STORY: Alistair Mcglashan
Photos: Alistair mcglashan, John Ashley, dean butler, glen booth,col roberts & tim simpson

I still remember the day I got the best shot I have ever taken. I was fishing off Sydney a few years back during a particularly hot striped marlin bite and with calm seas, heaps of fish and blue skies, it was a photographer's dream. I was certainly lapping it up and burning roll after roll of film. On this particular day I was fishing on Apple Pie with my old mate Iain Ross from Black Pete Marine. We were short-handed so I had to drive as well as taking photos, but on our third fish I convinced someone else to take the wheel and snuck down to the cockpit to capture the action. With the fish nearing the boat, I positioned myself near the transom in the hope of getting a jump shot of the fish on the leader. What happened next amazed us all.

Somehow we ended up with the boat engine out of gear. No-one was pulling on the leader, so the fish simply lay there. Knowing all too well that the fish was going to explode, I composed the frame just in time to see the fish launch out of the water. At the same time, our deckhand for the day, Murray, who was new to gamefishing, tentatively stepped onto the marlin board to tag the fish. The marlin, however, had other ideas and decide to meet Murray on the platform. Landing on the marlin board, the stripey squarely pinned Murray in the bum. I fired away, capturing the whole incident on film.

I never even realized just how good the shot was (if I might say so myself) until I got it processed the following day. Since then, the image has appeared all over the place thanks to its incredible uniqueness.

A lot of people have commented on how lucky I was to capture this amazing event on film. Although I am the first to admit that luck played a role, it is also true that I knew something might happen, I knew how to work my camera, and I was prepared - and these factors were the real keys to my success.

Fellow BlueWater photographer John Ashley scored a similarly impressive shot when a deckhand on a boat he was fishing was ripped over the gunwale. He agrees that both luck and skill contribute to a stunning image: "Sure, you have to be in the right spot at the right time - but more importantly you need to know how to read a situation and know how to take advantage of it," he says.

In other words: to get a great photo, you need to be ready for whatever may come along.

WHAT YOU NEED
The first step to getting good images is to use good gear.

Glen Booth has edited fishing magazines for more than two decades, and his advice to photgraphers is simple: "It is no different from fishing. If you were serious about marlin fishing you wouldn't use a cheap rod, and the same goes for photography. The more you spend, the better the pics you will get."

So, how much should you spend? Well, to give you an idea, I have roughly $15,000 tied up in camera gear, John Ashley has a similar investment and plenty of other photographers would have gear worth twice that amount - so hardware expenses certainly aren't chicken feed.

In reality though, unless you are a professional, you don't have to spend a fortune. Dean Butler, who is a legend in the fishing world as a specialised gamefishing guide, but who also happens to be a talented photographer, says that, "realistically, you should spend at least a couple of thousand to get yourself decent equipment, but with recent advancements in cameras even a $500 one can do the job."

BlueWater contributor Col Roberts, who has authored a number of pictorial books on fishing and landscapes, agrees: "Nothing will compensate for good equipment when it comes to photography. Most importantly it is your lenses that will make the shot super sharp."

Professionals will all agree that the most important consideration is the lens. Aim to spend roughly $1000 on the lens as a bare minimum. Do your homework and always buy the best gear you can afford.

Of course, Roberts adds that good gear is only the first step. "You may have the best camera gear available but it counts for little if you don't have it ready to take advantage of every opportunity," he says.

Buying the gear is one thing and learning to use it is another. Dean Butler's advice is to be creative: "Don't be afraid to experiment and try new things when you are on the water, because photography is about being creative. Try different angles and different settings to get a new perspective on your photography."

John Ashley takes a more structured approach: "The only thing I say is to read your instruction manual from cover to cover and learn how to use every feature on your camera."

Beyond this, formal study is not a prerequisite. When I started taking photographs for magazines, I asked Glen Booth if I should do a photography course to improve my images. His answer was simple and straightforward: "Don't waste your time with a course," he advised. "Instead, spend the bucks on a heap of film and then get out there and fire away. Believe me, you will quickly learn from your mistakes."

With recent advances in digital technology, Booth's statement rings truer than ever; it is the best advice I can pass on to budding photographers.

