Fine art photography by Craig Boehman.
I am always overjoyed when I can make a composite out of one of my street photography shots - especially a shot that had been originally designated to my long-term project, #RidingRickshaw. Riding Rickshaw has been in the works for several years, extending back for as long as I've been photographing rickshaws, or in this case, from within one as a passenger. In this image, I'd been riding alongside our two subjects. I managed to take several shots. In the final selection process, I chose the best shot that highlighted the sack of methi in the foreground along with the very similar belly of the sleeping man in the backseat. On this particular outing, I was pairing my Sony 50mm 1.8 with my Sony A7iii body. I was shooting in Manual mode and making adjustments on the fly, mostly flipping between shutter speed and ISO settings. Normally, I don't make it so complicated but on this journey, I wanted to vary the depth of field and had to contend with dramatic changes in light. When I photograph from a rickshaw, it's typically during my usual Point A to Point B excursions, although in the past, I've been known to book autos during the worst commuting times in order to get stuck in traffic intentionally so that I could get more opportunities to shoot subjects who aren't whizzing by.
So what's this composite made of? The main image is the rickshaw and my two subjects. The sky - which has originally photographed at Versova Beach on my 24mm lens - was Photoshopped in to mask the boring traffic scene that was originally present. On top of it all, I composited in a texture that I had shot inside my old flat during the strict lockdown times in April. But the texture wasn't just thrown in with a single blending mode; multiple layers were used with multiple blending modes and opacity adjustments.
I think it's safe to say I've thrown my hat back into the photography ring. Taking the necessary precautions, I'm back - Covid be damned.