NCEA Level 2 - Photography 2008

1. NCEA Level 2 - Photography 2008 Examples of Candidate Work

2. Achieved

4. This submission is placed at the lower end of theachieved grade range. This body of work presents an appropriate pictorial investigation of an identified subject matter. While a number of ideas have been generated, the systematic development of these is limited which places the submission at the lower end of the achieved grade range. The appropriate use and control of photographic processes, procedures, materials and techniques is sufficient to meet the expectations of bullet point three in this level two standard. On panel one the candidate undertakes a formal study of horse details and surfaces with some sequences (set of five images in the top right corner) exploring the picture making opportunities of grid arrangements and the juxtaposition of related images. On panel two is a documentary sequence of the horse-shoeing process. Individual images show consideration for framing and viewpoint while the submission as a whole demonstrates a strong level of personal ownership of the pictorial investigation. A number of presentation issues prevent to submission from being placed more securely in the achieved grade range. The narrow pictorial proposition has limited the submission’s opportunity to develop ideas. The submission may have benefitted from the study and integration of a wider range of approaches from contemporary photographic practice. Greater consideration might be given to the groupings of work, with more breathing space (white areas) provided to allow individual sequences to be clearly separated from the adjacent work. The pictorial function of colour elements is unclear and makes a limited contribution to the advancement of the thematic proposition.

8. This sample is placed in the middle of the achieved grade range. The tight thematic parameters in this body of work provide opportunity for the candidate to investigation formal compositional and narrative documentary approaches to photography. Within the limited scope of the investigation the candidate makes a thorough investigation of formal picture making properties such as viewpoint, depth of field, cropping, and sequencing. While the results are often conventional, the images themselves are well crafted and clearly fulfil the process and procedural requirements of bullet point three of the achievement criteria. The use of photographic process, procedures, materials and techniques is well within the expectations for submissions at this level. While digital processes can facilitate exposure times and production qualities, the control of lighting, motion blur, and figure/background relationships are usually well executed. The use of established photographic conventions is consistent with the pictorial proposition of the submission. The folio presentation has been well considered with repetition and rhythm being effectively created through an emerging understanding of pictorial potential of line, tone and form. The management of the size and placement of images has also been effectively handled throughout the submission. Groups and sequences of smaller images are presented as formal/narrative series in their own right while also serving as developmental evidence for the larger stand-alone compositions This submission presents a well managed pictorial investigation that clearly fulfils the requirements of all three bullet points of the achievement criteria. While the narrow focus of the thematic concerns facilitate a thoroughness in the development of ideas, it also limits the candidate’s opportunity to show the extension of ideas required of bullet point one for merit.

11. Merit

13. This submission is placed at the lower endof the merit grade range. This body of work gathers and integrates a range of visual material to explore issues of identity, emblems and values. It begins with a conventional formal botanical study that investigates properties of light, pattern and texture. Additional elements are quickly introduced (hands, writing paper, jewellery) and the development of ideas is extended through the use of a wide range of processes and techniques including; pinholes cameras, paper negatives, solarisation, and digital montage. Pictorial conventions and production strategies of both Anne Noble and Megan Jenkinsen seem to have informed the development of the submission. The understanding of this established practice is clear in the integration, rather than imitation, of artists’ methods and ideas. The developmental strategy tends towards a lateral and/or cyclical inquiry rather than a conventional linear sequence. This approach, if not managed well, can undermine the understanding of the systematic generation and development of ideas required for bullet point two. However in this submission the consistency of conceptual intent, combined with the adherence to a defined visual vocabulary, results in a clear sense of direction that fulfils the requirements of the second criterion for merit. The inventiveness and creativity in the works on panel two offer clear evidence of the extension of ideas. The sequence of images in the lower middle on panel one presents some technical inconsistencies as well as offering little to the advancement of the thematic proposition. These factors prevent the submission from being placed more securely within the merit grade range. The submission presents as an authentic personal investigation of a meaningful pictorial proposal.