GRIP AND GRIN
The most common style of photograph we take is of the angler and the fish. Now as simple as this may seem, many of us still stuff it up, so here is a step by step guide to getting it right.

The best lens for the job is a wide-angle lens between 16 and 35mm, which allows you to get up close and personal with your subject.

" A wide-angle lens is particularly handy in the confines of a trailerboat," points out Col Roberts.

Technically speaking, you should have enough confidence in your gear that you don't just use the camera in auto mode. Instead select either TV mode or AV mode. TV mode gives the shutter priority, which allows you to set the shutter speed manually while the camera automatically varies the aperture accordingly. The AV mode is the opposite; it allows you to set the aperture, while the camera automatically changes the shutter speed to suit.

New BlueWater editor Tim Simpson echoes John Ashley's advice, emphasising the importance of understanding your camera. "It is essential you understand the relationship between these two settings if you want to achieve great pics," he says, "So go read the instruction manual!"

The great thing about photography is there are no precise rules. By varying your shutter speed to allow more or less light you can completely change the image.

" I like to keep the shot really crisp so as a general rule I prefer to shoot at around 1/250 of a second," suggests Col Roberts.

Personally, I like to shoot with a slower shutter speed, around 1/125, which helps to give me a bigger depth of field (more of the shot in focus). Basically there are no rules of right or wrong, and everyone has a personal style.

The first step to taking the perfect portrait is to take the photo as soon as the fish is in the boat. Alive and rich in colours, the fish will make a much more appealing subject as opposed to a dull and dead fish taken hours after the capture.

" Remember also to keep the fish clean, so there is no blood, and definitely no gaffs," adds fellow contributor Vic Levett.

The next step is to compose the shot. Since the fish and the angler are the subject, get in tight to fill the frame with them, not the surroundings. Don't make the angler and fish a tiny speck in the distance.

" This is one of the most common mistakes made in photography, yet so easily fixed," says Tim Simpson.
John Ashley advises: "Really take the time to set the shot up and, most importantly, utilise any natural light to help highlight your subject."

A slew of simple tricks of the trade can improve your photographs.

Get the angler to sit on the gunwale away from any shadows (including your own) and take the shot with the sun over your shoulder. If there are clouds, be patient and wait a few minutes till they clear. Don't take the shot with the sun behind the subject: the photographs will come out really dark because the camera will naturally compensate for excessive light in the background. The easiest way to rectify this problem is to turn the boat around and get the sun in the right position.

" Get the angler to wear a bright, single-coloured shirt. Avoid stripes or multi-coloured clothes since this will detract from the fish," recommends John Ashley.

Glen Booth offers this tip: "Always make sure the horizon is straight. A crooked horizon makes the whole shot appear out of whack."

Col Roberts suggests that budding photographers experiment a little. "Don't just hold the fish in one position: try turning it so that it is pointed towards or away from the camera." Check out Col's book, Fishing for Wild Images, to see how just a little angle will make an average shot awesome.

Finally, above all else, get your subject to smile. I never understand why there are photos of anglers posing with the biggest fish they will ever catch, but looking miserable.

Fishing is fun, so make sure your model is happy. An excited angler in a photo is just as infectious as one in real life and will quickly get everyone else excited.

One trick I use is to compose the shot and then say something to make the angler laugh. Alternatively, take one composed shot, then fire off a couple more when the subject is relaxed.

GET INTO THE ACTION
In my mind there is nothing more exciting or as challenging as sports photography and my absolute favourite is capturing jump shots like marlin. As Col Roberts says: "It's the Holy Grail of fishing photography."

Part of the attraction is that these shots are so hard to get - nothing is more rewarding in gamefishing than a shot of a marlin flying high!

The key to getting that perfect image is being ready. "Fish wait for no-one, so you need to have the camera ready to go at all times," points out Roberts.

Glen Booth agrees: "You can't be too prepared, because it happens so quickly. In the blink of an eye it is all over."

For this reason, many photographers find a motor drive is essential for fast action sports photography.

" The more shots you take, the better your chances of getting that good one are," says John Ashley. "Put simply, it is a numbers game, so fire away."

That's not to say you should give up if you don't have a motor drive. Some photographers have had to manage without them and lots of excellent shots have been taken with a single frame. Not having a motor drive just cuts down your chances, and requires you to anticipate the marlin's moves even more.

