Fly Casting Physics Explained

” It’s all quite simple, really… “

A=TLC Einstein logo

… and if you’re interested in more complex matters regarding fly casting (without the dreariness of physics) you can click the image for the Cobra’s complete fly casting archive or HERE  for a more pertinent selection of reference articles. enjoy !

the AnchorSwitch

yet another ingenious cast devised and performed by Lee Cummings

A method of switching from a down stream anchor spey cast to an upstream one Mid-Cast. This is done by repositioning the line ” and subsequent D loop” to the new delivery side by casting it behind you using rod tip movements similar to that of the Circle cast “but done directly overhead”. 
With practice this cast can be used in swirly winds such as those on the video or to not commit and quickly reposition mid-cast to a new target, a useful trait for a salt water angler… The line lay for the intial set up was that of an aerial double spey “which is a downstream wind cast”, the line was swapped to the upstream side, repositioning the line lay, then a D loop was formed on the upstream shoulder , just as if a Snap or Circle cast was initially performed….”

underlined are the key ‘why’ points to this cast. what’s not underlined is the fun part but you’ll have to try it out yourself to discover that aspect.
’nuff said, this is brilliant. enjoy !

and if you’re still hungry, click HERE for a whole display of previously featured groovy single-hand spey casts performed by Lee. woW…

my grandma would sometimes say “Boy, you need to go out back and yell a bit till it goes away ! “

little did she know she would have made a great casting coach…

Blooper-Loops

from buddy Roger Håkansson

far from being knee-slapping funny like watching drunks make fools of themselves or seeing puppies falling off of cliffs, this is as far as i know the first Fly Casting Bloopers video and as such i hope you’ll enjoy this historical moment !
on a practical side, fault analysis (specially other people’s faults… :mrgreen: ) are an important aspect in understanding how casting works and learning how to not make faults so, apart from “D’Ohing !”, the avid caster can always try to figure out what went wrong.
happy sunday folks, i’m off to (hopefully) tease some fish !

thoughts on the CCS system, combo feelings, The World of Death (things?), the soul, kicking loops, witchcraft

and a whole bunch of other things in this most insightful bit from my guitar thrashing/flyline flinging/yellowfish aficionado and buddy, Zoran Marinkovic.
the man’s got a point. what it is i’m not sure… enjoy ! :mrgreen:

“All that technical measurements and judgments represent only 49% of rod performances .

The rest of 51% belongs to out-comings  from achieved bond between Caster (suppose to be live thing ) and rod (suppose to be not exactly  alive) .

Once the rod wake up from The World of Death (things?)   , loops become alive as well , getting on the stage of system energy exchange  . 
And Hop -Miracle – all  these separate things become combo , exchanging the energy on  the same frequency levels .   

In the best case scenario, very good caster and very well matched rod for him -become ONE thing ,producing alive , kicking loops .

Now tell me is now that combo alive or dead thing ???

More ,does The Caster has right if he says  :”This rod has a soul , fuck the CCS’s and mesurements “

So, I think rod has a soul ,which  is pretending to be  dead before interaction with Caster , and before it becomes one nice and  alive  part of the combo .
With the soul . 

Such a Rod soul cannot be measured , the other part of combo  have to FEEL it – like a combo feeling  :???: 

One day , when scientists find a way to measure the feel and the soul, you will say: ” Fuck,  Zoran was damn right , he said that 345 years ago  !  :p  ”:laugh: 

But , it was not me , people said that 10.000 years a go , that everything has a soul, but it seems we forgot on  it …. …just a little bit .  ;) 

Marry Christmas and Happy New Year , the life has a beautiful soul ! 

disclaimer :
btw, I am not African Sangoma or Serbian  Witcher neither (as you might think reading this  fairytail story for Good Night”)   :closedeyes:  , but bloody M. Sc. in Chemical Engineering by education .

In total  49% of stupid Eng. and 51% of vintage and  rebel and  still curious Soul  :laugh:  :cool: ”

Grassing the Salmon !

here’s a little light-hearted, big bellied and strangely Pythonish spey casting tutorial by “Spey Casting is like making love to a difficult woman”  Mike Daunt* that’ll hopefully relieve a bit of this festive stress.
it’s really not worth going into what might or might not be valid or useful spey casting instruction, so, let’s just take it for what it is, a funny, tacky, bank-side 4 min 44 sec acid trip. sort of…enjoy !

* yes he really said that… :lol:

Muscle Memory, Chocolate, Sex and Fly Casting Games

“Muscle Memory has been used synonymously with motor learning, which is a form of procedural memory that involves consolidating a specific motor task into memory through repetition. When a movement is repeated over time, a long-term muscle memory is created for that task, eventually allowing it to be performed without conscious effort. This process decreases the need for attention and creates maximum efficiency within the motor and memory systems. Examples of muscle memory are found in many everyday activities that become automatic and improve with practice, such as fly casting, typing on a keyboard about fly casting, typing in a PIN number to buy a new fly line, ‘drawing with the rod tip’ to perform presentation casts, playing fly casting  games, or performing complex arm movements while attempting to explain fly casting physics.”

you got it, fly casting is just like sex or eating chocolate. you can talk and theorize about it all you want but you’re not going to get any good at it without practicing.
since it’s nice, sunny and warm today and i have instructor exam to prepare and i couldn’t think of a better way to get away from all this pre-holiday silliness i’ll be out doing all of the above.
if you’re in need of some fun casting practice inspiration, i definitely recommend Carlos Azpilicueta’s list of Casting Games.
to discover what the mess below is about and why it will make you a better fly caster/fisher, click the pic quick !
Carlos' Casting Games

Split the Cane

part 1 – some ranting
bamboo fly rods:
depending on where you mention those three words you’ll typically get reactions such as oooing and ahhhing and conversations will inevitably lead towards notions of purity, tradition, nobility and who knows what other hobnob sentimentality hastily shoved down your ears with very little regard to how they actually perform.
having had the great honor and opportunity to be invited to demonstrate casting at several Cane meetings and fairs and having the chance to try out hundreds of different rods, quite honestly most of them perform like something that’s better off staying on a wall and aesthetically speaking, a good portion of them would be an insult to the wall.
the dismal truth is the vast majority of cane builders i’ve met are poor casters and thrive on outdated notions. i’m not saying that every builder should be as anal about fly casting as i am myself but i’d expect them to at least have descent control of the line and produce consistent loops regardless of their style. among others, i’d also expect them to understand that a fly rod is not a spring and that slow actions do not result in a more ‘relaxed’ way to cast.
like most, i can try out a rod and decide for myself but i find it extremely difficult to respect the opinion of a rod builder that doesn’t even understand how a rod functions and doesn’t know how to use the tool they made themselves.

part 2 – the good part, some praising !
friend and FFF certified casting instructor colleague Christian Strixner based near Munich is on the other hand, one of the rare cane rod builders who knows how to combine the essential qualities of both a finely tuned casting/fishing tool while being a beautiful high performance piece of art.  
(rods that would put to shame the finest of walls :mrgreen:  )
at first glance we’re struck with their exquisite aesthete but when we pick one up for a cast the real magic happens.
and that my friends is something to realy oooo and ahhh about…

for more info on Christian’s rods visit his site Split the Cane. enjoy !

Distance Fly Casting: Two very different styles

with very similar results.

here’s Fredrik Hedman and Stefan Siikavaara, both cool guys, Swedish and two of the better fly distance competitors in the world. as you can see, there’s a heck of a lot of training and thought behind each one’s style.
Fredrik Hedman & Stefan Siikavaara - tLC 'friendly faces'
that night Stefan topped at 35,6m  (124+ ft) in the very muggy Boson sports arena near Stockholm and Fredrik  at 35,9m setting a new indoor swedish record despite the humid air. extremely-very impressive !

related articles

Rubbing it Raw.

as a continuation of the mini series: Rod Builders (And why they’re so Dorky), this one’s about line friction and 70′s style porn-flick music.

as far as fly casting goes, line friction through the rod guides is both a bad and a good thing.
bad, because it simply has to slow down our thick and heavy fly lines (compared to monofilament) while fast casting and shooting line.
good, because and in the case of shooting line for the delivery cast, if the caster doesn’t have perfect control of rod and line, the rod leg of the loop (the part of the line between the rod tip and loop face) will often develop slack in the form of waves and this leads to poor turnover and results in what can be considered “a long range Pile cast”. at best.
what we see in the video is that a full ceramic ring lets the line slide optimally and creates virtually no line friction wear. in an ideal world all our rod rings would be fully equipped from tip to butt with similar rings, specially when we consider our thick and heavy fly lines and how we would benefit from this a lot more than the spinning rod/lure types, BUT ! even though line glide and line wear might be orgasmic, the added weight of these rings makes for a rod that feels like crap to cast and a likely increase of rod rebound which makes even more waves in the rod leg. until someone develops rings that will have a combined effect of the ceramics and the lightness of our standard fly rod rings we’ll be stuck with the latter. yet another case of ‘deal with it’…

anyway, we’ll note that in the video the mono is slid back and forth at an angle that would never be used in a fishing situation and as such, i believe it better to appreciate it’s all-around surreal aspect and of let yourself  be inspired by the music… enjoy !