17. This submission is placed in the middleof the merit grade range. This body of work references the Phantom of the Opera as a metaphor for the investigation of issues pertaining to personal identity. This thematic concern is consistently central to each pictorial and technical development. The submission begins with a range of options for development which is then resolved as a well crafted face/rose/mask sequence at the bottom of panel one. On panel two the ideas are extended with the layering of music scores, motion blur, and finally an elegantly realised frame within frame exercise. In each image the use of processes, procedures, materials and techniques has been well understood and managed. The placement of object within the frame, depth of field, lighting conditions, and figure/background relationships have all been carefully controlled to support the thematic proposition. The submission demonstrates a clear understanding of the systematic approach to developing ideas. However the use of larger images has meant that while ideas have been extended, there is not sufficient opportunity for the regeneration of a depth of ideas to fulfil the requirements of bullet point one of the criteria for excellence. While opportunities for further development are clearly evident on panel two, the presentation decisions mean that these developments could not be included. The use of conventions from established practice are implicitly integrated rather than being based on the explicit imitation of particular artist models. In other words specific strategies are employed where and when needed rather than following and adopting the methods and ideas of an artist model in their entirety. For example, the frame within frame device of Kenneth Josephson is used, but in the candidate’s own way for a very different effect to that of the artist model.

20. Excellence

22. This submission is placed at the lower endof the excellence grade range. The body of work commences with a formal pictorial survey of a chapel, Madonna, and stained glass windows. The unique qualities of light are then used to develop themes of identity, belief and personal faith. Although the complex technical manipulations on panel two are not a requirement for excellence submissions, they have provided a vehicle for the regeneration of a depth of ideas in this submission. The clarification of particular ideas, in this case notions of spirituality, is a requirement of bullet point one of the criteria for excellence. The presentation uses purposeful groupings of images to create a coherent development of the theme. The viewer is sensitively guided through the visual journey from conventional images to digitally manipulated montages, which can also be read as a metaphoric journey from the physical to metaphysical realms. An example of the subtle intelligence occurs in the middle of panel one where the figures looking down guide the viewer to the under chair formal lighting sequence. From here the stained glass colours are introduced (top of panel two) as a literal/metaphoric lightening/enlightenment. This interrelationship between pictorial elements and technical processes and procedures demonstrates the critical approach needed to fulfil the requirements of bullet point two for excellence. The submission demonstrates a high level of understanding of range of established practices. Traditional compositional framing and lighting conventions have been extended with the more contemporary strategies of photographers such as Uta Barth. The regeneration of a depth of ideas is then achieved through the introduction of digital design technical processes. While the submission fulfilled the criteria for excellence the limited generation in the bottom half of panel two prevents it from being placed securely within this grade range. Once the content (Mary) and context (digital grid montage) are chosen, the images offer variations rather than significant advancements.

26. This submission is placed in the middle of the excellence grade range. The body of work explores a surrealist narrative using elements of staged photography and digital processes to investigate domesticity in a humorous way. A range of pictorial strategies are employed including scale shifts, translucency, thought bubbles, and framing devices to extend and regenerate ideas. These devices are used to convey subtle symbolic messages as well as to resolve elegant aesthetic concerns. For example the dolls house can be interpreted as an ironic reference to the naive fantasy about domestic bliss held by the leading female character. The submission starts and finishes with a reflected compositional device which brackets a single narrative sequence. The decision to present a single narrative across the entire submission can often limit a candidate’s opportunity to extend and regenerate ideas. However in this submission the candidate has presented such a wide diversity of pictorial and technical accomplishments that the regeneration requirements of bullet point one in the criteria are clearly fulfilled. As with other submissions that comfortably fulfil the requirements of all three bullet points for excellence, the starting point is extremely high and presupposes an extensive learning development in previous standards. Decisions pertaining to theme, characters, narrative sequence, colour and content have already been made and are implicit in the work itself. In other words the quality of the final images proves a depth of experimental work that has been omitted by a critical editing process. The candidate has achieved a personal synthesis of a range of staged-narrative conventions that may include photographers such as Laurie Simmons, Margaret Dawson, and/or Ava Seymour. The conventions of the artists are integrated and developed rather than imitated.