Using a faster shutter speed is essential. Because the shutter is only open for a split second, the film is only going to be exposed for a short period of time and therefore you need fast aperture lenses to compensate.
" These are expensive but worth their weight in gold," says John Ashley.

On the water it is really important that you read the fish's movements and as soon as the line starts angling up you are focusing in on that spot.

" This is a lot easier said than done," says John Ashley, "It really takes some practice. Even now, after decades of practice, I still misjudge a few."

One trick that can work is to zoom out a bit to give you a wider view, then zoom in as the fish appears. This techniques is great for blacks, especially small ones which jump a lot, but not so effective on high speed blue marlin.

Most anglers just shoot from the flybridge, because it is the driest place on the boat, but this isn't necessarily the best place to get those images.

" Get down onto the deck and into the action," says John Ashley, "And try and get the angler and the fish in the one shot."

However, getting those awesome shots has inherent problems as well.

" The more risks you take, the greater the chance of a disaster," Ashley adds. "I remember only too well the day before I had my first assignment for BlueWater when I drowned one of my cameras. It was a costly exercise that set me back five grand." The moral of the story? "Always weigh up your options, or get insurance!"

FILM OR DIGITAL?
This has to be the million dollar question at the moment. Many of the newer photographers have embraced the digital world with open arms, while members of the old school are a bit more wary.

To my mind, film still takes the best shots at present. Unless you are prepared to spend $10,000, digital cameras, as a whole, are very slow, which makes getting jump shots difficult, which is why photographers like John Ashley and Glen Booth are sticking with film for the moment.

Having said that, the digital world is moving extremely fast and it is only a matter of time before super fast SLR digital cameras are available at an affordable rate.

On the other hand, the advantage of digital cameras is that they allow you to view the image immediately. Believe me, there is nothing worse than waiting for days and days before you finally get to see your work.
Col Roberts has made the switch and is confident that the resolution on his Canon 1DS out-performs film: "When you get above eight mega pixels, film is no longer king."

The dangers of digital are common to technology: "In a storm, all of my digital images were lost from the computer. Luckily I had them all backed up to DVD and a second remote hard drive. Never rely on only one source," Roberts warns.

HANDY HINTS
" Different brands and models of film give different effects and colour balances. Use a film like Fuji Velvia 100 and the colours will be accentuated and the 'coldness' of the mostly blue tones will be 'warmed'," says Simpson.

Simpson urges new photographers to ask for advice at a professional camera store to get the right type of film for the purpose and subject, and suggests frequently using a fill-flash (in daytime) to brighten a picture and eliminate the shadows that are frequently found on boats and people wearing hats.

Glen Booth's hint is to "take heaps of film out with you and don't be stingy, and most importantly, always carry spare batteries."

Be aware of battery power levels, particularly if you are running a digital camera, as they tend to chew up power. Even though digital cameras don't use film, they still take up heaps of memory on your cards when you are shooting at maximum rating, so make sure you carry a few spare cards or download everything onto a laptop.

Protect your equipment from water and shock as best you can.

" Always use a filter on your lens, be it a skylight or a polariser, because if you scratch it, it is a lot cheaper to replace than the lens," says Vic Levett.

Always clean your lens with proper tissues bought from a camera shop: they are cheap and will do a much better job than normal tissues or, worse still, your shirt.

The salt environment is possibly the worst place on earth to take your cameras so you need to shield them.
" There is nothing better than a waterproof hard case like a Pelican case. They are expensive but they are a worthy investment that can take all sorts of punishment and protect your gear," says Glen Booth.

Despite precautions, you are going to get saltwater spray on your cameras. The best defence against corrosion is to simply wipe them down with a damp towel then dry them off at the end of each day.

YOUR OWN STYLE
The beauty of photography is that everyone sees the subject in a slightly different light. For example, John Ashley's high flying marlin images vary distinctly from mine as we each focus on different aspects. The same goes for Col Robert's beautiful scenic shots which are very different from, say, Glen Booth's images.

Photography is an art form that, in the fast-paced lifestyle of the modern world, allows us to capture a moment in time forever.

The desire to put down the rod and pick up the camera is half the battle. So, next time you are out on the water, grab your camera and start firing away. Who knows, maybe your photographs might even grace these pages some day...