BONEFISHING THRILLER

BONEFISHING THRILLER

By Roger Hutchings

My rod bucked, Bonefish Joe howled, the reel jabbered crazily as 20 meters pulled off and in the skinny water the force surged across the lagoon wrapping the fly-line round a coral outcrop. Coral is a razor, cuts a line like it were gossamer. Joe was in the water moving quickly to free the snag. “Get off the boat,’ he said, ‘you gotta walk through the reef.’’ I was charged with adrenalin, blaspheming, mildly hysterical. Instead of sliding prudently over the gunnel into the shallow water I sprang, catching my foot, pitching into a a bellyflop, winded but with the bucking rod held high like Excalibur. I struggled to my feet as the fish ran madly for some mangrove roots; peeling away the backing line, it turned towards the boat. I walked backwards winding in a frenzy to keep the line taut, then the fish switched tack and went hell for leather towards the deep. We sparred for what felt like 20 minutes but was likely10 until I drew it, spent, into the green meshes of Joe’s landing net. Hooting, he turned to congratulate me, ‘it’s a big bone, real good fish,’ he beamed, crushing my aching rod hand. ‘Aaaargh!’ I yelled, though I was grinning so broadly I looked like a half-wit. My fish weighed a decent 7½ lbs, but even a small bone (say 3lbs) is suprisingly powerful and exciting to play.

Bonefish live in tropical saltwater ranging over the shallow coastal strips called ‘flats’, that extend from the Florida Keys to the coasts of Mexico and Venezuela and even out to the shores of Christmas Island. The Bahamas, easily accessible from Miami or Fort Lauderdale, offer good fishing and provide all types of accommodation from spartan fishing camps on the remote islands to luxury hotels on the well known ones like Andros.

Fly fishing for bonefish has become popular among freshwater anglers, particularly trout fishermen in search of extreme thrills. The attractions are simple. Albula Vulpes is one of the fastest fish in sea or river (a trout, for instance, has a burst speed of 4-9 mph, a bone 22.5mph). It lives in crystal clear shallow water and thus can be stalked by sight, yet it is a tricky quarry with powers of invisibility. It is capricious, fastidious about fly patterns and wary. It has keen hearing, eyesight and sense of smell. The merest hint of danger - an awkward step or clumsy cast -will spook it. The tackle is familiar – usually a 9ft saltwater fly rod with a No 8 or 9 floating weight forward line, leaders with 8lb tippets and flies such as Crazy Charlie and Gotcha which imitate shrimps, clams and small crabs. If you suffer from the fishing bug to any degree, be warned: once you have hooked your first bonefish you will be addicted; that moment is electrifying . I first caught bonefish in 1999 at Acklins Island Bonefish Camp. This Bahamian island is considered remote and primitive and is untouched by tourism. There are no hotels and only one telephone at each end of the island. It is a scrubby little place, which looks like an open claw from the air; between the pincers, the Bight of Acklins spreads out, over 1000 square miles of bonefish-infested flats. The bi-weekly Bahamas-air flight from the capital is an occasion for the islanders. They congregate in the airport car park, reggae spills from open truck doors and windows, people chill under the Gonomolie trees or play dominoes in the bar. It pays to be relaxed because flights to the outer islands are erratic and often late or maybe do not come.

We were met at the airport and transported, perched on plastic garden chairs in the back of Amos’ red Chevvy pick-up truck, stopping importantly at the liquor store for whisky and vodka. Soon the road gave way to a dusty grit lane and we arrived at Lovely Bay, where the camp is situated. The accommodation is a newish bungalow, its front patio strewn with pink conch shells, a water pump mumbling at the rear. A man, our host, steps through the doorway to greet us, wild-eyed and unshaven, sunburnt and smothered in sandfly bites. ‘I hope you smoke.’he says. He is more Mr Kurtz than a European fly-fishing instructor – but three days later we all sport the same look. Red-faced, fly-bitten, unshaven. The flats are so exposed that you must wear protective clothing (preferably something which filters Ultra violet), total sun-block and a hat. The average fishing day lasts eight hours which is a long time to be exposed to sun, sea and wind.

The camp is clean and there is plenty of hot water. There is a bar and a pool table but that’s it. Barbie the cook serves typical Bahamian food: conch, fried chicken, barracuda steaks, corned beef hash. It’s a place for fishermen only, a non-angler would go bonkers within 24 hours.

The flats are reached by boat, small skiffs about 17 feet long, powered by 90 BHP Yamaha outboard motors and skippered by fishing guides. A guide is essential, he’s there to find fish for you and no matter how smart you think you are you’d be lost without him. He can see fish when all you can see are ripples. He will quickly assess your ability and work out what he has to do to give you a sporting chance of catching fish. (Although local knowledge is invaluable, it is essential to have a guide who understands flyfishing and the American or European psyche. The best guides in the Bahamas are trained at the Guides School on Andros Island. At Acklins I felt the guides, whilst knowledgeable about bonefish, were too uncommunicative and occasionally. SULLEN We were a pretty laid back bunch but I can imagine a group of brusque executives from Germany finding the guides nonchalance challenging while the heavy Bahamian/English patois can be hard for Europeans to grasp. Communication is vital when things have to be done quickly otherwise there are missed opportunities and frustration can set-in. ( If anything the fisherman must be an opportunist.)

