Photographic Clichés Bingo - Set of 16 Bingo Cards
INTRODUCING: PHOTO CLICHÉS BINGO!
16 different cards featuring 112 exciting photographic clichés, a minor abundance of radiant sunset orange chits, PLUS a seductive manifesto masquerading as unassuming BINGO instructions!
LIMITED EDITION OF 50 SETS.
PHOTOGRAPHY CLICHÉ BINGO is published by:
Candela Books
214 West Broad Street
Richmond, Virginia 23220
Copyright 2022 by Candela Books
All rights reserved. No part of this game may be reproduced, stored in a retrieval system,or transmitted, in any form or by any means, electronic, photocopying, recording or otherwise, without the written permission of Candela Books.
A BRIEF(ER*) HISTORY:
*summarized from A Brief History included in the Bingo set instructions
A couple of years ago, I posted an early version of these Cliché Bingo cards on social media and a lot of people responded to the posts. A colorful pastiche of ideas and cross conversations took place, and, at one point, I was accused of having my head up my ass because, I was, I presume, putting down the work of enthusiastic photographers who might possibly be pursuing any of the accursed cliché subjects.
The idea of my disparaging ‘sunset’ photos or ‘mannequin’ photos in the abstract actually pissed off a few people. I was a little surprised, to be honest. I am not a terrible person. I enjoy sunsets. Personally, I would rather enjoy a sunset than have it be poorly mediated by a camera, and a subsequent 4”x6” print. But you, my friends, are free to go to town. I don’t really care for olives either, usually. And you are free to eat as many olives as you wish. Your passion for sunsets, or olives, has little to do with me.
In truth, I offer up this list, with a burning love for all photographers, as a heartless instrument through which one might consider their own work. Full disclosure, much of my own work would be considered cliché by anyone who was holding it up against the larger history of photography. I have many influences in my life. And I have crafted many homages, wittingly or unwittingly, to those who have inspired me in some way. Recognizing that your work fits into a larger ecosystem, with great work, with lesser work, with student work, with master work… is essential once you have decided to take your work seriously.
Whether you are intending to fashion an image of a steaming cup of coffee for your Instagram audience or to publish an image of the mountain enclave of guerilla fighters for TIME magazine, there are a litany of factors which will affect how those images will be received. Craft and composition are important. Timing and visual energies need to be considered. Color and light quality are useful ingredients. And there is the immense catalog of images which have already been made and these are the persistent benchmarks against which your images will be measured.
As an educator, I generally advise my students to constantly work on their craft and its mechanics, and to add to their skill sets, while waiting for the glorious foundational epiphany upon which their future greatness will be predicated. Perhaps the simplest solution to set oneself up for making work which has a compelling individual flair, is to photograph “what you know.” If I’m being honest, this particular bromide is a clichéd piece of advice. Firstly, it is adapted from the old bootstraps axiom for writers that one should ‘write what they know.’ So can we really venture into the unknown with a hackneyed and threadbare philosophical sextant as our only tool? I am not certain. But we don’t really have a choice. Off we go.
Vaya con fotos,
The Management
The idea of identifying clichés within a portfolio, or a collection of photographs, is not in and of itself instructive, but neither is it damning to suggest that a certain image is cliché. Often, a well-worn subject has long been popular because there is something inherently compelling about it.
So, the notion that a photographic work, or any artwork, is not ‘original’ is hardly criticism at all. Original ideas in photography are as rare as white peacocks. And that specific idea of originality will vary from person to person. Then, too, a familiar image might be technically demanding, and thus impressive in terms of its craft. So, such familiar images can be worth making for many reasons, personal or professional. A masterful print is often an insistent object unto itself.
But, for students and emerging photographers aspiring to pursue a career in photography, along the path, it is a common occurrence having to present your work to professors, professional editors, gallerists, curators, colleagues, or exhibition jurors, and it is worthwhile considering those subjects which might feel a bit overdone to the seasoned arts professional.
Rule of Thumb: Make the photo anyway. Worry about it later.