1 NCEA Level 2 – Photography 2009 Examples of Candidate Work

2 Achieved

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4 This sample is placed at the lower end of the Achievement grade range. This candidate has a clear starting point based on an unsophisticated still life using depth of field and pictorial space as picture making devices. The candidate has proceeded, showing investigations into the use of positive/ negative space. In these images the cube is flattened and the grid is employed as a compositional device which stems from the selected subject. The next series of images, up to the bottom of panel one, demonstrate the exploration of scale, and the cube assumes the attributes of architecture. Here the idea of positive/negative, night/day has been developed. The second panel continues to investigate depth of field and introduces coloured dots and squares in sharp red and begins to utilise these as part of the repetitive pattern making. A reference to the grid forms a lattice window effect revisiting the idea of architectural space. There is a sense of looking through in this image. However, the submission drops away at the bottom of panel two where the use of the red dots and squares becomes random and the decision to use a small format has allowed a limited development of the ideas investigated on panel one, which holds this submission at the lower end of Achievement. This submission presents sufficient evidence to fulfil the expectations of The Arts in the New Zealand Curriculum, Learning Media, Ministry of Education, 2000, Level 7.

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8 This sample is placed comfortably within the Achievement grade range. Ideas have been generated around the universal theme of conflict and war. The use of the soldiers as toys has developed into a relatively mature proposition with inclusion of iconic images from actual conflict. The portfolio shows logical progression, making small shifts pictorially while maintaining a systematic approach and development of ideas. While the submission is a narrative, it does not resolve, leaving the proposition open which is appropriate to the idea. This candidate has used digital technology appropriately, in the context of the submission. There is evidence of sufficient control of process with selective use of restrained colour, which adds to the narrative of death in conflict. However there is some inconsistency with grey images. With a greater understanding of text reversal under projection, this submission could have moved beyond a solid Achievement. David Levinthal and Bill West have been employed as artist models as a starting point introducing the notion of constructed reality. Later in the submission there is an implicit use of Andy Warhol with images from the media. This submission presents sufficient evidence to fulfil the expectations of The Arts in the New Zealand Curriculum, Learning Media, Ministry of Education, 2000, Level 7.

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11 Merit

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13 This sample is placed comfortably within the Merit grade range. Ideas have been generated around the notion of the human family. The decision to produce this portfolio in black and white analogue format does not hinder the reading or understanding of this work. This submission begins with straight portraits reminiscent of passport photos or mug shots while also acknowledging Chuck Close and Thomas Strueth. It has then used close ups of the human form before quickly developing the idea of an image within an image, as well as extending this into the jigsaw. This submission shows a systematic and logical development of ideas. There is confidence and consistency shown in a variety of darkroom techniques including collage and vignetting, allowing the student to integrate established practice with their own development and extension of ideas. Formatting and presentation of the work is considered with the use of repetition effectively handled. This submission presents sufficient evidence to fulfil the expectations of The Arts in the New Zealand Curriculum, Learning Media, Ministry of Education, 2000, Level 7.

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17 This sample is placed at the higher end of the Merit grade range. Ideas have been generated by the candidate creating a narrative, which at once engages the viewer through its use of humour, while also have a sound understanding of photographic practice. The submission is digitally produced in colour and shows a high degree of technical proficiency. A variety of viewpoints, distance from the subject matter and depth of field (Larry Gianettino) have been employed to demonstrate a very good understanding of photography. This can be seen clearly where the student is working at ground level to accentuate the feeling of space and scale. However, while it shows a high degree of technical proficiency, the decisions made early on do not allow for the generation of a depth of ideas required to meet the requirements for Achievement with Excellence. Some decisions of formatting in terms of the narrative, such as the rainbow image at the bottom of panel one, may have been better employed towards the end of the portfolio as a narrative and pictorial device. Where text is used, it is useful to think about how it works as a formal element as well as informing the work. In order to Achieve with Excellence, this candidate would need to consider the effectiveness of the sparse use of text on the reading of the work and whether it creates an impression of an add on effect. When the images speak for themselves, it may not be necessary to use text. This submission presents sufficient evidence to fulfil the expectations of The Arts in the New Zealand Curriculum, Learning Media, Ministry of Education, 2000, Level 7.

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20 Excellence

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22 This sample is placed comfortably within the Excellence grade range. Ideas have been generated with the simple proposition of using interior/exterior. Uta Barth has been used initially as the artist model. In the first panel a thorough investigation is established and a sustained analysis and clarification is shown. The portfolio begins by framing and isolating the window and the grid is employed as a compositional device. The use of silhouette has been effectively used on panel one and revisited on panel two, where the influence of Jim Dine is evident behind the flattened grid. The images have then been digitally manipulated, with references to David Hockney’s multiples, used here in a sensitive manner. It is encouraging to see a wide range of approaches used, particularly where artists from different disciplines are employed to inform and enable the candidate’s process of analysis, clarification and regeneration of ideas. This portfolio is consistently purposeful and continues to develop the notion of the grid beyond the obvious, particularly in the final images where the influence of Gorgio Morandi is used to set up the still life within an enclosed space. This works as a beautiful foil for the images above. All processes and techniques have been used with facility, purpose and understanding. This submission presents sufficient evidence to fulfil the expectations of The Arts in the New Zealand Curriculum, Learning Media, Ministry of Education, 2000, Level 7.

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26 This sample is placed comfortably within the Excellence grade range. Ideas have been generated around a simple concept of water/glass/reflection which provides a depth of ideas and allows for further analysis and clarification. Still life and movement have been employed in the initial proposition and the camera has been used with facility and purpose; e.g. shutter speed, lighting, framing, and depth of field. A critical approach to editing and sequencing of images is logical and succinct without appearing linear. This facilitates a clear reading throughout the submission. Many layers, connections and links have been recognized between shapes; e.g. water drops and ice cubes. There is facility in the control of, and use of colour. Uta Barth and Alexander Rodchenko have been alluded to implicitly, as artist models. However this body of work has predominantly employed the classic elements of the discipline of photography. This submission presents sufficient evidence to fulfil the expectations of The Arts in the New Zealand Curriculum, Learning Media, Ministry of Education, 2000, Level 7.

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