Behind The Camera, In Front Of The Mic

How long have you been shooting, and what is your favourite subject to shoot—scenics, socials, capture shots etc.?
“I got my first DSLR in 2010. It was my twenty-first birthday present from my parents. They wanted to give me something that would hopefully have a lasting effect—it’s safe to say that it was a good investment! I was studying video production at uni, so was only dabbling with the photography side of things for a year or so. I ended up pushing to do a photography-based dissertation, and I think I really started shooting from there, so in short, I have been shooting for around 10 or 11 years.

“I love shooting everything, whatever is in front of me and whatever unfolds, but mostly real-life stuff, nothing too posed or fake. Obviously with work, we have to set-up scenes and do some pretty posed shots for products and catalogues, but I much prefer just hiding in the background and rattling off something natural. The one subject that far outweighs all of this, though, is capture shots. Nothing gives me a bigger buzz behind the lens than doing shots of other people’s prized captures, especially those really special ones. I love it when the angler just goes to crap, becomes an emotional mess, is literally speechless and doesn’t know what to do with himself… everything in the shot is so real. Sometimes you get to see the anglers at the top of their Everest, and capture that moment for them forever. On top of this, I have also seen some incredible carp, and it’s humbling to sometimes be the one chosen to capture that moment.”

Do you have a preference: shooting stills or film?
“Tough one. The short answer, I guess, is no… I couldn’t just shoot one or the other. I love the feeling stills give you, and looking back on shots that can take you back to a time and a place. I get a real sense of pride when I look at shots that I am particularly fond of. The plus side, also, is that I find shooting stills much easier, logistically if nothing else—less kit, less margin for error and less pressure. There’s no audio or story to worry about, no capturing every detail of a sequence or stopping the angler every two minutes to get a shot, and then again, and again… ‘One more?’

“Film, however, I think I find more rewarding in the long run. I like the planning, the creating a story, the graft, and everything that comes with filming a fishing video… I think breaking it right down to the actual shots too, and sometimes I think, when shooting the film you can just get shots which are out of hand! Stills can blow you away. I always tend to say, though, that a still never does a sunrise, a carp or a scenic justice. How many times have you taken a photo of a sunrise and it’s just not as good as the real thing? Well, in film, I think there are occasions when looking back on a shot it’s better than you could remember it. Shoot a mega-tight, mega-slo-mo shot of a carp slurping down floaters and you see things your eyes would never spick up!”

Do you have a favourite time of year to shoot?
“Not particularly. I love the early mornings and lush landscapes of the spring and summer, with carp cruising around in the weed and potamogeton. Logistically, with the weather being better, it’s simpler too.

“In winter I love the mega sunrises and sunsets. Everything seems more impressive, especially the carp themselves, in their winter slumber.

“The atmosphere of autumn—big carp season! Variety is the spice of life, and the ever-changing seasons are what appeal to me the most.”

Who are your favourite angling photographers and why?
“There is so much good stuff out there now, and all at your fingertips too. Every day I find new photographers with such talent. I guess it’s hard to stand out too, in an industry so saturated. To have your photos appear different to the next guy’s is a real talent. A very good non-angler photographer friend of mine once said that I should try and shoot my fishing images without including the colours blue and green. I’ve never managed it, but it’s definitely been a piece of advice that I’ve always remembered. Always try to push the boundaries and see things in a different way.

“I think Marcel Panne’s underwater photography is incredible (@metalimnion), and he’s someone who has massively inspired me—I really want to give that a go. For me, obviously, the most magical thing about his images is that they are so different from everything else you see day to day. 

“I have always held Carl and Alex in high regard, both for their stills, and obviously for their video production, though particularly Alex for his stills—sorry Carl! He’s a real talent, and some of his photographs are breathtaking, especially his landscape and scenic shots… I think they’re the best in the industry! Don’t even get me started on his time-lapse photography… the kid is a joke!

“It goes without saying too, that there are so many others whose stuff I admire: Kev Wyatt, Gaz Fareham, Jorn Serré, Oli Davies, Tom Rossiter, Stephen ‘Curly’ Holdsworth, Matt Jackson, Rupert Whiteman, Dave Robinson, El Gray, Dan Wildbore… the list goes on. There are too many people, and I admire everyone’s stuff for different reasons.

“But those two guys above, Marcel, and Alex Smith, just resonate with me a little bit further!”

Could you talk us through your equipment?
“Stills-wise, I shoot on a Sony A7R II, with a range of Canon, Sigma and Sony lenses—to be honest, I’m forever changing and upgrading. For videos, I use everything from small Sony mirrorless cameras up to big Sony FS7s.”

Which is your favourite lens and why?
“The one in my hand! I’m really not very techie when it comes to photography and equipment. I go through phases of what I like to shoot on—it usually depends on the last lens I bought! I’ve used loads of nice lenses, but I guess the one I’ve probably used the most, and have also enjoyed using the most, is my Canon EF 70–200 F2.8. I love shooting catch shots on it. It’s a workhorse, incredibly reliable, and I love the outcome.