No left, No right. -fly casting with the non-dominant hand-

via hooked4lifeca, casts performed by Peter Charles

here’s a very nice casting drill to learn to cast with the non-dominant hand.
although not the ultimate solution for every caster, i particularly like the idea of trying to remove the thinking process as the “Now let’s see, what should i be doing with this dumb arm ?” can very often build up a wall when the idea is to tear it away.
indeed, unless a person has reduced motor capabilities, i’m firmly convinced that most anglers can cast just as well with either hand once they’ve realized that it’s just a mind-frame that’s holding them back. sure, anything’s possible but i’ve never heard of someone sticking a fork into their eye or ear when eating with the non-dominant hand !

primarily geared towards the double-hand rod and being comfortable in interchanging the top hand from the usual right to left hand or vice-versa, this drill is equally effective for the single-hand rod user as rolls and speys are a very good way (if not the best, imo) to learn the fundamentals of fly casting.
note that the drill increases in speed, further reducing the time to include confusing thoughts…

“Learning to cast with our non-dominant hand up can be a real challenge. I’ve found that trying to think our way through the cast, rather than just letting it go, causes much of the problem. This drill is designed to build muscle memory and making the non-dominant hand up cast, automatic.
The video was shot in a howling wind from an awkward casting position, which created some challenges, but it serves to show that the drill can be done anywhere a Spey cast can be made.”

if your interested in increasing your non-dominant hand’s capabilities, apart from pantomiming the moves or using just a rod butt section at home or work, here’s a few more non-casting activities to keep you busy (or amused !)
- brushing your teeth or any other bathroom activities. :mrgreen:
- using your computer mouse or trackpad.
- throwing and catching a ball.
- use your imagination to add to the list and if you’re really curious and want to find out which actions you automatically do with your dominant hand (we tend to take these things for granted or rather, thoughtlessly as they’ve become automatic through repetition)  you could always wear a boxing glove or oven mitt around the house for a while…

a roll cast tool

courtesy of Mike Heritage

one of the most ingenious casting practice tools i’ve seen, this one’s not only perfect to practice roll casting but accuracy as well since the fluff needs to be in the bottom of the tool to do the former ! another bonus is we don’t need an assistant (my experience is assistants get bored after two-three casts, run away as fast as they can walk away and never come back… ) or to be walking back and forth to replace the fluff after every cast as with some other devices.

also, whether performed with a single or double handed rod, since all spey casts are concluded with a roll, this tool will be a great asset to work on this part of the cast.
don’t go searching for a place to buy it as it’s not sold but luckily, a little steel wire and some elbow grease is all that’s needed to build your own. enjoy !

tip- you might want to slightly increase the size/volume of your fluff-fly so it doesn’t pull out of the groove before the completion of the cast.

The Five Essentials of Fly Casting

via ‘The Loop’ / Federation of Fly Fishers – a reprint of the FFF booklet ‘The Essentials of Fly Casting’

written by Bill and Jay Gammel, the ‘Five’ are as far as i know, the first serious document on fly casting mechanics.
it is indeed geared towards the Overhead/Vertical style of casting but i can’t think of any other style where these five basic elements don’t apply.
knowing them and continually studying how they work together will not only bear precise line control but eventually lead to the understanding of how to purposely deviate from the Essentials and apply them to the real nitty-gritty of fly presentation: Presentation Casts.
i like to make the analogy of the Essentials to that of music study. once one has understood the mechanics of score, tone, rhythm, form and harmony they can go on and improvise freely . (and as a bonus, without having to think about it. it just ‘happens’)


“Through many years of studying modern fly casting instruction, we have identified what we believe to be the five essential elements of fly casting. Each essential element will be explained and the visual recognition of both a good and a bad cast will be discussed. Comparisons of the best fly casters in the country have shown that styles of casting are unique to each caster. However, the five essentials discussed in this booklet represent the common thread that ties all good casters together. If all of the following essentials are properly executed, good casting will be the result; if all the essentials are not correctly performed, you cannot be a complete caster.”

The Five Essentials are as follows:

1. There must be a pause at the end of each stroke which varies in duration with the amount of line beyond the rod tip.

In all types of casting, a weight is used to provide resistance against which the rod is bent to store energy for the cast. In plug or spin casting, it is the weight of the lure which bends the rod. This weight is concentrated in a relatively small lure which hangs a short distance below the rod tip. After making a back cast with such a lure, no pause is necessary before starting forward with the rod. Conversely, in fly casting it is the weight of the fly line which bends or loads the rod, and this weight may be distributed over ten, thirty, or even fifty feet of line. Because this line must be straight in order to properly load the fly rod a pause, which varies in duration with the amount of line beyond the rod tip, is essential to allow the line to straighten. (See Figures 1a and 1b). If the line does not straighten between the back and the forward cast, the potential casting weight of the line is reduced and the rod will not load properly. This will cause a weak, sloppy cast, or in extreme cases the loop will collapse.


Figure 1a. This short line is completely straight and is ready to be cast forward.

In order to achieve the correct amount of pause on the back cast, some instructors advocate watching every back cast. Certainly, it is appropriate to watch the back cast occasionally. However, we strongly recommend that the caster not watch every back cast. We have found there are problems associated with watching all of the back casts that are more difficult to correct than any slight problem with timing. As long as the line length is constant, the pause on the back cast is the same as the pause on the forward cast. If the caster keeps this in mind, he will learn to time the back cast pause simply by keeping it the same as the forward cast pause. The correct pause is essential for successful casting and therefore should be practiced from the beginning. You must also remember that the rod does not have to be motionless at the end of the back cast. Some casters advocate using a backward drift while others leave the rod stationary. Either style is fine as long as the rod does not drift forward before the line is straight. This is called creep, and is a common mistake which wastes valuable stroke length that cannot be regained without causing the rod to unload prematurely.


Figure 1b. With a longer line, the pause must be longer.

2. Slack line should be kept to an absolute minimum

To apply power to the cast, the line must be anchored either with the rod hand against the handle or more commonly in the line hand (the hand not holding the rod). If the line is not anchored, the line and rod will slide relative to one another and will keep the rod from bending or loading. Even though the line is anchored, slack may still be present and needs to be removed before the next cast is made. Slack in the casting system causes the caster to waste some of the casting stroke removing slack, without properly loading the rod or moving the fly. If there is no slack in the casting system the fly will move as soon as the rod tip moves. There are many causes of slack. A few of the more common ones are: movement of the fly line by outside forces such as water or wind, starting the cast with the rod tip too high, rough, jerky application of power, and poor timing between the back and forward cast. The most common cause of slack which many casters overlook, is the belly of slack that forms between the rod tip and the water when starting the cast from a position with the rod tip high in the air. This is illustrated in Figure 2. To prevent this from happening, start a cast with the rod tip pointing at the water. This allows you to start with the most efficient back cast.


Figure 2. Incorrect rod position, a common cause of slack line overlooked by most casters.

3. In order to form the most efficient, least air resistant loops, and to direct the energy of a fly cast toward a specific target, the caster must move the rod tip in a straight line.

Because the fly line must follow the rod tip, the straight line movement of the rod tip is the only way a fly caster can form a straight line cast. This is true for both the vertical and horizontal planes. In the vertical plane there are three common paths that the rod tip can follow. It can travel a straight line from one end of the casting stroke to the other, which is how a properly shaped loop is formed. It can travel through a convex path (one that is higher in the middle of the path than on either end) and the loop will be wide or fat. If the rod tip travels in a concave path (the tip is lower in the middle of the path than on either end), the loop will tail or cross. These loops, and the rod tip paths which produce them, are displayed in Figures 3a, 3b and 3c. the rod must also move in a straight line horizontally, without right or left deviations. A rod tip path that slices to the right will cause the line to curve to the right, while a rod tip path that hooks to the left causes the line to curve to the left. The most efficient way to make sure the rod tip moves in a straight line in the horizontal plane is to pick a target and make sure the line always moves straight away from the target on the back cast and directly at the target on the forward cast. To ensure the rod tip moves in a straight line in the vertical plane, you must combine the correct stroke length with the correct application of power. For instance, if you are having trouble with wide loops, either the stroke is too long or not enough power is being applied. Sometimes both errors are made. To correct this problem either the stroke must be shortened or more power must be applied.
Sometimes both errors are made. To correct this problem either the stroke must be shortened or more power must be applied. Sometimes both corrections are necessary. Stroke length is the first possibility to consider. If you are getting crossed or tailing loops, the stroke length is probably too short or the power is applied in a jerky, uneven manner, or possibly both faults exist. In this instance, the fault is probably with the application of power. Make every effort to apply power as described in essential five. The stroke may need to be lengthened if applying power correctly does not solve the problem.


Figure 3a. A good loop and the straight line rod tip path which produces it.


Figure 3b. A wide loop and the convex rod tip path which produces it.


Figure 3c. A tailing loop and the concave rod tip path which produces it.

4. The length of the stroke must vary with the amount of line past the rod tip.

If you are casting a short line you will need a short stroke to move the rod tip along a straight line. If you are casting a longer line the extra weight causes the rod to bend much deeper, and a longer stroke is necessary to keep the rod tip moving in a straight line. This is where the problem of creep arises. If the rod is allowed to creep forward there will not be enough stroke length to properly load the rod for a long cast. This is a common problem when lengthening the stroke for a long distance cast.


