why some photographs go with others and begin to
develop a photographic vocabulary.
Why was this photograph taken?
Through discussion, groupings may start to emerge such as these:
– sell a product
– demonstrate how to do something
– document an event in time.
Students could record these as genres such as portraiture, fashion, journalism, documentary, formal,
abstract etc.
Accessed from TKI | The Arts-Nga Toi | Ans Westra teacher & student resources |
http://www.tki.org.nz/r/arts/visarts/ans-westra/
Copyright Ministry of Education New Zealand
THIS UNIT IS ASSESSED USING A STANDARD THAT
EXPIRE AT THE END OF 2012
What is the value of the different photographic images?
Asking students how the different categories or genres are valued and by whom, could generate further
discussion.
For example, which images:
– do we value as precious memories
– have financial value
– have no value
– have value for a moment
– increase in value through time and why?
How do these values change when the contexts surrounding them change?
The genre of documentary photography
One of the groupings of images generated from this exercise will be the photograph as a document of:
– the first day of school
– the cooking of a hangi
– the biggest fish, the family reunion
– the school camp.
This is an excellent lead in to the documentary photographer, their subject matter, their role in social
history etc.
Other links could include
 A brief world history of documentary photography as a context for studying New Zealand
documentary photography. See Documentary photographic history.
 An overview of other significant New Zealand documentary photographers such as Marti
Friedlander, Robin Morrison, Gil Hanly, Bruce Connew and many more see Analysis
questions.
Accessed from TKI | The Arts-Nga Toi | Ans Westra teacher & student resources |
http://www.tki.org.nz/r/arts/visarts/ans-westra/
Copyright Ministry of Education New Zealand
THIS UNIT IS ASSESSED USING A STANDARD THAT
EXPIRE AT THE END OF 2012
Documentary photography analysis questions
The Visual Arts Curriculum glossary may be of use as an additional reference.
Subject matter






What has the photographer chosen to include within the photograph; text, background details,
objects, environment, people etc, and how does this contribute to the interpretation of the
image? (Examples of text within photographs; Ans Westra ‘Fred Cook, RNZAF Woodbourne
Base demonstration’ 1971).
Can a particular event, story or happening be identified?
If viewing a series, list/categorise the different bodies/sequences of work presented
What clues do the photographs contain that tell us where the people are from, and when the
images may have been taken?
Why has the photographer chosen to document this subject? Is the photographer’s reaction or
feelings about the subject apparent?
How could the images be a result of current social/political situations?
Technical
How have the following been used within the photographs and to what effect?






Camera format – What camera format has been used; large or medium format, square format?
Film speed and type – Is the grain structure accentuated or obvious or is there no visible
grain?
Focus and depth of field – Is the entire image in focus or are there areas in the fore, mid or
background that are out of focus or focussed more softly? What f-stop may have been selected?
(depth of field example; Ans Westra ‘Working Men’s Club, Hokitika’ 1974)
Movement and shutter speed – How has movement been captured within the image? Is the
subject frozen in sharp focus or blurred?
Available light or artificial light – Has a flash been used? Were the images taken at night?
Describe the quality of the light. (Use of strong contrast natural light example Ans Westra
image; ‘Anti-Springbok Tour Demonstration, Wellington’ 1981)
Has there been any additional manipulation of the photograph?
Composition



Does there appear to be a key point of focus within the photograph or an area that your eye is
immediately drawn to? Or has pattern or repetition been created through multiple areas of
focus. (Example of multiple focal point Ans Westra image; ‘Crowd, Trentham Races, Upper
Hutt’, 1974)
How has line been used within the composition? (Example of diagonal lines used; Ans Westra
image ‘The Purple Onion, Vivian Street, Wellington’ 1974, ‘Tangi, Tūrangawaewae Marae,
Ngaruawahia’ 1963)
Where is the main subject in relation to the picture frame? Central, to the side, close to the
front of the picture plane, in the distance?
Accessed from TKI | The Arts-Nga Toi | Ans Westra teacher & student resources |
http://www.tki.org.nz/r/arts/visarts/ans-westra/
Copyright Ministry of Education New Zealand
THIS UNIT IS ASSESSED USING A STANDARD THAT
EXPIRE AT THE END OF 2012