“But more than that, and going back to my first statement, Carl Smith first introduced me to the saying, ‘The best camera is the one that’s with you.’ Although I don’t want to sound pretentious, I think a lot of people worry that they don’t have cameras and lenses that cost thousands of pounds, and that means they cannot take good images. I always try and stress that no matter what kit you have, just get out there and shoot, and enjoy it whilst you’re doing it. Learn from your mistakes and keep striving to improve—a bit like fishing, I guess!”

For someone wanting to take their photography to the next level, which lens would you recommend?
“I’d say something pretty versatile. If they are going from a beginner’s stance, I’d say something like a 24–105mm or 24–70mm would be a good shout. These will help them learn what different focal lengths do, what the image will look like, and what effects these different ranges have on their final image. I don’t think they are the best lenses out there, but to really go to the next level and begin to understand the equipment, something with the versatility to experiment, I think, is a good choice.”

So what’s the secret to taking the perfect picture?
“Don’t ask me, I’ve not taken one! I don’t know if I ever will! Does it even exist? I guess, for me, taking a good, or a great image largely revolves around putting yourself in a situation where you can capture that image. It’s just like fishing: you’re not going to catch ’em at home!

“Take Marcel, for example, who I referenced earlier. He puts himself in a very unique position in order to ever have a chance of capturing those amazing images—he wouldn’t get those stills above the surface. Similarly, you need to have the camera with you when you’re standing in front of that sunset, that carp, that scene or whatever it might be you’re trying to shoot.

“I guess from there, especially in our industry, it’s imagination, and shooting something unique, something which is different from the norm: an alternative angle, a new composition or unique detail. Take catch shots, for example. I’ll rack off my ‘safe’ shots, but then I will always look around for cool or interesting ways to shoot them, climbing on walls to shoot from above, or framing the image through something interesting in the foreground.

“Above all, images that tell a story, those that capture emotion or just set out that scene differently to how it’s normally viewed, all make great images.”

How would you describe your photography style?
“Tough question! Adaptable? My job demands loads of different styles of photography, I guess, depending on what we are trying to achieve. For example, I know images that perform well on social media are bright, powerful and colourful, and anything that’s dark and dingy doesn’t bode too well!

“I think my favourite style, however, is the latter. I really like shooting early morning or in the fading light. I would say these are typically anglers’ favourite times to be out and about, and I think these shots convey so much atmosphere. Dark and moody lighting, strong silhouettes, or really contrasting strong shadows are definitely my favourite feel to an image. Looking back at photos like these just put me there, in that silent place before the world sleeps, or it wakes.”

What’s the strangest or scariest location you’ve shot at?
“Anywhere with Blair! In fairness, I don’t have any crazy stories. Obviously anything urban can keep you on edge, but I’ve never, ever had any issues—touch wood! One night, I was shooting with Jacob Worth. It was hot and no rain was forecast. We were about to turn in for the night, and so I flopped my Hide out and started to set it up. Being the carpy little so-and-so he is, he started to rib me for not sleeping under the stars. Surrounded by camera gear, I looked at him and said, ‘I ain’t laying sparko on the streets of London with £10,000s’ worth of camera equipment on the ground next to me!’

“To which he replied, ‘Oh yeah, good point!’ I might as well have given it away! But as I say, thankfully, I’ve had no issues.”

Where do you see the next five to ten years going in terms of documentation and filmmaking in angling?
“Hard to say. Typically, I think the fishing industry is just a few years behind everything else. It’s gone pretty ‘vloggy’ over the last few years, but even so, I don’t think anyone has truly done the YouTuber-style vlog to huge effect yet. Carl and Alex are really pushing into it properly now, but it’s something that’s happened for years on YouTube, especially the real selfie-style filming. I can see that becoming a huge part of people’s content. Everyone wants everything right now, all the time and at their fingertips… more content, more often, I think!” 

Do you have an all-time favourite shot, and if so, why do you love it so much?
“Usually the last one I took! Or maybe the last half-decent one! Although there are shots I look back on fondly, I don’t think I could ever pick a favourite. I’m usually pretty critical of my shots, more so, the older they become. Maybe, the more I’ve seen them, the more I pick out the flaws… maybe I’m always improving, so my older shots just look rubbish!

“What I do notice is, if I have taken some nice photos that week, is for a few days after that, I’ll look back on them and think, Yeah, that’s nice… that was a cool shoot, or, That was a cool place, especially, I guess, if it was doing something I enjoyed. In that sense, it’s the ones that take me back to that moment the most.

“Going further and really thinking about it, my favourite images aren’t the most technically brilliant or jaw-dropping shots at all… all my favourite ones, I think, are just of those unique situations or the ones that really take me back.

