ne o the benefts o being anangler is that we get to see thenatural world as ew normalpeople ever get to see it. While the rest o the world sleeps or sits in commuter trac we are by the water’s edge, witnessing themist-flled dawns and the fery sunsets. Weare awake and alert when the water birdsbreak through the mist to poke among the weed beds; we witness the moment whenthe sun drops below the horizon and turnsthe water blood red; when the frst batstake to silent wing and it through thetwilight like eeting shadows we are by the waterside. While our nostrils are flled with the aroma o the water’s edge: the water mint, the oam that breaks in the weir pool and the heady night scent o wild owers, our ears detect sounds o water rushing over stone, o owls hootingin the nearby orest or pigeons cooingunder the shade o the broad-leaved trees. Yet, the greatest thrill o being an angler isnot that we are merely observers o nature,it is that we are part o it. We are wiredinto nature’s plug socket in the mostunique way possible. And that is why animage o water is always more evocative i there is someone with a fshing rodsomewhere in it. Whilst many o us are happy just to bethere when nature is at its fnest there arethose among us whom eel compelled totry to record what it eels like to be by the water and experience special moments sothat others, both ellow anglers and non-fsherman, can eel how we eel. It is animpossible task, o course, but sometimes when we take a great photograph, some o that magic o what it was like to be there jumps out o the image and touchessomeone’s soul...Like many o you, I suspect that my interest in taking better angling picturesgrew out o a desire to capture some o themagic moments that I have experienced while out fshing. At frst, my ambitionsextended only to taking better trophy shots but I soon came to realise that thetrue magic o angling lies in the places that we fsh in, the people that we fsh withand the atmospheres that we experience.Capturing images that convey not just what has happened but what I elt are my priority. I want people to eel some o theemotion or the drama o the moment when they look at my photographs and Irealise that trophy shots, whilst being niceto look at and great to brag about,generally lack impact. aking anglingphotographs that contain so much o the joy and respect that I eel about anglingrequired a major jump in photographicknowledge and technique. I went out,bought mysel a better camera, a ton o slide flm and went or it... At frst, o course, the results never quitematched up to the images I had in my head. I could see pictures OK but I didn'thave the knowledge, skill or experience totranslate them onto that tiny rectangle o 35mm flm. I went through tons o flmbut occasionally I would get a shot rightor discover something interesting by accident.
LEF Tis shot o Allan Sheppard with a fy-caught pike shows how a wide-angle lens can be used to produce a high impact image without making the sh or angler look 'grotesque.' Fill-fash has beenused to retain the detail in the angler’s ace and reduce the shadows caused by the harsh contrast light. With the pike held orward it dominates the image and takes the eye through the rame. Te angle is important - shot ully head-on with anultra-wide angle lens the sh would look distorted and disproportionate. 14mm optically corrected lens, 1/160th sec at 8, ISO 50.BELOW Some shots lend themselves to a panoramic croplike this image o Jens Christiansen shing the river Glomma in spring. Including an angler inlandscape images makes them more interesting and landscape angling photography is very rewarding.
AN GL I N G ANDP H OT O GR AP HY