Describe the formal elements within the photograph, for example; the use of tone, texture,
colour, line, shape, form, pattern, perspective, contrast and so on.
What has the photographer included within the frame and what might have been cropped?
Describe the camera angles and viewpoint; close up, distance, looking up at the subject or
down? (View-point example; Ans Westra image; ‘The Hikoi on the Bridge, Waitangi’1984)
What effect do these have on how the subject is viewed? Why did the photographer select this
angle/viewpoint?
Has the main subject been photographed in isolation (example; Ans Westra image ‘Castlecliff
Beach, Whanganui’ 1993) or as one of many and how does this effect our interpretation of the
image?
Photographic method or process





How has the photographer approached the photograph? Does it appear to be formal or
informal? Why?
What editing may have taken place from the initial film to the image you are viewing?
How has the photographic sequence been used and to what effect? (An example of sequence;
Ans Westra ‘Girls Playing rugby, Parikino Māori School’1963, ‘Cuba Street, Wellington’
1973). Does the photograph need to be viewed as part of a sequence or does it document the
subject successfully on its own?
Does it appear that the people being photographed are aware of the camera? Do you think that
permission to be photographed has been sought? Why?
Has any other additional material been presented with the photograph such as text or context?
Accessed from TKI | The Arts-Nga Toi | Ans Westra teacher & student resources |
http://www.tki.org.nz/r/arts/visarts/ans-westra/
Copyright Ministry of Education New Zealand
THIS UNIT IS ASSESSED USING A STANDARD THAT
EXPIRE AT THE END OF 2012
Unit Standard 9050: Compositional analysis examples
Below are listed key compositional features as a guide to discussion and analysis. Any additional
observations may be added.
Encourage students to identify:
 camera angle/viewpoint
 focal point, placement of subject
 framing
 foreground, mid ground, background
 depth of field (DOF), soft/hard focus
 use of scale
 elements of contrast – tone, line, surface
 division of picture plane
 how the eye is lead-relationship between parts of image
 use of cropping
 positive and negative shapes created.
Examples of the compositional features listed above are identified in the following photographs:
Lambton Quay, Wellington, 1974









Figure in foreground; figure in mid-ground and building in background form a depth and sense
of space within the picture frame.
The road/pavement area divides the composition into thirds.
The space between the two figures and their distinct sizes creates a sense of scale within the
work.
Exterior building structure produces a frame effect around the foreground figure.
Depth of field allows the foreground figure to be in sharp focus in contrast with the softly
focussed background figure.
The depth of field focal shift allows the eye to first travel and focus on the foreground figure
before discovering background figure.
The foreground figure is looking left contrasted with the background figure looking directly
ahead.
The body language and clothing of the two figures is an added element of contrast; formal and
informal.
Natural light has been utilised.
Contrast emphasised between linear elements and geometric shapes against the roundness of the
human form.
Ringatu Hui, Wainui, near Whakatane 1964






Figure in foreground, figures in mid-ground and building as a backdrop create a sense of
shallow space within the picture frame.
Paved area in lower part of the image forms a visual one third division.
Dark doorway frames foreground figure and divides composition into one third.
The eye is lead from foreground figure through to the horizontal row of figures.
Cropping of figure on the right adds a sense of extension beyond the picture lane.
Dark suits contrast on white wall.
Accessed from TKI | The Arts-Nga Toi | Ans Westra teacher & student resources |
http://www.tki.org.nz/r/arts/visarts/ans-westra/
Copyright Ministry of Education New Zealand
THIS UNIT IS ASSESSED USING A STANDARD THAT
EXPIRE AT THE END OF 2012