“If I had to choose only one, I think I’d go with one I took last year, purely for being in the right place at the right time. It was so insanely unique, it stands out! Technically, it definitely isn’t breathtaking, but we were shooting in the countryside at dawn, in a silent valley. Alan had been chasing carp with bread in the early morning light (shock!). The sun was rising behind me, and as I turned around, it had created a one-in-a-million scene! The sunlight was bursting through a small gap in the heavy tree-line, sending a beam of light to cut through the shadow like a spotlight! It was so pronounced and bold, I just shouted at Alan to put his rod down, and to go and sit in the beam and pretend to do something—if only we’d had a carp to photograph! I had only 60 to 90 seconds to rattle off a few shots before the sun moved too much and the scene went, but it was certainly a right-place–right-time shot!”

For a while, you were one of the faces of the Off The Hook podcast. Do you listen to many podcasts, and if so, have you any recommendations?
“Yes, loads! I’m in the motor a lot, and these days it’s only podcasts I listen to whilst I’m behind the wheel. Obviously now I’m not on them, I listen to the Nash one religiously. Hassan has smashed it these first six months, and some of the guests blow me away! Korda’s, Baitworks’, The Spodcast… I listen to them all!

“That Peter Crouch Podcast is hilarious; I love it! The first one I ever got into, and probably my favourite to date, is Athletico Mince by Andy Dawson and Bob Mortimer; it’s insanely weird and funny. I found one the other day which had me gripped called ‘The Witness’. It was a lad in witness protection telling his life story, which was crazy. I hugely recommend it! So yeah, a very varied taste, but like I say, I’m behind the wheel a lot, so need plenty to get me through!”

The one angler you’d love to interview, dead or alive, and why…
“Tom Banks… just to see if all the rumours are true, or just myth and legend.”

Any major cock-ups when it came to filming, or recording any of the podcasts you were involved with?
“Lots of cock-ups, but never anything major, I guess. I’d never recorded a podcast, and didn’t have a clue how to. It was a baptism of fire, and Alf and I just stumbled through one technical difficulty after another. We just threw ourselves into it. Having decided that we should start a podcast on the Monday, we recorded the first one on the Friday and just rolled with it. The biggest cock-up, I’d say, was struggling to keep up with them. We both have very busy full-time jobs, and so struggled to keep up with the regularity, but, as I say, nothing major… lost a couple, but always managed to get them back.”

If you weren’t Nash Tackle’s Media Director, what would you be doing right now?
“Certainly fishing more, and probably working less! Happiness has always been my number-one objective. I’m blessed to find that in what I do every day, which has led me to work hard and enjoy every minute of it, as much as if I were fishing. I can’t think of another job that would do this for me, in which case, I would probably spend more time fishing and less time on the day-to-day stuff… maybe something in video production? I’ve done other jobs and enjoyed them, but never anywhere near as much as what I do now. They still felt like work, and as I say, very luckily, this one doesn’t, really.”

Who was, or still is your mentor?
“I’ve had a few over the years. My mum and dad made me take a job when I was 12, which looking back, I think instilled a strong work ethic in me. Coming to Nash as a newbie, Winston, my manager then, was a huge talent, and I absorbed so much from him; I really can’t thank him enough. I learned a lot from Carl, too, just from being around him on shoots, and Kevin has obviously been a huge source of knowledge on the industry, and I have also learned from him.

“Above all, though, it has to be Alan. The guy has done more for me than he’ll perhaps ever know, and it’s him I have to thank for where I am today. Six years ago, I joined Nash as a fairly shy and inexperienced videographer. He’s always pushed me to work hard, grow and better myself. It’s got me to a place where I can go to work every day and be happy. We’ve spent a hell of a lot of time in each other’s company. He took me under his wing, showed me the ropes and taught me about the industry, business, Nash Tackle, the audience, fishing, and life in general, I guess. As much as we bicker, rip the crap out of each other and generally wind each other up, he’s definitely had a huge impact on my life. God, it pains me to say that… I can hear it now ‘Ooh, Alan!’”

Ambition or talent: which matters more to success?
“Depends what you deem as success, I guess. I think success is just being happy with the day-to-day stuff, and for me, that means doing what I do. And to get here, I’d say that it’s been ambition which has mattered more, 100 per cent!

“Both routes work, I suppose, but I think ambition has been my priority. As I mentioned earlier, I’ve never been overly techie. I don’t know the inner workings of camera X or camera Y, or what camera does what, what super-duper codec does what, or what colour profile is best for shooting on the moon! I am certainly not one of the best photographers or videographers at Nash, let alone in the industry! 

“My cheesy saying that has worked for me is, ‘Hard work beats talent when talent doesn’t work hard.’ That’s all I’ve done, just tried to work hard.”

Can you tell us about any exciting projects you and the guys at Nash are working on?
“It’s been a tough year with the old Rona, so nothing too mental! We have a couple of really exciting foreign trips on next year’s wish list. We’ll have a three-film series which I am very excited about, and which is currently underway. The first film’s been shot and is about to be edited, and we started shooting the second last week. I can honestly say I think it’s the most ridiculous carp lake I have ever been to in the UK! It’s definitely one that has never been seen!

“We have loads of crazy and entertaining ideas, and have some really unique filming planned for the next year or so, hopefully stuff that hasn’t really been seen before, but things change, plans fall through and sometimes the fish just don’t play ball, so we’ll just have to wait and see!”