NCEA Level 2 - Photography 2011 Exemplarseduco.vln.school.nz/pluginfile.php/54501/mod... · 26 This...

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NCEA Level 2 – 90479 Photography 2011

Examples of Candidate Work

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Excellence

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This portfolio has been verified in the middle of the Excellence grade range.

‘Map Girl’

This 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.

A depth of ideas is generated within a strong proposition of a ‘journey into the big wide world’. This is explored through

nostalgia, suggested by the use of childhood photos in black and white and sepia, a vintage suitcase and floral dress. This

nostalgic theme is further reflected via the use of symbolism in the initial photographs – a railway representing a journey and a

map representing the world. A full range of possibilities is considered and is well executed in terms of viewpoint and

composition.

The candidate presents clear sequences, which build on each other to create a coherent series. This begins with the initial still

life of maps and photos, followed by different views of the figure. This becomes more formal in the linear sequence of the

crumpled map unfolding. The crumpled map then becomes a motif, which is regenerated in panel two. The two images at the

bottom of panel one (of the map in front of figure) are cleverly regenerated in the bottom of panel two through scale shifts and

transparency layers.

Artist models may include Mari Mahr (initial black and white photos/maps), Anne Noble (maps and viewpoints), Lorna

Simpson (linear sequence of girl unfolding map), Ann Shelton (flipping), Megan Jenkinson (collage/montage), Duane Michals

(narrative approach) and Tatiana Parcero (cartographic layering).

Facility, purpose and understanding are consistent throughout the sample. This is seen through the use of manual controls

making references to old photographic processes, which are layered and collaged in panel two to create a new series of images.

The candidate uses a limited colour palette and scale shift, which helps to convey the view of the girl going out in the world to

conclude the sequence. This narrative is not restrictive and allows for pictorial regeneration beyond the final conclusion.

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This portfolio has been verified at the lower end of the Excellence grade range.

‘Yellow Building’

This portfolio presents accomplished 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;


Ideas are generated around school buildings with initial photos taken from a range of viewpoints. The ‘school building’ as an

iconic symbol of cultural heritage is established as a clear proposition from the beginning. The buildings are clearly

recognisable as being typical of New Zealand schools.

The candidate successfully generates a range of framing options and compositions e.g. the filmstrip series, which are used later

to regenerate ideas. Initial ideas are extended through the use of the window to create interior/exterior viewpoints, looking out,

looking through and new grid options. The circular plates in the initial generation are used to inform the circular shapes and use

of colour in the yellow on panel two. These enhance the ideas of retro/iconic nature. Ideas are clarified as new elements are

introduced, others are removed and shapes are simplified.

This sample is tightly edited and shows a critical selection of images. Each sequence builds on the previous one with new artist

models added appropriately throughout. Retro references, such as the film strip, album and photo frame are successfully

employed with possible references to artist models such as; Robert Frank (film formats), Uta Barth (depth of field), Ann Shelton

(buildings/circular formats), Regeneration-book, Maureen Broadbeck and John Baldessari (colour blocks).

The candidate demonstrates facility and understanding in the use of photographic processes, procedures, materials and

techniques. This is especially noted in the silhouetted image on panel one, which introduces the grid structure and in the use of

manual camera controls, framing, and depth of field. Photoshop filters are used at the conclusion of panel one which provide a

textured appearance, similar to mesh. Colour blocks change from dense to transparent in the final series, which further

emphasises the feeling of ‘looking through’.

For this sample to sit more comfortably within the Excellence grade range this candidate would need to push the final work

beyond the ‘end point’. While resolved, this final series possibly prevents the further regeneration of ideas.

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Merit

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This portfolio has been verified at the higher end of the Merit grade range.

‘Spotty Toy Cars’

This portfolio presents sound evidence to meet the criteria consistent with The New Zealand Curriculum, Learning Media,



Ideas are generated around the theme of model cars using a range of viewpoints and pictorial elements i.e. framing and depth of

field. Ideas are developed on panel one using shape, framing and colour relationships with clear reference to contemporary

established practice (such as David Leventhal and Laurie Simmons). Extension of ideas is evident on panel two through the

continued exploration of shape and colour.