Figure 4a. Short line, short stroke.


Figure 4b. Longer line, longer stroke.

5. Power must be applied in the proper amount at the proper place in the stroke.

The amount of power needed for each cast is influenced by a number of factors including the amount of line to be false cast, the total length of the cast, wind direction, the weight of the line and rod and the type of cast to be made. As shown in figure 5, the majority of this power should be applied after the rod has reached a position perpendicular to the plane of the cast. In other words, the power should be applied slowly at first, gradually increasing to a peak at the end of the stroke. There should be a crisp stop at the end of the casting stroke forcing the fly rod to come out of its bend. As the rod straightens or unloads a loop is formed.


Figure 5. A to B, power is increasing; B to C, power is greatest; D is the end of the stroke.

These are the five essentials of good fly casting. these essentials will enable you to achieve the proper loading and unloading of the rod, which should be the goal of all good fly casting. The correct loading and unloading of the rod allows you to first store energy in the rod and then transmit it to the fly line. Letting the rod work for you in this manner is the most efficient way to cast a fly.

Loops versus Coils

a while back i’d posted this managing running line video

and as the dozens of questions i got by email said, “what the heck is he doing ? we can’t see !”

after a lot of searching i finally found this ‘loops vs coils’ video below that will hopefully clear things up. as we see and is well explained, it’s simply a matter of alternating palm-up to palm-down which places loops on both sides of the retrieving hand instead of around the fingers.
smart and simple, this is one to practice at home before heading out to the water because as we all know, the fish waits for the angler to f’up to grab the fly…. ;-)  enjoy !

“A woman who was born to fly cast”

you guessed correctly, it’s Joan Salvato Wulff.
i can’t get enough of this lady…  and here’s a little treat for us. briefly recalling her life and achievements, this little video is here to remind us of her influence to the fly fishing world and how this influence has equally reached women, children and men, something we can all be thankful for.
sadly, there’s quite a few dead fish in the film but let’s just say that Joan’s casting attributes make it worthwhile. enjoy !

Gram to Grain chart

here’s something useful for those trying to make sense of fly line weights.
not exclusive to, but of particular use for the double-hand casters, here’s a quick reference chart that avoids finding a calculator and even worse, finding out what in the heck a Grain is and what it refers to in the real world…
feel free to lift the chart and save it somewhere in your files. hopefully this will prevent a few headaches !

Bendy vs Stiffy – a study of fly rod action and casting mechanics

“My experience is that for a given line length (and weight) the caster uses almost the same stroke regardless of the action of the rod. Different rods certainly “feel different” but there is little or no “adjustment to or matching of  the stroke” going on.”
~ Grunde Løvoll

how many times have we heard or read that we need to change the casting stroke depending on a rod’s action ?
the typical explanation given is, for a slower rod we’ll use a slower stroke and a faster stroke with a faster rod.
well, this happens to be incorrect and is a classic example so common in the fly casting world where ‘what we think we do and what actually happens’ don’t meet up.

as we’ll see below, Lasse Karlsson has taped two very different rods together to cast them at the same time. simultaneous loop formation, loop shape and loop speed are very-very similar with both rods.
if it weren’t for the excessive counter-flex/rebound (and it’s resultant waves of the rod leg of the fly line) produced from the slower rod’s heavier tip  it would be extremely difficult to determine which line is which.
there is no adjustment of the casting stroke to achieve these equal results.


for the tech geeks, here’s the equipment info from the video-

“Two rods cast at the same time, same line on both, and same line length.
Bendy rod: Berkley Grayphite 8 feet 5/6
Stiff rod: Sage TCX 690
Line Rio tournament Gold 5 weight
To make up for the difference in length, the rods where taped together so the tips where aligned.
The berkley rod is 75% glassfiber and 25% graphite, has an IP of 97 grams and a AA of 65 (so really according to CCS it’s fast ;-) ) and a MOI of 76
The sage is full graphite, has an IP of 167 grams, an AA of 74 and a MOI of 70

Several things to learn about tackle here.”

and one of them is that a lot of ‘experts’, many rod designers and people in the tackle industry just blindly repeat what they’ve heard without giving it any thought and don’t seem to try these things out on their own, specially when they’re so simple to observe.
thank goodness for people like Lasse, Aitor, Grunde, Paul and a host of others who don’t live in a box.

EDIT: someone asked what would happen if there was more line out of the rod tip and Lasse shared a variant of the first test, this time extending line whilst double-hauling.
the quick answer is: nothing different than if it had been done with only one rod/line. the casting stroke widens, the pause lengthens and every other aspect of a basic cast remains the same.
see for yourself.

related articles

Sensorsex Test with Two Sensors

here in the south of France we need to find good ways to keep both our minds and bodies busy during the long-long winters and one of the best ways to accomplish this is the all new Sensorsex Test with Two Sensors.
far from being some cheap gadget, the SsTwTS wonderfully accomplishes several (at least two) functions and does all of them wonderfully !

it keeps your casting arm in prime shape, ready to go on opening day and as a sideline, the sensor thingy transmits information to a computer and gives graphs and such about rod rotation, tracking, speed, translation and who knows what else all in the interest of studying fly casting mechanics and physics but that’s not important because it’s main function is that it fills your house with weird funk-like tunes from some bad ’70′s flick, something we all need on a regular basis but generally speaking, lack.

it’s creator, Tom Reidar Syversen A.K.A. SuperRattus from Norway tells me that it also sends ‘sexy feeling’ waves through the arm that spread throughout the whole body putting the user in a state of prime fly-flicking condition and awareness.
for the moment, and after some less than extensive testing, i haven’t felt these but he affirms that this happens when the wrist is well conditioned. “It’s a long winter, you know… “

soon to be on sale in the upcoming Limp Cobra Boutique, don’t hesitate to give a call to reserve your plug and play SsTwTS today !

the Snap-Snatch cast

by Tim Rajeff

another groovy casting tip from Tim: the Check Your Fly snap or what i’ve been calling the Snap-Snatch. a quick in, quick out solution to not only check knots and hook point sharpness but also to change flies. fast, efficient and fun, it’s all good.
tip: just as Tim does, reach for and catch the tippet instead of the fly. tippets don’t have sharp hook points !
(and of course wear glasses !!! )

behind the scenes

just a little note to say that i’ve been starting to fill up the ‘Friendly Faces’ album
 and adding 44 article links in the ‘Fly Casting’ section in the Reference Articles section of each page’s top bar. this section can be used to quickly find what i find to be the more relevant articles of each subject.
it’s a long, tedious yet fun process trying to organize things so they’ll fill up over time.
i hope you enjoy.

Lefty Kreh has Aids

adding to the ‘Fly Casting Instruction Analysis‘ series, here’s yet another example of what i consider poor casting instruction. it’s not that it doesn’t or cannot work because his method is used by many and i guess they’re happy, it’s the definitive ‘you must’ tone used to imply that his style is best. it isn’t and it can’t be because of it’s rigid structure and how it’s taught.

here’s why-

foot stance- beyond the obvious that very often we don’t even have a choice as to how our feet are positioned, (meaning that to be able to cast and fish efficiently without it being a chore or just to make it possible, we’ll need to learn to cast and fish in different positions.) Kreh would have us believe that there’s only one valid casting foot stance and his manner suggests that any other method is less efficient or a fault. he does point out the possibility of using a ‘squared’ or ‘closed’ stance but they’re referred to negatively when i fact each one has it’s advantages and disadvantages, furthering the notion that no one stance is better than another.
what he’s teaching is style and not substance but he’s treating it as substance.

thumb placement- i’ve already explained here why i believe the thumb-on-top grip is the least interesting grip to use but as also noted, there’s nothing wrong with it when we overcome it’s shortcomings, but once again, the person interested in developing their capabilities will include other grips to their repertoire.
wrist control- interestingly, twisting the wrist along the forearm’s axis is most prominent when side-casting, exactly what he’s teaching with the elbow-always-on-the-board method.
take away the board and we’re left with a much greater cause of improper wrist control: flexion.
take away the thumb-on-top grip and very often the excessive flexion disappears. interesting indeed.
as a side note and although not so easy to see, if we pay attention we’ll notice that he does indeed twist his wrist a little while casting. this doesn’t really fit in well with the explanations given. also, starting the cast with a high rod tip and it’s resultant slack in the loops doesn’t fit in with what i would describe as demonstrating a style very well either but i guess that’s not part of this style.
anyhow, again, what he’s teaching is style and not substance but he’s treating it as substance.

i’ll add a personal note here - reel weight and it’s effect on grip. (regardless of grip style)
if we believe that the reel should be in a fixed position relative to the arm’s movements we’ll need to apply more force on the rod grip to keep the reel in plane when we should be doing exactly the opposite: relaxing our grip as much as possible throughout the cast. as a reminder and generally speaking, the only time we should be tightening the grip is during the ‘stop’ sequence.

the shelf- wow, this is the big one that really demonstrates the narrow-minded rigidity of this method.
to achieve SLP (Straight Line Path of the rod tip), the elbow needs to be at first extended away from the body at the beginning of the stroke, then brought towards the body towards the middle of the stroke and then back out at the end. the board method indeed does this but why should the elbow remain on the same plane off to our side ?
how can we stay on the board while casting over the shoulder ?
what about roll casts and Speys ?
what happens if we don’t have a board ?
and more importantly, won’t i get splinters all over my arm by doing this ?!

in Jason Borger’s ‘Foundation Casting Stroke’ we have the exact same elbow out-in-out method but it’s free to move around on any plane. for vertical casting i often describe this elbow movement as ‘picking up the phone’, what Kreh teaches us is to ‘throw it away’… :mrgreen:
as for the “mental shelf”  i’ll just reverently bow to his creative imagination…
once again, what he’s teaching is style and not substance but he’s treating it as substance.

what this all points to is he has a method of teaching based solely on reinforcing the validity of his own method with the exclusion of others.
a good teacher observes the pupil and adapts to their needs and physical abilities and not the other way around.
a good teacher, while having his/her own preferred methods knows different methods and knows how to pick parts from one or another and combine them to suit the student’s needs. rigid teaching doesn’t leave this possibility.
a good teacher learns how to apply ‘band-aid quick fixes’ but doesn’t model their method around them.
a good teacher knows how to exclude his own ego from the lesson.

to sum things up, Kreh may have aids but i don’t find them very helpful.