By the end of my week I began to acclimatize and come to terms with the nature of the fish. My casting was pretty rusty which was a huge drawback as with bones there is only one shot. Two if you’re lucky. The guide points to a fish ‘10 o’clock, ten o’clock, shoot, shoot,’ and you must immediately make the cast, a little ahead of the fish. If you make a couple of false casts like a trout fisherman, the bones will be 20 meters away before your fly touches the water. If you need to brush up on your casting, practice before you go or the trip will be the most expensive casting lesson of your life.

The last day was the best, especially the afternoon. The blistering sun was low above Long Cay, throwing a blinding reflection onto the water. A school of bones was feeding hard following the ebb tide. We stalked them, bent like herons to the water, squinting into the light, wading stealthily. The shoal remained just out of casting distance, then stopped and started mudding, forked tailfins three inches out of the water, waving and rustling in the utter quiet. Chest thumping, I cast – a foot short. ‘Cast again,’ the guide urges, and this time it’s dead on. The fly sinks for three or four seconds, I strip the line, making the fly dart like an escaping shrimp, the line tightens. I’m into a fish, it moves away with that thrilling strength. A searing 40 metre run and the line bellies slack. The fish throws the hook. Neverthless I’m content, having already caught a beauty. Unlike some fishermen whose obsession is the number of fish caught the quality of the experience, the environment and the company matter as much to me. In Aklins both were excellent.

It’s nearly dark and time to return to the skiff before the tide drops too far. We roll aboard exhausted after 8 hours wading, the engine burbles and, beneath the lilac sky and a smiling crescent moon, the skiff makes for the settlement of Lovely Bay. A spotted eagle ray keeps pace alongside the boat. Gorgeously coloured its effortless speed is mesmerising. The essence of fishing is a sense of oneness with the wild that allows you to forget your cares leaving the mind balanced and peaceful.

A fishing guide hunting for a shoal of bonefish in the bight of Acklin

A fishing guide hunting for a shoal of bonefish in the bight of Acklin

8 Minutes Later - Reflections on a Life in Photography


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A Mild Case Of Hemingway

Across the open countryside

Into the walls of rain I ride,

It beats my cheek, drenches my knees,

But I am being what I please.

Thom Gunn


On my 21st birthday cousin Fiona, knowing that taking pictures was my enduring passion, presented me a book that changed my perception of the art and altered my destiny. The World Of Henri Cartier Bresson was a revelation of elegant, acutely observed, monochrome images depicting historic events qas well as intimate human interactions and published with Bresson’s essay explaining his ethos of photo-reporting. It was thrillingly different from the type of work I had been thinking about and making until then and confirmed my longing for  a photographer’s life.  But how? It was a dream. The gulf was too big between what I was and what I imagined one had to be to become a successful  photojournalist. I felt uncertainty as to how one could make a living, a caveat often voiced by sceptical friends when I raised the possibility. Therefore I trudged along a dull path completing a degree in Urban Land Administration and a couple of years as a Chartered Surveyor before reaching a turning point. My dream did not fade, it slumbered until in 1979 it woke with renewed intensity. I was disillusioned with the job I had and wanted the life I dreamed of so with a folio of documentary pictures made during the intervening years I applied to art colleges and was lucky to be offered a place at the celebrated School of Documentary Photography, Newport, Wales, a formative 2 year phase when my interest in politics and current affairs took root, where I discovered an aptitude for journalism and a gift for finding human interest stories and began a project called Thatcher’s Children about British society. I started getting work published in national magazines and newspapers and as soon as the course ended I moved to London and began ‘doing the rounds’ of the picture desks. I didn’t bother with the tabloid sector only broadsheets, magazines and organisations that used documentary photography. Although a few editors responded positively the first year was hand to mouth so much so that for a while I left London and worked as a photographer on a cruise ship using the opportunity to shoot stock pictures in every port we docked at, some of which were in Soviet Union, giving me an unusual set of images to show when I came back to England.

Before going to sea I’d established contacts at the Observer Newspaper and lunched with the picture editor when I returned. It was the start of a relationship that immersed me in a salon of noted photographers, reporters and correspondents, an environment brimful of eclectic influences that I soaked-up thereby gaining some much needed worldliness. Although nourishing at a key stage in my development a single newspaper could not be expected to support every project I wanted to document. I was shooting long photo-essays, smouldering news stories inspired by social trends that were costly to produce and too broad-ranging for the needs of a Sunday paper therefore I had to find other ways to advance my plans. It seemed the best solution was to join an international photo-agency because they syndicated pictures worldwide and through personal representation could introduce a photographer to new clients and markets making it viable to undertake more ambitious projects.  I approached different organisations but none of them suited me and I drifted from one agency to another until I was asked to join Network Photographers, a photo collective of like-minded practitioners dedicated to documentary storytelling. Towards the end of the 1980’s I was travelling all over the world chasing news and feature stories and building a solid reputation for distinctive work. There were always deadlines to be met but I tried to spend as much time as practical on every story getting a deeper insight into what was going on and following events as they unfolded. 