Ideas about scale have been introduced and continue to be developed across the submission. The circular colour motif has been

identified and used in both panels. The candidate shows understanding of compositional possibilities presented by creatively

investigating both scale and colour. By introducing the figure into the work, the candidate investigates the nature of play and

being absorbed with the activity of playing.

Sequences have been carefully arranged with understanding to clearly show the development of ideas. Greater emphasis on

picture size is utilised to highlight important sequences and show a hierarchy of ideas.

The candidate has demonstrated a clear understanding of photographic processes, procedures, materials and techniques by using

depth of field to emphasise ideas of scale. Colour has also been carefully selected and levels are balanced to create a

homogenous feel across the submission. A variety of framing devices have been successfully employed to enhance composition.

The figure is carefully inserted into the image at the base of panel one to enable a link to the figure in panel two. The device of

layering images complements the decision to stack and arrange the cars at the conclusion of panel two.

For this sample to move into the Excellence grade range the candidate would need to regenerate some of the visual elements on

panel one and place more emphasis on a critical approach to developing ideas.

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This portfolio has been verified in the middle of the Merit grade range.

‘Bird cage’




Ideas are generated within a narrative by drawing images around a girl’s journey in which her life is entrapped in a cage. Small

sequences set up the ideas of moving within her environment and through a landscape. Ideas are developed through the use of

visual metaphors for freedom e.g. opening a cage and liberating the bird.

A systematic approach is maintained within this narrative. Small series of images have been used sequentially to show the

student’s understanding of picture making. Pictorial ideas derived from the artist models, such as layering and sequencing, drive

this narrative throughout both panels.

The candidate demonstrates understanding through the choice of subject matter and the effective use of visual metaphors, which

are extended throughout the body of work. The candidate acknowledges significant ideas through the use of scale and a

hierarchy of images. This sequencing enhances the narrative.

The candidate explores the techniques of multi-image (photo joiners), with possible references to David Hockney and sequences

(Duane Michaels). This is extended further through the inclusion of other artist models who work in multiples, like David

Hilliard and Anthony Goicolea. The submission concludes with a surrealist (Rene Magritte) model, building on earlier visual

motifs and metaphors for freedom. The student implicitly uses the artist models successfully.

Understanding of photographic processes, procedures, materials and techniques is evident in the consistent use of the camera to

show cropping, viewpoint and framing. There are some minor exposure issues but overall the candidate demonstrates

understanding in their use of tone, colour, light and picture-making issues.

For this sample to move toward the Excellence grade range, the candidate would need to more rapidly establish the narrative on

panel one, allowing the journey to extend with more depth and breadth. This may have provided more options to regenerate

ideas. A more thorough investigation and purposeful shifts in the use of established practice may have given more depth to the

portfolio.

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This portfolio has been verified at the lower end of the Merit grade range.

‘Donuts’




Ideas are generated through focusing on a black and white interior kitchen scene. This idea is developed through a range of

doughnut sequences exploring shape and stacking. Possible references are made to the established practices of Peter Peryer and

Claes Oldenburg in the use of scale and the repetition of food.

Ideas have been extended through the use of collage and layering within a circular shape. This is also combined with the

reintroduction of black and white imagery against a colour figure study, which then moves back into the initial black and white

environment.

The candidate has been systematic in the layout and sequencing of the imagery and has reinforced this through the increased

sizing of the images on panel two, which is appropriate to the subject matter and proposition in this particular exemplar.

The candidate has demonstrated control of digital colour and black and white photography processes and has showed an

understanding of exposure and formal elements such as shape, line and a limited range of colours.

For this sample to move more securely within the Merit grade range, this candidate would need to pay more careful attention to

the editing of works on panel two. More attention to the sizing of images and the amount of space surrounding these, may have

provided more opportunity for the candidate to extend ideas further.

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Achieved

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This portfolio has been verified at the higher end of the Achieved grade range.

‘Musical Instruments’

This portfolio presents sufficient evidence to meet the criteria consistent with The New Zealand Curriculum, Learning Media,



Ideas are generated through a close-up investigation of a still life, exploring various viewpoints focused on a trumpet. At the

bottom of panel one the ideas are developed through distortion, reflection and abstraction. There has been an attempt to extend

these ideas on panel two by using double-exposure and the layering of multiple viewpoints.