Carlos

as in Carlos Azpilicueta

one of my favorite casting images, this one was taken several years back in the Spanish Basque region during a course with the Master. i often look at this image as it demonstrates power, flexibility, agility, synchronicity and grace and is a constant reminder what great casting form is all about.

as a bonus, the gigantic wall of hay bales in the background make it unique. i’ve often wondered how many thousands of mice must have lived there…

mudskipping !

interestingly, i get very few ‘comments’ when out practicing casts on a public field but we’ve all heard the common “catch anything  ?’” or the slightly less stupid ”there aren’t any fish there, mate” from passer-bys usually sporting a number on their fluorescent jersey, a shit-eating grin and holding a big can of cheap beer in one hand and a bag full of air in the other…
my typical reply to the first would be something along the lines of “only dumb comments” and “thanks for the tip, but i just saw a whole bunch of rises behind those blades” for the latter, but now thanks to National Graphic and their continued interest and devotion towards the fly casting community we can simply reply “MudSkippers ! “,  further avoiding clashes, blood and grass stains, having to remove carbon-fibre shards from their twitching bodies and more importantly, being able to stay concentrated on our practice session all the while leaving the sport-types in a state of awe and wonderment.

the Shadow Cast

have you ever wondered how this happened ?

taken from the oh so famous ‘A River Runs Through It’ movie poster, here’s a very good example of multi-dimensional casting.

devised by Jason Borger as a visual rendition of Norman Maclean’s description “…cast hard and low upstream, skimming the water with the fly but never letting it touch. Then he would pivot, reverse his line in a great oval above his head, and drive his line low and hard downstream, again, skimming the water with his fly “  therefore creating the illusion of a bug hatch to a more than gullible fish !
(i personally believe this cast and it’s incessant ‘Shadowing‘ of the poor unexpecting fishes put them in hypnoïdal-halucinogetic fit and the only reason they ever got hooked was their mouths where slack-jawed, drooling with bliss and the fly managed to snag them on it’s merry ‘low and hard driving’ way, but then again, it’s just a personal theory).

thing is, in the movie itself, us casting geeks are left with a yuk aftertaste because we can’t even properly see the whole cast and as far as i’m concerned, sitting through an hour and a half of shmultz (yeah, shmultz. sorry) to see and try to analyze this cast in just a few brief, very edited micro-flashes just doesn’t do it !
now, thanks to this groovy  gif  we get to see the mechanical motion sequence over and over (me jaw’s slackin’ from staring at it !…. :cool: )  finally putting Norm’s poetic description to good use !
the word sequence is off or at least confusing, the ‘Galway’ part starts after the initial over-head cast, it’s the reversal of the grip that goes throughout the whole back-cast, but the motions are correct. ( i think)


sure, the Shadow Cast is more of an exercise in style and aesthetics than one of hard-core use on the water and that’s just fine because fly casting should be pretty and sexy. after all, Jason in his seminal book ‘Nature of Fly Casting’ describes it as: ” It is not how many fish you catch, it is how good you look doing it. Well, maybe for the movies. “
what Jason carefully omitted in that statement is that creative sexy casting leads to a lot of stream-side fun that has nothing to do with fishing…

i know full well most fly anglers aren’t in the least bit interested in casting or heaven forbid, including anything that might be considered creative  so, for all those that like it plain, simple, wishy-washy old-school and boring, i’m sure you’ll rock on this… :mrgreen:

brainwashem’ young- Angelica

from poppa Tobbe Hedin whom we saw demonstrating the Bubble Spey yesterday.

” 12 years old Angelica is doing a C-Spey cast “
and a fine one at that ! what a joy to see, you’ve got a fine teacher Miss A !

The Bubble Spey

from  Swedish buddy Tobbe Hedin

” an upstream Snake Roll followed by a sweep Poke “ and a perfect example of how a creative caster will mix and match different cast elements to meet the demands of the moment.
the kind of thing that doesn’t happen (read can’t) to those that don’t prepare in advance and practice … :wink:

you old fuckers !

a short extract from Essence of Fly Casting II by Mel Krieger

what can you say about someone who managed to insult old farts and successfully convey the message across in such a charming manner ?
we can now say that to “get the line out” we’ll need to do a bit more than just ‘stop’ the rod, but the image is a good and lasting one and one that works.
this little clip has always been one of my favorites. thanks Mel.

Basic SPEY & Two Handed Fly Rod Casting

by Jim Vincent with Simon Gawesworth

a great blast from the not so far past thanks to Fresh Waters Journal.


click the pic for the complete booklet in pdf form and maybe we can turn this into a little challenge for the astute and see if there have been any changes in explanations and descriptions in contemporary spey casting instruction ? enjoy !

A. K. Best’s Casting Techniques

via MidCurrent

” IT USUALLY TAKES ME three or four casts to finally put the fly over the fish where I’d like it to land. But I’m a believer in presenting the first few casts to a spot that will be at least a foot or two to my side of the fish. If the fish is really hungry, it’ll often charge over to grab the fly. If it doesn’t, I can gradually work the fly in closer to the fish’s holding spot and get better floats as I adjust the angle of my casting arm and the power of the cast for more dramatic left hooks. “

no “I’ll just fling it out haphazardly and see what happens” -type fishing here.
this is strategy and it’s trout hunting.

from thoughts on fly presentation-

to retrieval techniques-

there’s a wealth of information and food for thought for any angler wanting to have more fun on the water and increase their fish catches.

click either pic to access the full article. enjoy !

take a break

out early this morning at the fishery for some presentation casts instruction with two visiting fly fishing journalists. normally, spinning 70 km wind gusts can ruin the day when the idea is to work on slack line presentations but weather doesn’t come with and on/off switch.
the course turned into a ‘using the wind to your advantage’ workshop, playing with the idea that fly lines and leaders have different masses, profiles and will therefore react differently to the wind, putting emphasis on the line with the expectancy*  that the wind will create the desired curve of the leader.
during a break i spotted this little fellow, grabbed a rigged rod and placed the 18′ leader downwind at a 90° angle to the line, letting it all drift with the wind to its hungry mouth. my two friends where quite impressed but not half as much as myself.
anyone with a certain experience of P-casts knows full well that when they’re combined with several elements, some more tangible than others, they quickly become a hit or miss activity: it’s either a Royal Hook-Up or a Royal Fuck-Up.
this one turned out well, the ‘fish element’ made it all make sense, further solidifying, enhancing their interest in practicing and researching their presentation abilities, which was the whole point of this little exercise. mission accomplished.

* <that feeling of optimistic expectancy that fills theatergoers fly fishers as they wait for the curtain trout to rise> Merriam-Webster

Pushing and Pulling

by Carlos Azpilicuetta

although nothing new, here’s a way to greatly improve your casting while being able to play with soft squishy balls and plastic bags at the same time.

“Whoever tries once and learns to pull, no longer wants to do it any other way. It’s a whole new sensation of control and mastery. When you pull, your cast is mechanically much more efficient; your movements are much more subtle and controlled. Moreover, pulling helps lessen the possibility of tailing loops, every fly caster’s arch enemy. These are pretty convincing arguments.

Basically, pulling entails raising and lowering your elbow; pushing is moving it horizontally.

These two exercises have a single purpose, to get you to feel the sensation of pulling the rod as opposed to pushing it. Feeling this sensation is the first step in training your muscles and movements for quickly acquiring such an interesting technical advantage.”

click pull either image to access Carlos’ great article.

thumbs up ! (and down and left and round & round)

friends, this is Mac Brown.
what he’s pantomiming for us is rod twist through both translation and rotation during the forward stroke.
pretty extreme i’ll agree but this is what presentation cast research and development brings. simply put, if we want straight line layouts we pretty much have to have rectilinear movements throughout the cast.
when we chose to deviate from the straight and narrow we’ll have to move our bodies correspondingly but it’s not just physical, it doesn’t happen if we have a rigid approach and thoughts about casting.