Natural light has been utilised.
Ratana Pa 1971





Stage-like effect created within the picture plane from the front steps, the receding floor boards
and the background building.
Frontal camera angle.
Central structure frames figures and gives composition balance.
Composition is divided into thirds horizontally.
Cropping of figure on the right adds a sense of extension beyond the picture plane.
Jerusalem Post Office, Hiruhārama Jerusalem, Whanganui River 1963






Strong diagonal lines pulls eye through composition.
Informal figures placed within picture plane.
Foreground, mid-ground and background created through building structure.
Texture is repeated through foliage, figures clothing and weather boards.
A sense of dialogue exists within the figures and adds to the informality and spontaneity of the
image.
Large dark receding shapes are created by the doorway and window area.
Te-Waiherehere, Koriniti, Whanganui River 1961






Light and shadow provide strong visual contrast for the subject matter.
Diagonal lines are created by structure and shadow.
The eye is lead first to the foreground statue and then to the boy.
The main subject is central in relation to the background structure.
Geometric structural lines add contrast to the figure.
Depth of field allows the foreground figures to be in sharp focus and contrast softly against the
background.
Fairground, Agricultural and Pastoral Show, Carterton 1975



Text, clothing, and sign writing add texture and pattern to composition.
Dark space created by interior doorway frames the figure and recedes.
Composition can be divided into thirds vertically.
The Purple Onion, Vivian Street, Wellington 1974





