1 NCEA Level 2 – 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, Criteria relate to the following strands in Visual Arts, Level 7: Understanding the Arts in Context; Developing Practical Knowledge; Developing Ideas; Communicating and Interpreting.

2 Excellence

3 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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6 Merit

7 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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10 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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13 Achieved

14 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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17 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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