Mac is one of the most respected casters/instructors there is. when he talks people listen. he’s so far out of the box that i’m sure he’s forgotten one even existed, he and a very few others around the world have realized and fully embrace the concept that there’s a lot more possibilities to casting  fly lines than what even the most contemporary schools of casting can offer. sure, there’s probably limits but we believe those limits can be stretched and twisted.
it’s not pretense or hippy-shit talk. it’s simply curiosity and opening up to various possibilities in space and time and how we, the line and the rod fit in as a whole.
eventually, when the common perception of them as ‘circus casts’ wears off we’ll be left with a broader vision of casting possibilities. so much for the straight and narrow !

“Nature of Fly Casting” is Dead !

and i couldn’t be happier !
after what feels like four thousand years in the making, Jason’s putting the final touches on his new fly casting book, a completely reworked, focusing specifically on single-handed casting continuation of his infamous ‘Nature of Fly Casting – A Modular Approach, which in my opinion, was the absolute best book on fly casting ever. period.
the prospect of an up-to-date reworked edition of this seminal book is for us casting geeks about as exciting as it gets (well, almost ! :mrgreen: )

” As many of you know, I’ve been working on a revised version of my Nature of Fly Casting book. As it turns out, I have actually been writing two fly casting books, I just didn’t realize it fully until last week. Originally, Nature of Fly Casting was a book that I wanted to really cover the bases—after all, the title simply said “fly casting” and in my mind, that’s a very big term that includes single- and double-handed skills. Only one problem: Nature didn’t end up covering as much as I had originally envisioned. “

my first series in hardback copy is on order. rest assured i’ll let you know when they’ll be available.


this image may or may not be the final book cover, the suspense continues !

the first edition all had a hand-signed note from Jason when ordered directly through his site Fish, Flies & Water

needless to say, my copy will always be a prized possession….

Association of Certified International Casting Instructors- a new site for fly casting instructors

brand new on the scene, the ACICA proposes an interesting formula: the possibility for all certified instructors of any group in the world to have a forum of their own.
take note, it is reserved exclusively for certified instructors and not the general public.

how will this differ from Sexyloops ? specially considering that a lot people are on both forums ?
i don’t know, time will tell and i’m anxious to see how it goes.

click on either image to access the site. see you there !

How to be a happier fly casting instructor.

(And make your students Happier !)

HOW TO BE A HAPPIER FLY FISHER:

AN EMOTIVE MCI APPROACH

PART II, THE CASTING INSTRUCTOR

by César de la Hoz – FFF-MCCI Madrid, Spain
translation and text editing: Marc Fauvet
from the Federation of Fly Fishers – The Loop spring 2012

After the first approach on the happiness of the fly fisher, we need to talk about another important character in this equation, the fly casting instructor. Why? Because the fly fisher speaks with himself, he only has to care about his own happiness. The instructor also talks with others so he is responsible for the happiness of his pupils for a time of their lives. To achieve this goal is a huge responsibility.
How many of you remember a very good teacher? All of you, for sure. How many of you remember a bad one? All of you, for sure. And what kind of emotions bring back these memories? Of course, you are the one to answer these questions, but I can imagine… Happiness or sadness. I choose the first one, so I chose the teacher of the first question, the one who woke up good vibrations. This is the key as a Casting Instructor: If you want to be one of the best CI or MCI, you need to transmit happiness with a fly rod in hand.

ENGINEERS VS POETS

One of the most interesting discussions there is in the fly casting world. One in which you have to choose, Are you an engineer? Are you a poet? You can find this kind of conversation today on a river bank, a fly casting course or during a demo in a fly fishing fair. You can find a lot about fly casting physics in forums, boards, threads… And yes, people like to be a fly casting instructor “engineer”. This probably makes you cool and attractive in the casting field but not to woman because woman want happiness. Just joking: All Human beings want happiness.
And on the other hand we have the poets, these days underestimated. Oh man!, if you´re a “poet” casting instructor its because you´re no good in physics and hide yourself under the wings of assonance, rhymes, sonnets and stuff like that. In fact, Mel Krieger talked about poet and engineers at a moment when almost no one knew about fly casting physics (well may be Alejandro Viñuales did…) but today things are different, so now we need to redefine these terms.
My purpose is to create a new word, one word derived from two: poet and engineer. Maybe a casting instructor is a POETEER, half poet and half engineer. Lets try.

POETEERS

Do you remember Super Grover in Sesame Street? Hey I´m from mid 70´s! A Poeteer is like Super Groover. Neither an engineer, neither a poet but what does he do? He tries to make people happier. That´s it. So, a Poeteer has to create happy fly fishers, helping them to improve their skills and helping them to cast better. That´s all. Why? Because to be a happier fly fisherman is to be a successful fly fisherman. And here is where a Poeteer appears, like Super Grover, solving problems. The problem is not to be a poet or to be an engineer, the problem to solve is to teach properly.

One example: when you read a self-help book, most of the time this book tells you what you have to do, instead how to do it. Well, I´m going to try to give you some tips on how to make people happier while instructing.

There are three ways to get something: aggressive, assertive and passive. And there is one option in which we can manage this in the correct way: communication. We are beings who speak. Casting instructors are most of the time, beings who speak. We transmit knowledge by telling, not only demonstrating. And this communication has two forms: communicating technical issues (engineer) and communicating and understanding emotional issues (poet). Et voilà: POETEERS.
Remember: We learn much more by dealing with feeling and emotional issues than by memorizing technical data. If you feel the cast you will improve the cast. You can read all about physics on Google but never improve your casting. So MCI´s you need to understand and transmit what a pupil needs before technical issues. Even, when you need to talk about fly casting physics, you need to create a good rapport, a good connexion between the pupil and you. You need to be assertive, instead of passive or aggressive.

An aggressive communicator only thinks of his own interest, talking from his own knowledge and giving no attention to interest of the other. An instructor like this normally talks in this manner:
Pupil: I have to cast from 11 to 2?
Instructor:You have to do it this way: Accelerate to a stop, you need angular acceleration until RSP. Clocks and watches are only to give you the time and nothing more.

A Passive communicator pays almost no attention to his own knowledge, has a lot of doubts and has no trust in himself. Something like this:
Pupil: I have to cast from 11 to 2?
Oh yes…. 11 to 2, normally we need to do these movements to put the fly in the ring. Yes 11 to 2.

An assertive communicator pays attention to his own interest but also in the interest of the other. Trying to put both together and looking for empathy, also he asks some questions to get the job done.
Pupil:I have to cast from 11 to 2?
Yes you can. But do you think that there are other ways to do it?
Yes, of course.
And in how many ways can you do it?
May be between 10 to 3 or 10 to 2.
Perfect ! As you said you have different options to cast a fly and now you understand that you have to adapt your casting stroke to the different situations you have on the river.

Just by asking someone: In how many ways can you do something? you´re opening up their mind. This is crucial. This is the beginning of the learning process because you’re turning it into something mutual, not unidirectional. It´s a big difference. This kind of communication builds trust and generates positive emotions. In this way the pupil trusts the instructor, not only about the instructor’s knowledge but because it links the pupil to the process of learning. Someone involved is someone who pays more and better attention.

Aggressive communicators are very common in schools, companies, clubs… in life. There are a lot of teachers telling others what they have to do and how they have to do it. This makes people that learn from fear, not from responsibility and it normally kills creativity, something essential in fly casting. It also kills the “flow”. Being aggressive is a kind of style that has benefits on a short-term basis because it gives one a sense of control over a situation. But in long-term it generates rejection because the pupil dislikes this impersonal selfish style. The same thing happens with the passive instructor,  it generates unease towards the pupils through lack of empathy and distrust. So, try to be assertive, but you have to work at it, it´s not easy. Some readers now are telling themselves : Hey I´m very assertive ! And I ask them: Do you really think so? Let´s try some questions to find out:

How many times do you ask a question before you explain what to do? How many times do you ask, “Hey how do you feel today?” Instead of: “Come on, hurry up, we´re waiting for you, it´s time to go…” To make changes in the way you express yourself you need to make some little changes in the way you think. If you´re on the bank of the river before you start fishing and the guide asks you: “This river is amazing, How do you feel?” Your thoughts will be happy. You will take a look around and feel comfortable in this amazing place because the happiness runs into your organism in form of beta endorphins. They produce a state of general wellbeing and are released in pleasurable situations like laughter, sex and physical exercise and that’s what fly fishing all about: casting a fly is a form of exercise. So if exercise releases beta endorphins, don´t create through communication a bad and stressed situation telling something like: “What an ugly day, it´s raining again.” Do the opposite, stimulate this wellbeing.

CHANGING PERSPECTIVE

It´s important to know that there’s a big difference between having good communication strategies and being courteous. Courtesy is the demonstration or act that manifests the attention, respect and affection that someone else has. Empathy is the mental and emotional identification of a subject with the mood of another. As an instructor to emphasize is to go far beyond courteous.
Do you like photography? There are three basic terms in photography that will maybe help you understand this: Depth of field and sharpness and reframe. It is essential to add depth of field to our communication, as well as it´s necessary in a photograph to see a larger area. Also you need sharpness in your language, not only in the way you talk about casting mechanics, but also about what the student needs to know. And of course you need to reframe because when we talk, we transmit a unique perspective. Try to see the perspective of your pupil. This will make yourself closer, easier to understand and sympathetic.