Strong diagonal line pulls eye through the composition almost utilising the vanishing point.
Figure in foreground, figure in mid-ground and figure in background form a depth and sense of
space within the picture frame.
The space between the three figures and their distinct sizes creates a sense of scale within the
work
A fourth figure is present in sign writing work and adds to scale and receding effect.
Frontal figure is side on, central figure is 3/4 angle and final figure is frontal to the picture
plane.
Accessed from TKI | The Arts-Nga Toi | Ans Westra teacher & student resources |
http://www.tki.org.nz/r/arts/visarts/ans-westra/
Copyright Ministry of Education New Zealand
THIS UNIT IS ASSESSED USING A STANDARD THAT
EXPIRE AT THE END OF 2012
History of documentary photography
‘Makers of both social and persuasive documentary photographs often show a strong commitment
to their subject and may take a definitive moral stance.
They attempt to broaden the viewers’ understanding of how ‘other people’ live, by their
sympathetic or revealing treatment of their subjects…Documentary photographers often tend to
work in series, to create a full picture of a human situation rather than a single isolated image.’
Athol McCredie
Documentary Photography: Photographers in Search of a Nation, 1995
A brief background
Since its inception in 1839, photography, is our most accurate record of reality, and has been used to
document real people, events, places and circumstances.
The following material provides a brief overview of key moments in the history of documentary
photography.
Early war reportage
War reportage and the recording of newsworthy events has been part of the tradition of early
documentary photography.
From the 1850s in America, photography was used for war reportage. In Robert Fenton’s images of
the Crimean War and Mathew B. Brady’s coverage of the American Civil War. Brady described the
camera as ‘the eye of history’.
Image: Mathew Brady – ‘Confederate Dead’, 1862
Street life
Much of the early documentary photography explored the effects of industrialisation and urbanisation
and exposing hardship in order to improve people’s living conditions.
In London during the 1850s, Richard Beard was the first to use photography as social documentation
with his daguerreotypes (no longer extant) of labour and living conditions of the poor on London
streets. This is followed in 1877 by John Thomson’s photographs of street life in London.
Image: John Thomson – ‘The Crawlers’, 1877
Print media
From the 1880s after the development of half -tone printing, documentary photography often worked
in conjunction with the print media. Previously photographs had been the basis for line illustrations;
rather than used directly but with the advent of half- tone printing allowed photographs and type to be
printed together.
Accessed from TKI | The Arts-Nga Toi | Ans Westra teacher & student resources |
http://www.tki.org.nz/r/arts/visarts/ans-westra/
Copyright Ministry of Education New Zealand
THIS UNIT IS ASSESSED USING A STANDARD THAT
EXPIRE AT THE END OF 2012
Social reform
Photography has always been responsive to the suffering of humanity and the camera quickly became
a tool for social reform.
In New York City in the late nineteenth century, Jacob Riis and Lewis Hine used photography to
expose the plight of poor immigrants and the exploitation of child labour. Hine’s shocking images
resulted in the passing of the Child Labour Law.
Image: Jacob Riis – ‘Home of Italian Rag Picker’, 1894
Image: Lewis Hine – ‘The Little Girl Spinner’, 1908
Image: Lewis Hine – ‘Boy Breakers’, 1911
During the American Depression in the 1930s, photographers such as Walker Evans and Dorothea
Lange were employed by the Farm Security Administration, a government agency, to reveal the extent
of poverty in rural America. They produced powerful evidence of the impact of the depression on farm
workers across America.
Image: Dorothea Lange – ‘Migrant Mother’, 1936
Image: Walker Evans – Bud Fields and his Family’, 1936
Photojournalism
Two American magazines, ‘Life’ and ‘Look’, that began in the 1930s, developed the idea of the
picture story or photographic essay, where a sequence of images is produced based on a predetermined plan. The magazine would edit the photographer’s images to present the most effective
way to tell the story.
W. Eugene Smith, working for ‘Life’ magazine, became famous for his intimate and moving portrayal
of his subjects.
Image: W. Eugene Smith – ‘Country Doctor’, 1948
Magnum photography agency
Magnum was founded in 1947 by a group of photographers, which included Robert Capa and HenriCartier Bresson. Their intention was to control the production and ownership of their own work. Many
of the early Magnum photographers produced some of the most memorable images from World War
2. Magnum continues to be a force in Photo-journalism today.
Image: Robert Capa – ‘D- Day Landing, Normandy’, 1944
Image: George Rodger – ‘Bergen- Belsen Concentration Camp’, 1945
The decisive moment
Working in a 35mm format, Henri-Cartier Bresson’s concept of the ‘decisive moment’ where the
photographer intuitively recognises and captures the most dynamic visual record of an event, was to be
hugely influential on later photographers. While working in the mode of a photojournalist, his
compositions, with their strong sense of geometry and structure, were always informed by the eye of
an artist.
Image:Henri-Cartier Bresson – ‘Abruzzi, Italy’, 1953
Image: Henri-Cartier Bresson – ‘Henri Matisse, Venice’, 1944
Accessed from TKI | The Arts-Nga Toi | Ans Westra teacher & student resources |
http://www.tki.org.nz/r/arts/visarts/ans-westra/
