Fine art photography by photographer Craig Boehman.
"Of Sand And Flesh" is a title I feel I should explain. I nearly left this piece as Untitled, but I got to thinking that I should call it something that has a literal meaning for me.
In one of the talks I give, I cover returning to the same nearby locale for image-harvesting. From a photographic perspective, this is important because I believe every photographer should have someplace close by where taking pictures is normally inspiring or at the very least, easy to pull off on a regular basis. For me, this one place is Versova Beach, on the western shores of Mumbai. Prior to lockdown, I had the epiphany that this one spot was essentially a gold mine for imagery of all kinds - from people to animals to objects, and even sand patterns.
[These are the trees and and the sand texture itself used selectively in the piece] It's sand patterns primarily that make up this piece. With the exception of the model, whom I shot in the studio, and the dog, a Versova Beach resident, everything you see from the sky texture, and probably 99% of the model's hair, and the "trees" in the background - all come from sand patterns I photographed while strolling along when no other obvious subjects were present.
For fine art compositing, it's simply a boon. I had no idea only a few short months ago that the most "insignificant" of subjects could possibly make for great elements in an artistic piece. Here are the remaining images from which I borrowed pixels.
Normally, a picture like this is a throwaway shot even though I do love the colors and reflection.
In the above image, I used a selection of the mangrove trees in the far background. They're pretty much invisible in the piece, but they came in handy to add some texture just behind the dog leading across the frame.
The model is Prableen K. I can't say that this shoot was well-planned (at all!) but I've often returned to some of those shots to make use of them in artistic pieces.
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