To be a poeteer, try to enhance these four basic thoughts when teaching:

1. Casual thinking: Is the ability to determine where the problem is and formulate it. Those who do not have these thoughts tend to attribute their problems to others: “This pupil is very difficult” “This group is very unbalanced, it’s impossible to teach them”, “They don´t pay attention, they don’t´want to learn”.

2. Alternative thinking: Is the ability to generate as many solutions as possible once the problem is formulated. The people who lack these thoughts and don´t know where to find them often seek a unique solution like: “Do this in that way” “Don´t try to cast like that” “This is the only solution”.

3. Perspective thinking: Is the ability to put oneself in another, it stems from selflessness. Aggressive instructors have great difficulties in putting themselves into others. It’s the hardest to achieve.

4. Consequential thinking: Is the ability to foresee the consequences of acts and speech.

Remember that not to be a good one but only to be one, you don´t need to be an engineer or a poet to be an instructor. Knowing a lot about casting dynamics doesn´t make you an excellent teacher and neither does certification. To be a good instructor is to practice good educational skills and to work on these abilities and thinking. I have told you four, but you can find a lot more inside of yourself if you ask yourself the correct questions: What can I do to make my students feel better? In how many ways  can I do it? Is my communication as good as I need to teach properly? How can I control my frustration when a pupil don´t understand what I´m talking about? What are the best ways to explain physics?… These are only a few.

Nowadays, as an instructor you need to know the basics of fly casting of course, but if you don´t know how to transmit those basics properly, technical teaching will be very difficult to achieve.
So first of all, you need to know exactly where the problem is and develop a strategy.
Then you need to add different solutions to fix it, not only one. If you give only one solution, the pupil can either do it or not. You only have a 50% chance of success. This is hazardous at best.
Of course you’ll need perspective thinking, this is essential. If your student does not understand you it’s because you didn´t explain yourself properly, not because he or she does not know how to understand what you are saying.
So, ask questions, and not so many: “You have to…” “You should do…”. A good poeteer, a good instructor, is an open minded communicator. This makes consequences easier to assume and make yourself happy as an instructor and your students happier because they not only learn about fly casting, they see that they have the ability to improve, are confident and of course they will see better loops when they’re casting. And this is priceless.

Sometimes I get very tired of seeing teachers who only put attention in technical stuff, leaving in the background the personal needs of those who want to learn. This classical way of teaching must be broken by putting more attention towards the happiness of the pupil, on his emotions, on his objectives. Remember: All challenges overcome with satisfaction will leave a satisfying emotional footprint which eases the challenges ahead. This makes us happy. However, when we keep in our mind the memory of a failure when facing a new challenge, the feeling is so negative that future problems seem to be second to none. This makes us unhappy.

If you leave a satisfying emotional footprint on your pupils, make sure that they will be motivated to continue on the way, looking for more. If not, they might give up. So, what are you waiting for? Make your pupils happier:
1. Not only be correct, emphatic and,
2. go beyond your typical way of teaching and put your attention foremost on the person, not just in physics, casting errors or tailing loops.

As an MCI I owe much to those who are investigating casting physics and deliver this knowledge for free on forums. I want to say thanks to all of them. I´m trying to participate in that effort by providing knowledge on how to improve teaching. Cooperation makes us happy, no doubt. So, remember:

To be a happier fly casting instructor, is to be a successful fly casting instructor.

 

the Golden Gate Angling and Casting Club

documentary film by Monica Quesada Cordero

” The GGACC was organized in June 1933 as an offshoot of the San Francisco Fly Casting Club. The San Francisco Fly Casting Club, the second oldest casting club in the U.S., was founded in 1894, when the first tournament was held as Stow Lake, Golden Gate Park, San Francisco. The world’s single-handed fly casting record of 133 ft. was established by club president Walter Mansfield in 1899, and held for 35 years to 1934. He also cast a 5 oz. fly rod 129 1/2 feet at a 1902 tournament. “

i’m not quite sure what the 5 oz. part above is about but those are some serious distances. i won’t hide for a second how much i’d like to visit this mythical place. forever dynamic with activities for casters of all levels and filled with nostalgia, this is the place to go if you’re in the San Francisco area.

for more info visit the GGACC site. enjoy !

one for the FFF fly casting definitions committee…

from Oxford Dictionaries ‘The world’s most trusted dictionaries’

fly-casting

Syllabification:

Definition of fly-casting

noun

bouncy-bouncy, boing-boing !

here’s an interesting topic from a thread i’m participating on Sexyloops.
since this subject has come up quite a lot in recent courses i’ve given, i thought we could talk about it here as well, hoping it might help those who have similar issues.
i’ll be doing some copying/pasting from the thread.

Q ” When I look at videos of instructors online, I notice that the bottom of the loop always follows a nice straight line when it’s unrolling. I do have that with my back cast but with my front cast the bottom of the loop is always wobbly/ wave-like.  I think it must have something to do with my stop on the front-cast but can’t get a good grasp on it. “

A – try relaxing your hand immediately after the stop. you can try this right now. grab a pen or just a rod butt section and pantomime the FC.
once you’ve squeezed your hand to make the stop, relax that squeeze. the idea is to hold the grip just enough to neither let the rod drop on the floor :mrgreen: or let it torque (the reel swings left or right along the rod’s axis)

later, do this with the full rod, (no line !) and look at how the rod reacts.
if you continue squeezing hard after the stop the rod keeps on boing-boinging up and down.
had there been a line cast all those boings would make corresponding waves in the rod leg.
if you immediately relax the grip, the rod stops it’s movement much earlier and we get a lot less waves. we call this ‘damping’

and this is what the effects of an un-damped and damped grip looks like. from friend and colleague Lasse Karlsson’s series of great videos helping us understand how fly casting works through high-speed video. (and some pretty good casting… :wink: ) thanks Lasse !

and just to to clarify this leg business, a casting loop has three parts:
Rod Leg- the amount of line between the the rod tip and the Loop Face
Loop Face- the curved or pointy part !
Fly Leg- the amount of line between the Loop Face and the Fly

some narrow-minded old-schooler instructors call the legs ‘top’ and ‘bottom’ but that can only be of use for vertical casting. they get completely lost and usually fall over when it comes to explaining roll casting, speys or simple side casts as they have to stand upside-down or lay down to not contradict themselves…

Gems in the Rough

i couldn’t think of a better example to start off this new series: Gems in the Rough
a continued exposé of the funny, strange and sometimes downright offensive fly casting and fishing tutorial articles and videos easily found on the net.
as far as the ‘offensive’ go, it’s not a matter of random rants or bitching for the sake of bitching but one of setting things right or at least a little straighter for those trying to learn from these tutorials.
sure, it’s only fly fishing and therefore nothing of utmost importance but to be honest, it bothers me a lot to read or hear a person state things that  have been proven otherwise. my intention is to point them out and explain how it could be improved. hopefully we’ll all learn something in the end.

so, better to start off with humor before baring the teeth !
this little gem was found on a Chinese site dedicated to industrial metal casting. i like to think i have a bit of imagination but for the life of me i can’t figure how and why some of these articles come to existence… enjoy !

castings:Long Distance Fly Casting Techniques

Posted on June 6, 2012

castings:Long Distance Fly Casting Techniques

To discover ways to fly cast 80 feet or not.

Does it matter?

No- sthad many dry fly fisherman. After ingl- since we fight drag by haudio-videoi formatng slhvack line on the whadr- we canwit mend or set the hook with 80 feet of line out.

But wait- insist strei amer fisherman. Since we feel strikes by haudio-videoi formatng tight line on the whadr- we can set the hook with 80 feet of line out.

Well- like they say: there are two sides to every debhad.

And sometimes a third or fourth.

Consider this scenario: Youwire fishing an easy- rocky river- so instead of wrequestroved driving instructorng youwire msimilarg long casts.Distance. But you keep missing your targets. And even though itwis the first day of your fishing trip- youwire therefore exhausted.

Is there in whhadver way in yourse problems?castings.

Iwill respond to the question this way: you show me a fisher who can cast 80 or 90 feet- and Iwill show you a fisher who ca definitively and very much effortlessly cast 50 or 60 feet.

And so for many frustrating even asll asten discourhvacquiring years I experimented with long-distance- fly-casting techniques. Now that I haudio-videoe dri amaticstayst friend increottomd my casting distance- Iwid like to shwill function as the techniques with you.

But stayfore I set out let me say Iwim well cognizish the “Open-Stance” method or way of long-distance fly casting. My purpose is not to compete with that way- but merely to descristay an advertisementditioning. In the end- I hvaccept every caster should experiment with as a numstayr of techniques a person possibly and determine whto colleaguess for him or her.open call casting.

GETTING STARTED. Use a fast piece of string or yarn for a fly. A long- 9-foot leader will help reveing some of your casting defects. During every prhvactice- try to focus on one technique. Donwit worry ingmost putting every the techniques together until you feel good every and every one.