In 1989 -1990 the cold-war between the Soviet Bloc and Western powers was coming to an end spurred by Mikhail Gorbachev’s policies of glasnost and perestroika and growing nationalism in Eastern Bloc countries that had abandoned Marxist-Leninist governance. Symbolised by the fall of the Berlin Wall history and political geography in the East were being redefined. Photographers were in high demand to explore social conditions and change in places that had been off limits to western journalists for decades. I was constantly on assignment criss-crossing Eastern Europe, one moment photographing the Velvet Revolution in Prague, the next making a story about radiation poisoning and Uranium mining in Saxony, acid rain in Bohemia and landscape dereliction in Czechoslovakia.

Western news media was keen to celebrate the collapse of the Soviet Bloc and a wave of optimism swept Europe but it was soon blunted in 1991 by the outbreak of civil war in the former-Yugoslavia.  I had covered conflict before, troubles in Northern Ireland, civil war in Southern Sudan, turmoil in Haiti, Tamil Tiger insurrection in Sri Lanka, the first Gulf war and the overthrow of President Mengistu’s soviet backed regime in Ethiopia but Yugoslavia was warfare of greater magnitude, extremity and brutality. The Balkans cast a spell on many journalists in the way that Vietnam had for an earlier generation of correspondents. I found myself possessed by the story and addicted to being there. Over 4 years as the war ebbed and flowed I spent weeks in the country witnessing the bloody Moslem/Croat conflict in central Bosnia and the massacre at Ahmici. I went on to document life in besieged Sarajevo for two years, exodus from the UN designated safe-haven Srebrenica, the 1995 Summer/Autumn offensive across the Krajina and the uneasy peace that followed the Dayton Agreement in December that year. I was drawn to recounting history through the lives of people who inadvertently had become its pawns. Hence the theme of my work was about survival.  [ it explores the strategies used by people to psychologically and physically survive a siege ]. 

We don’t choose our passions or how long they last but as the conflict in Bosnia played out I realised that my desire to cover such harrowing news had faded. I felt emotionally exhausted, there was new trouble in neighbouring Kosovo but I decided to take my photography in a different direction. I had projects to finish, particularly work about the Kurds in South-East Turkey but within a year or two I was feeding the magazine market with my own ideas mostly quirky stories about English eccentricity and increasingly getting involved with fashion designers who liked my black and white reportage style. I carried this on work through the 00’s.

 

 In 2003 an anthology of my pictures ‘No Heroes’ was published following my earlier books, ’Bosnia’ ‘Berlin’ and ‘Backstage’ a collaboration with the Italian fashion designer Giorgio Armani.

By now I had been on the road as a working photographer for 30 years. While wondering what to do next I was offered a job as Senior Tutor in Photojournalism and Documentary Photography at the London College of Communication. I welcomed it as a chance to look back on my career and ponder the future.

In photography, no matter what latent talent a person has, there is no substitute for experience. The more you do, the more mistakes you make, the more you master your craft. It is sensible to treat failure as a friend that way it won’t happen again. It is only through shooting continuously that personal style develops. Shoot , edit , reflect. What has worked well? What has not? Gradually you incorporate the ideas that worked best into your way of photographing until you have created your own visual DNA. Individual style ensures the photographer will be noticed by potential clients.

 

My intention was to chronicle contemporary events. I was a photographer/historian or sometimes advocate of change. I wanted my pictures to grab peoples attention. To accomplish it the images had to amalgamate fact[ information] and form [ geometry ] to engage a viewer aesthetically and emphasize message, an understanding of the moment and its context. If carried out well such a photograph may become memorable evoking history as time passes.  Of course the camera needs to be in the hands of an informed observer who selects what to point the lens at and when to release the shutter. Without exception intelligent selection ergo good photography depends on knowledge and understanding of any chosen subject matter be it wildlife, architecture, fashion, landscape or news. Through research one can become relatively expert on almost any subject in quite a short time and thus an intelligent selector. It is a major step towards becoming a successful photographer assuming that you have also mastered your craft technically so that the camera is an instinctive extension of your mind and eye allowing you to respond spontaneously whenever you recognise something visually significant to what you are trying to say.

 

POSTSCRIPT:

From 2009 I moved away from my earlier way of photographing, from reportage.  I still wrestle to shape geometry and fact into an arresting document and to make pictures that seize attention but It is no longer a journalistic quest for truth, it is more playful and abstract but nevertheless a response to reality. Whatever the content, this small rectangle, the photograph remains a potent device through which to reflect on the world.

 

Roger Hutchings

October 2020

Published in The Big Photo Ezine December 2020