Copyright Ministry of Education New Zealand
THIS UNIT IS ASSESSED USING A STANDARD THAT
EXPIRE AT THE END OF 2012
The Family of Man
The Family of Man exhibition and publication, organised by Edward Steichen of the Museum of
Modern Art in 1955, assembled a large number of documentary images from around the world. The
exhibition comprised 508 photographs from 68 countries after an initial submission of two million
images and its aim was to celebrate ‘the essential oneness of mankind throughout the world’ – a
contemporary equivalent is the M.I.L.K. project.
Ans Westra who saw the Family of Man touring exhibition in 1957 was profoundly affected by the
experience. She said: “It was marvellous to see what you could do recording life. Just everyday
happenings. The whole cycle of life.
Image: W. Eugene Smith – ‘The Walk to Paradise Garden’, 1946
New Zealand documentary photography
Colonisation
From the 1880s, the camera replaced the watercolour sketch as a visual record of colonisation. Early
New Zealand photography is used to document land exploration, settlement and development.
Image: William Meluish – ‘Rattray Street from Dowling St, Dunedin’, 1861/2
Image: Alfred Burton – Village Scene, Koroniti, Wanganui River’, 1885
The independent eye
Photography was a difficult and expensive medium until the 1880s. The cost restricted its use beyond
commercial interests and social documentation was limited. Enthusiastic amateur or wealthy
gentleman-photographers, such as Dr A. C. Barker or John Kinder, had the means to photograph
subjects such as family, friends and their own personal interests.
Image: Dr A. C. Barker – ‘The Argument’, 1869
The exotic
Popular subjects in the second half of the nineteenth century, were photographic images that depicted
the more exotic or unique aspects of New Zealand.
Romantic portrayals of Māori and distinct landscape features such as geysers were in demand with the
international Victorian market.
Image: Arthur J. Iles – ‘Unidentified Māori Women’, Thames c.1894
Pictorialism
The style of photography that emulated a painterly, impressionistic effect was popular in New Zealand
in the early twentieth century. The intention was to validate photography as art. Photographers
working in this style, tended to import a picturesque, imported English aesthetic.
Pictorialism contrasted with the movement in painting to portray a distinct New Zealand identity as
seen in the Regionalist style of artists such as Christopher Perkins and Rita Angus.
Image: George Chance – ‘Storm, Lake Wanaka’, 1935
Image: Painting by Christopher Perkins – ‘Taranaki’, 1931
(to show contrasting treatment of landscape)
Accessed from TKI | The Arts-Nga Toi | Ans Westra teacher & student resources |
http://www.tki.org.nz/r/arts/visarts/ans-westra/
Copyright Ministry of Education New Zealand
THIS UNIT IS ASSESSED USING A STANDARD THAT
EXPIRE AT THE END OF 2012
Development of documentary photography
Photographers were also concerned with expressing the reality of life in New Zealand. The work of
American photographers and writers during the Depression established the concept of the ‘human
document’ and honest reportage as a means of improving social conditions.
Documentary films from abroad in the late 1930s and the popularity of picture magazines such as
‘Life’ were influential in the growth of the documentary style.
During World War 2, cinema audiences were exposed to newsreels.
The experience of the National Film Unit in producing newsreels established a documentary approach
in filmmaking. This filtered through to still photography.
During the war photographer, John Pascoe, was employed by the government to record the war effort
for publicity purposes.
Image: John Pascoe – ‘Official V. E. Celebrations at Government. Buildings’, 1945
Image: John Pascoe – ‘Canadian Sailors, V.J. Day, Wellington’, 1945
Les Cleveland, a newspaper reporter, photographed life in post-war New Zealand. Cleveland
recognised the historical value of dilapidated buildings and scenes of rural life, which were soon to
disappear and his photographs documented the landscape, rural life and colonial wooden architecture.
Image: Les Cleveland –‘European Hotel, Westland’, 1959
Image: Les Cleveland – ‘Scene in Bar at Kumara Race Meeting’, 1959
The 1950s in New Zealand was a time of increasing prosperity and conformity.
It is into this milieu that Ans Westra arrived as a twenty-one year old in New Zealand from Holland in
1957.
Image: Ans Westra – Self Portrait’, 1964
References
Rosenblum, Naomi. (1997). World History of photography: New York: Abbeville Press.
Frizot, Michael. (Ed). (1998). A new history of photography. Köln: Kinsman.
Manchester, William. (1989). In our time – The world as seen by Magnum photographers. London:
American Federation of Arts with A. Deutsch.
Gernshiem, Helmut. (1986). Concise history of photography. New York: Dover Publications.
Brill, B., Kobre, K., London, B., & Upton, J. (2002). Photography (7th Edition).New Jersey: Prentice
Hall.
Main, William., Turner, John B. (1993). New Zealand photography: From the 1840s to the present.
Wellington: Photoforum Inc
Bayley, Janet & McCredie, Athol. (1985). Witness to change- Life in New Zealand. Wellington:
Photoforum.
Main, William., & McCredie, Athol. (1993). Photographers In search of a nation- A history of New
Zealand photography Wellington: Learning Media.
Bieringa, Luit. (2004).Handboek: Ans Westra Photographs. Wellington: Blair Wakefield Exhibitions.
Accessed from TKI | The Arts-Nga Toi | Ans Westra teacher & student resources |
http://www.tki.org.nz/r/arts/visarts/ans-westra/
Copyright Ministry of Education New Zealand