The candidate demonstrates sound and consistent use of photographic processes, procedures, materials and techniques in the use

of formal pictorial elements such as line and shape, emphasising the unique structural qualities of the subject. The selective use

of colour has also been used successfully throughout the submission. The candidate has implicitly referenced traditional

established practice in its use of photographic techniques such as reflection, cropping and superimposing.

The sample is systematic in its approach through its selection of the trumpet as its key subject, combined on panel two with the

reintroduction of the photo album and camera. It explores parts of the trumpet in sequences of photos, including small and large

studies, which begin to demonstrate understanding of hierarchy and development.

For this sample to move closer to the Merit grade range, this candidate would need to show a clear extension of the initial idea,

rather than relying on close-ups and reflections of the trumpet. Greater evidence of the understanding of sizing and hierarchy of

images (less successful images smaller than more successful) in the initial still life studies would also assist this sample moving

to a Merit grade.

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This portfolio has been verified in the middle of the Achieved grade range.

‘Animal Tea Party’




Ideas are generated through a series of figure and still life shots exploring an outdoor picnic theme. Viewpoint and depth of field

are utilised to provide a sense that this is from a small animal’s perspective.

This idea is developed through referencing Surrealist techniques with the inclusion of exotic large-scale animals on panel two.

The introduction and combination of still life and figure in the landscape on panel one is later revisited with the introduction of

the animals. An exploration of formal elements, such as changes in scale and gridding and the use of subtle filters, shows further

development of the overall theme.

Control of processes, procedures, materials and techniques is evident within the appropriate sizing and sequencing of the

photographs and digital manipulation employed. This has created a systematic approach to generating and developing ideas

throughout both panels and a logical narrative, which is easy to read.

For this sample to move closer to the Merit grade range, the candidate would need to demonstrate a greater understanding and

control of the picture-making issues investigated (e.g. convincing scale and Photoshop techniques). Further investigation into a

wider range of artist models may have provided the opportunity for the candidate to demonstrate an extension of ideas.

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This portfolio has been verified at the lower end of the Achieved grade range.

‘Bikers’




Ideas are generated around the motocross track using conventional approaches to viewpoint. The candidate begins to explore the

concept of movement at the bottom of panel one coupled with extremely short depth of field. Although there are incremental

shifts in the development of this idea, the body of work loses this systematic approach on panel two with the inclusion of works,

which appear disjointed rather than systematic. The candidate has failed to recognise the successful elements of works at the

bottom of panel one to explore further.

Control of processes, procedures, materials and techniques is evident within the handling of photographic conventions, which

lifts this submission into the Achieved grade range.

For this sample to sit more comfortably within the Achieved grade range the candidate would need to explore the pictorial issues

that were generated earlier (pattern, colour, movement, sharpness) in a variety of ways. Further investigation into a wider range

of artist models may have provided the opportunity for the candidate to demonstrate more purposeful decision-making in the

development of ideas.

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Not Achieved

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This portfolio has been verified at the higher end of the Not Achieved grade range.

‘Inside out’

This portfolio does not present sufficient evidence to meet 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;


Ideas are generated through drawing from the landscape based around traditional photographic conventions. Evidence of

successful picture making is evident on panel one, however panel two lacks coherency ending with some images that are

unrelated to the initial proposition and lack evidence of intentional compositional decision-making.

Processes, procedures, materials and techniques are relatively consistent in the use of framing, depth of field and light to explore

the environment and space. This has lifted this submission closer to an Achieved grade.

As explained in bullet point three of the explanatory notes, candidates are required to produce a body of work, which forms a

coherent series. In this submission the evidence of development on panel two is narrow and is not systematic enough to meet

criterion two for Achievement.

For this sample to reach the Achieved grade the candidate would need to pay careful attention to the sizing and sequencing of

images to establish a logical sequence in their works. The candidate would need to present a coherent approach in the

development of ideas through recognising the successes generated on panel one and further developing these on panel two.

Explicitly referencing a wider range of artist models may have allowed opportunities for the candidate to think beyond the

relatively narrow journey explored.

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