POWER STANCE AND GRIP. (Iwill bumume youwire right-handed.) Sttechnique with your feet ingmost shoulder-width staysides- just some closer for more power- just some wider for grehadr control. If youwire casting verticstayst friend put your left foot forward ingmost eight inches and point it at the target.Casting. Point your right foot ingmost 30 degrees to the right of the target. If youwire casting off to the side- point grinding both your feet more outward. With your shoulders fhvacing the target- contrhvact your knees and set your weight on the bfor very much everyoner front foot. To make a tough-line pickup- contrhvact forward and hold the line just hiding stayhind the stripping guide. Point the rod at the whadr- with the rod tip an inch atop the surf_ design. Grip the rod lightly with a rather leaning thumb on the side or on the top of the handle.

LONG-CAST SEQUENCE. As an overingl rule- casting slightly upward will help keep your loops tight; so- if there is no head or tail wind- propose your first to come bhvack cast upward ingmost 30 degrees. Aim your next fingse casts while presentine cast haudio-videoi formatng a rather lower viewpoint or paringlel to the whadr. (Aiming your presentine cast too high- especistayst friend if you are casting a tough-stomvery line- will cause the stomvery to pull your cast down and kill it.Fly.)

For maximum distance- your pluslso forward cast must form a straight line (180 degrees).casting site.

If youwire casting weighted flies or sinking lines- propose your fingse casts upward ingmost 20 degrees.

And rememstayr: seingignment for maximum force only aroundimhadly of your presentine cast.

However- four or five everyday casting defects will cause your cast to lose power- which as a consequence change your intended trajectory:
1.mold manufacturer. Sttechniqueing your cast after- or well stayfore- your cast has unrolled and- in effect- shortening your casting stroke.
2. Accelerating your to come bhvack cast haul too slowly. (Because there is no to come bhvack-cast wrist snap- your hauling speeding should stay faster on your to come bhvackcasts than on your forward casts.)
3. Fingse casting- especistayst friend a weighted fly- too hard for the length of the line you haudio-videoe out. (When the line unrolls it will snap like a rubaloneytayr piece generhad slhvack)
4. Shooting line without increasing the speeding of your casting stroke while haul.
5. Your pluslso forward cast form an viewpoint grehadr than 180 degrees- pluslso you therefore lowered the rod tip from the target line. As a finish result- your fly rod unloaded too early.Distance.

ANGLE OF THE ROD. Some casters sthad the verticing cast is the most efficient. Others dissettle and cast with the rod tip pointed outward. Besides- they say- this is a securer way to fish that makes it easier-especistayst friend for us older guys-to turn our hepublic notices watching the to come bhvack cast unroll without turning our shoulders- even aslladvertisingently moving the rod.

Maystay so- even so the importish point is that if your cast is not under powered- you may you do not move your rod heven asll a convex motion minimizing the rod tip from the target line- the fly will not hit you or the rod. The following casting defects will cause you to move your heven asll a convex motion:
1. Pulling your elbow to come bhvack. (Your ellhvace should move to come bhvack from your rearward physique rotine. To me- msimilarg a to come bhvack cast is more of an enhancementing or a flexing up motion than a pulling to come bhvack.)
2. Beginning your forward cast with your ellhvace hiding stayhind your rod hand- which as a consequence within lead with your ellhvace during your lorequestroved driving instructorng move.cast iron fencing.
3. Bresimilarg your wrist more than hingfway during your forward-cast power snap. (To prevent this- try to pretend youwire hi ammering a nail.)
4. Lowering- instead of just rotating- your shoulders.fly.
5. Stopping the rod too lhad. (This sometimes hrequestens due to sttechniqueing your weight shift prior tor casting stroke- or due to quickly speeding up your to come bhvack cast- though not suddenly stopping the rod with a fast- upward motion.)
6. Beginning your cast with your rod hingong witho low for your intended trajectory.Techniques. (For exlarge: if you wish to execute a cast paringlel to the surf_ design- you must finish your pluslso forward casts with your rod hand the si ame level.)
7.Fly. Casting with your ellhvace too far out from your physique.
8. Haudio-videoi formatng your right foot too far to come bhvack or pointing too far outward.

But in the reing world of fishing- even the stayst casters make imperfect casts- so I recommend wearing sunglgrinding bottoms plus brotherad-top of the glbummed hat- using shorter leaders- and casting heaudio-videoy flies and sinking lines with the rod tip pointing out to the side.

To simplify my descriptions Iwill bumume youwire casting verticstayst friend. (If youwire casting to the side- get used to your rod-hand position more outward and fewer upward.)

BACK CAST. First- remove ingl slhvack from line. Aiming upward- slowly sttechnique your cast by slightly lifting your ellhvace- and moving the rod in sync with your rearward physique rotine.casting model. Slowly tighten your grip. When the rod booty repain 12 owiclock to the target line- quickly increottom your speeding-I ccould my power speeding-and execute your haul.what is the cost of aluminum. (More ingmost hauling lhadr.) For maximum power- keep looking straight in front. When the fly comes off the whadr- suddenly stop the booty haudio-videoi formatng ingmost 1 owiclock.Techniques. Your weight should stay on your right heel if your rod position was verticing- on the outside of your right foot if your rod position was out to the side.

Eottom up on your grip. If you stopped the rod by moving it upward- lower your rod hingong with casting-level. Turn your head watching the cast unroll.

(Some casters feel they increottom their power by rotating their forewrist and pingm outward during their to come bhvack cast so that they can then execute their forward power snap with a pointy- twisting motion.casting open.)

Because you probaloneytomhvachly wonwit discover ways to hasten your to come bhvack cast right as the forward cast- set out your next to come bhvack cast when your forward loop is three feet long. Experiment to see exhvactly how long. Rothad the imaginary clock f_ design- and extra stop the rod booty haudio-videoi formatng ingmost 1 owiclock to the target line while forewrist haudio-videoi formatng ingmost 12 owiclock. If youwire casting verticstayst friend your right ellhvace should stay a few inches hiding stayhind your left shoulder- and point outward haudio-videoi formatng an viewpoint of ingmost 60 degrees to the target. Your wrist should stay haudio-videoi formatng ingmost eye-level.Casting.

If your loop turns sideways or swings open- you moved the rod in a curving motion or pulled your ellhvace out and to come bhvack on your to come bhvack cast.

HAULS AND DRIFTS. The more line you are fingse casting the faster and longer youwill haudio-videoe to haul. To keep your line from tsportfishing- pull three feet off the reel. (If youwire casting on a weight-forward line- youwill set out hauling when most of the stomvery of the line is outside the rod tip.) During your to come bhvack-cast lorequestroved driving instructorng move- keep your hands at the si ame level. When the rod booty points to ingmost 12 owiclock- set out your power speeding while downward- to come bhvack-cast haul. Haul haudio-videoi formatng an viewpoint of ingmost 60 degrees to the whadr so thhaudio-videoi formatng aroundimhadly of the haul your line his haudio-videoi formatng ingmost 8 owiclock.cast iron fences. (At the end of your forward- fingse cast haul- your hand can point to ingmost 7 owiclock.) To lengthen your haul- execute it haudio-videoi formatng a steeper viewpoint. Haul hard enough to keep your loop tight.Long. (Youwill hasten your haul faster than your cast.) Bresimilarg your wrist if you can — snap your haul hand down. Stop the rod and haul simultaneously. Immedihadly set out your upward haul- giving to come bhvack line at the si ame speed it is unrolling. (If you still add slhvack- you stopped your downward haul too lhad- or your cast was under powered.) Do not prematurely move the rod tip to come bhvack! When the fly pgrinding bottoms you- turn your head- though not your shoulders- watching the line unroll. Move your line hor older to- though not past your rod hand.

Not moving your line hor older far enough may cause you to then set out your forward cast by moving your rod hand growfore or faster than you move your line hand.long. Because this will add slhvack regarding the hands- you wonwit discover ways to fully load the rod- while cast might collapse.

And rememstayr: the stronger the wind you are casting into- the shorter- lhadr- but faster you might haudio-videoe to haul.

To make a tough- presentine cast you must convey a drift move a person haudio-videoer last to come bhvack cast. So- keeping your wrist stiff- your ellhvace in pl_ design- while shoulders level- wait for your to come bhvack cast to unroll three-qutechniqueers of the way- then move your rod hand to come bhvack- though not past your rear shoulder. Slightly split up your wrist to come bhvack- and point the rod lower- to ingmost 2 owiclock.

At least three defects will cause you to add slhvack:
1. Drifting too fast or too far.
2. Not hauling fast or far enough.
3. Beginning your forward fingse cast too lhad.

On fingse casts- unless youwire trying to change trajectories- shorten or eliminhad your drift- which as a consequence reduce the risk of which includes slhvack.Long.

On your presentine cast- haul as hard a person possibly- while keeping focused on stopping the rod and letting go of the line simultaneously. (Momentum should force your hauling heven asll asll hiding stayhind your front thigh.)

To make the perfect to come bhvack cast haul- I find it helpful to visuingize a loose rope connecting my rod and line hands.kids casting. When I stop my rod- I imagine the rope snrequesting tight which will help preventping my hands.

Finstayst friend- to turned into a extremely good hauler- prhvactice throwing a pitch left-handed.

