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Matt Hayes Fisheye

Matt Hayes Fisheye

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Published by BobRoberts
An extract from Matt Hayes' new book FISHEYE, available from calm productions:
http://www.calmproductions.com/acatalog/fisheye.html#aFISHEYE
An extract from Matt Hayes' new book FISHEYE, available from calm productions:
http://www.calmproductions.com/acatalog/fisheye.html#aFISHEYE

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Published by: BobRoberts on May 01, 2012
Copyright:Attribution Non-commercial

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05/01/2012

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12 13
AN GI  N G ANDH OT O GAHY
Chapter One
ANGLING ANDPHOTOGRAPHY
 
O
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 trac 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 mpriority. 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.
14 15
AN GI  N G ANDH OT O GAHY
 
Tat is how it was to learn with flm: thehuge delay between when you sent theflm away and got it back usually meantthat you orgot what you were doing when you took the pictures and as aconsequence learning was a slow andpainstaking process. Nowadays, withdigital cameras, learning is so easy - youcan take a shot and review it instantly...I wanted to capture those beautiul dawns when the sky is ooded with delicatepastel hues and the mist steams rom the water; the blazing sunsets when theclouds tower above us and the heavens areon fre with colour; the spine-tinglingmoments when fsh leap rom the waterand send water droplets scattering likediamonds on a glass tabletop. Since thoseearly days, when I blundered along withmy SLR camera and endless rolls o transparency flm, I have learned enoughto occasionally do justice to what I eel inmy angling soul. It has been a painstakingroad that has required some considerableeort: reading photo magazines andbooks; chatting to pro-photographers;experimenting endlessly and learning tohandle post production techniques likePhotoshop. How much quicker I couldhave got to where I am now i we'd haddigital cameras back then! Moreover, I'vespent a small ortune in cameraequipment and invested endless hours waiting or just one shot.Eventually, my passion or photography grew until it rivalled my love o fshing: ithas never quite matched it but it comesclose. Indeed, sometimes I am happy tospend time just taking pictures, not justfshing pictures. I love landscape, macroand nature photography. Yet I am neverhappier than when I am taking picturesthat involve water, fsh and fshermen. Whether you simply want to take bettercatch or trophy shots; ancy capturingsome scenic and action images; or maybeyou crave to make the jump intocapturing ultimate angling pictures, thisbook is or you.Cameras and camera phones are now astandard part o every angler'sequipment: not quite as important as arod and reel, maybe, but one o the must-have pieces o kit even or pleasure fshers. With the advent o digital technology,taking angling photographs has neverbeen easier - even your average mobilephone will take a pretty decent catchphotograph.
RIGH  As one salmon becomes ully airborne, a second  ish leaves the water underneath it. he venue is the powerul Eggossen waterall on the Gaula river, Norway. his shot was achieved by hanging over the waterall while itted with a mountaineering harness. 28-70mm lens at 43 mm, 1/1000th sec at F4, ISO 400.BELOW RIGH Big sunsets cry out or the silhouette treatment.iming and light play a huge role in the impact o the image. At any other time o the day, this image would lack impact but the blood red evening sky and the inclusion o the structure inthe image make it a classic.LEF Dawn has just broken at Cragwood on Lake Windermere. A lone pike angler makes his rst cast o the day rom an anchored boat. Mist shrouds the water as the sun climbs above the tree line to food the sky with brilliant, warm light.Tis shot is all about timing - ve minutes earlier and the pastel colours in the sky would be shrouded by mist, ve minutes later and the sunwould have burnt away the mist. Who would not want to be part o a scene like this? 165mm,1/750th sec at 5.6, ISO 200.
16 17
AN GI  N G ANDH OT O GAHY

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