FORWARD AND PRESENTATION CASTS. We should sttechnique them lerequestroved driving instructorng to a to come bhvack cast loop opens. (The heaudio-videoi formater my fly or the faster my line is unrolling- the earlier I set out my cast.) To sttechnique your forward fingse cast- keep looking over your rear shoulder and push off your to come bhvack foot. With your wrist locked- set out your forward cast in sync with your physique rotine.castings. (Watching your rod hand during the cast will help prevent your casting wrist move in front of your rotating physique.) Move the rod booty perpendicular to the target line. When your casting wrist is extended haudio-videoi formatng ingmost hingfway- set out your power snap and haul. Abruptly stop the rod and haul when the rod booty repain ingmost 10:30. Eottom up on your grip. Your right shoulder should stay slightly in front of your left. Your weight should stay on the bfor very much everyoner front foot.

If you wish to finish your forward fingse cast in position to increottom the length and power of your to come bhvack cast you can:
1. Speed up your forward fingse cast (if you get a tpoor loop slow down your haul) and end your cast with your weight on your toes with your right shoulder well in front of your left.
2.star trek cast. Execute your cast paringlel to the whadr so that youwill set out your to come bhvack cast with your rod in a lesser position.
3. Add a drift move by slightly lowering the rod tip.

As soon a person finish the cast shoot up to eight feet of line. (As the line slides through your curled fingers keep moving your line hor older so youwill discover ways to revery your rod hand lerequestroved driving instructorng to a cast unrolls.)

To make a tough presentine cast- using the rod drifted to come bhvack- then push off your to come bhvack foot.casting. Again move rod booty perpendicular to the target line. When your wrist is extended three-qutechniqueers- execute your power snap and haul. Fully rothad your physique- extend your casting wrist which will help prevent the rod.castings. (Again- the booty will point to ingmost 10:30)

Your front leg should now stay straight- and everything you couldr weight on your front toes.

To reduce friction relating to the line and the guides- immedihadly raise the rod booty- so that the rod points to the target line. Do not lower the rod tip from the target line!

Finstayst friend- if you do everything right but you still canwit get the fly to turn over- add line tension just prior tor loop unrolls by raising the rod tip- or by origin the cast with just some less line off the reel than you wish to cast.

To make a tough roll cast- sttechnique the cast just lerequestroved driving instructorng to a line stops moving.

OVERHANG. Overhang is the quzeroty of running line relating to the rod tip and the stomvery of the line. As you increottom your overhang you must may ingso increottom the speeding of your casting stroke and haul.siding on house.

If you use too long an overhang your loop will not turn over. If you use too short an overhang the stomvery will pull your line down and cause the head to leven asll a pitch. Experiment to find the longest overhang you can handle- but keep in mind: the more long- fingse casts you make the more you risk which includes slhvack- so once the stomvery of your line is outside the rod tip- try to make your presentine cast a person haudio-videoer second to come bhvack cast.

To increottom your overhang try:
1. A heaudio-videoi formater- stiffer rod.
2.techniques. A shooting-head line.
3. A line one weight lighter than your rod.
4. Prhvacticing shooting line as the last to come bhvack cast unrolls.manufacturer stainless steel.

HOW MUCH LINE DID I SHOOT?distance. I use the counting method. For exlarge- if I fully hasten my casting stroke- then shoot line for given that it takes me to say 1-000 I know I shot very much 10 feet of line.

TAILING LOOPS. Some common causes are:
1. The rod tip is moved in a concaudio-videoe path towards fhvact too much force is used early in the casting stroke.
2. The casting stroke is too narrow for the atthvack (contrhvact) of the rod.
3.call casting. Executing a giftine cast with too short of an overhang.

WEIGHTED FLIES. Will cause your casting loops to widen- so increottom your speeding on your casting stroke and haul which will help prevent your rod booty earlier on the imaginary clock f_ design. If that doesnwit work- shorten your overhang.

Rememstayr: At high speeds- weighted flies- if they hit your rod tip- can split up it. To fish in the surf_ design- therefore- I like to use lighter flies and sinking lines.

IF YOU DECIDE. Whether it is necessary to learn to cast 80 or even 90 feet and endure hours and hours of casting triings and tribulines is up to you.forging steel.

But if you decide it is- try not to get discourgood old. Long-distance fly casting- like hitting a triingod tee shot- is a lot harder than it looks. Luckily- however- studies haudio-videoe shown that frequently visuingizing proper sports techniques is often more effective than prhvacticing them.

For us older guys- isnwit thseveringternativehing to stay grhadful ingmost!?

Welding, Adapting, Looping and Single-Hand Shooting Heads

by Lee Cummings

Lee’s one of those rare people you meet once in a while that really think outside the box and come up with brilliant solutions whether it be about casting instruction, fishing or tackle. forever on the hunt to customize and optimize his fishing and casting, he’s been working on short-short shooting head systems for the last few years and here we get a juicy preview on some of these findings and an awesome how-to tip for welding loop systems to these lines.
randomly cutting up some heavier line doesn’t mean it will handle well and turn over properly, and judging by the videos this system does both extremely well. this kind of set up is a real boon for anyone trying to fish in confined spaces, or with heavy wind and i’m thinking that they’ll be a big bonus for night fishing as well and all that whether your using aerial casts or rolls and speys: awesome.

” Short headed lines “around 20 – 25 ft” for single-handed use are not in production and I needed a short head that integrates the sink tip range into its total head length. The Versi leaders and tips I use are between 10 and 15 ft, so ideally I want shooting head bodies that are between 5 and 10 feet long. To enable this, we are going to need a reasonable amount of mass over a short distance to provide the driving impetus, my choice here in this example then, is to utilise the first 9 ft of a factory looped steep back taper off a damaged Scandinavian style shooting head and then weld a loop on the thick blunt end in the following way. “

as a little teaser, here’s Lee casting one of the above mentioned rigs-

click HERE for the full article, loop tutorial  and extra video. enjoy !

jiggle it baby !

by doing this
 or this  

you can get this line layout.

i’m really impressed. Jim Williams has done it again and came up with yet another fantabulous fly casting tutorial: this time the Wiggle Cast (or the sideways jiggle :mrgreen: ).
the Wiggle is a very useful slack line presentation used to control or rather reduce drag on the line, leader and fly. this is not only a must-have-in-your-repertoire cast but it’s also a lot of fun to perform. anything fun just makes the whole experience better.
as with all of Jim’s other casting articles, once again there’s nothing i could add so i’ll leave you with a teaser that’s close to heart:

There are many nuances you can apply to improve and refine this cast, a slightness of hand or particular movement or rotation of the wrist and arm etc… be an artist, imagine the rod tip is the tip of the finest brush, the river is your canvas so go paint on it, with movements and energy that are both smooth and deliberate’

click either image/gif  or HERE to get to Jim’s awesome article in this month’s sixth issue of Eat Sleep Fish. enjoy !

for those that are into jingling stuff here’s another kind…

“Everyone talks about the weather, but no one does anything about it”


today we had 5°, strong gusting winds and a steady rain. it also happened to be the day we planned assessing a FFF-CCI (Federation of Fly Fishers – Certified Casting Instructor) candidate’s preparation for the test and in my continued preparation for my second attempt of the Master’s level i got to play the part of Head Examiner.
if there’s anything that really interests me about this title it’s the possibility to be part of the examination process. i find it fascinating and very enriching. it’s a big responsibility and i like carrying that weight.
i really wasn’t sufficiently prepared for my first attempt and didn’t deserve it.
Bruce Richards told me that the casting part was spot-on but what was lacking was teaching experience, something i’m sure was very apparent to even the casual observer. at the time i was living in France, was the first and only certified instructor in the country but even given that it was basically impossible to get anyone interested in developing their casting, not even for free.  it’s not like i’m trying to find excuses, it’s just that it’s hard to learn to teach when there’s no real teaching going on. being in Sweden and the continued interest and enthusiasm many of the swedes have towards fly casting instruction has given me the opportunity to climb steps i didn’t have access to previously. sometimes the legs get a little sore but it’s a good pain.

so, apart from putting back on winter layers and water-proofs, it’s not like we attempted to actually do anything about the weather.
contrary to what Mr. Twain might have thought, i’m not sure anyone can although i did entertain the thought a few times during the course of the day.
as far as i’m concerned, any day outside is a good day and this was a good day.

gust pause…
 

quote: Mark Twain

good food !



i’m not on the poster yet but i’ve been invited by the UFO to demonstrate and hold Presentation Casts workshops and eat hot-spicey-yummy food. who could resist ! :D

The Basic Cast

by Joan Wulff via MiddCurrent

what a treat !
here’s a wonderful tutorial of the most basic fly cast, the Pick Up and Lay Down.
the PU&LD is what leads to just about any and all aerial casts. with a few slight variances we’ll find the same principles with water-born casts as well, making this foundation invaluable for any fly fisher.

i do feel the need to add just two minor critiques: for the life of me i can’t understand why Joan felt the need to say that this cast is specifically used for nymphs and streamers and personally, i can not recommend using the thumb-on-top grip for someone learning to cast. it’s not that a caster can’t be efficient with this grip style because many excellent casters do use it. however, in my experience this is the grip style that leads to the most errors in wrist control which is one of the hardest bad habits to get rid of.

grip choice is of course style related, meaning that it isn’t substance, the ‘meat’ of casting or it’s Essentials.
it’s an individual’s choice. if it works, use it. if it don’t, find something that does.

MiddCurrent’s Vimeo account wont allow me to embed the video here so simply click the image below to see it on their channel. enjoy !