There are few people shooting the carp game that are perhaps more experienced, prolific or accomplished than Oli. With a deeply held passion for making, and sharing imagery, and also for staying true to his vision of what that looks like, there are few equals. We caught up and asked him some tech questions, and also got an insight into what makes him tick (and click).
What kit do you shoot on? Why the Sony’s now?
I’m currently shooting with a ‘long in the tooth’ Sony A7r2, and an even longer in the tooth 5D3! I sold one to you, but I kept one as a second camera and as I have Magic Lantern firmware installed, it’s my self-take camera. However, both cameras are in need of some TLC. I’ve got a sticky shutter causing me problems on the Sony – when it jams closed I have to whip the lens off and poke it with my finger to free the mechanism – and the screen on the back of the 5D3 is recently deceased. In reality, both are probably in need of an upgrade because they have lived busy, hard-working lives.
I’ve shot numerous long time-lapses on the Canon, and I’m sure the shutter count is way north of the 150,000 predicted lifespan. It’s a credit to the Canon build quality that the Sony shutter has given up first. Whilst the Canon models are tough and ergonomically friendly, what turned me over to Sony a few years back was the undeniable upgrade in image quality offered by those Sony sensors, and at a very reasonable cost. I was also shooting video, so the Sony – and particularly the A7S – offered much-improved features and all-important, low-light capability. I bought one cheap from Hong Kong and I’m still using it. It’s a great camera, if a little clunky, although I have to say battery life is woeful. Still, sensor is king and even six years down the road, it holds its own to the extent that I’m really not sure what to choose when I need a replacement. For a while, I had a big advantage with the quality of my images but everyone else has cottoned on and caught up, so I need to choose wisely again and try to future proof.
You’re obviously kitted out better than most. What would you suggest as a quality cover-all set-up for your average guy who’s keen and wants to get good shots and develop?
I’ve got a full set of primes, but there are lenses that get used more than others, so you don’t need to go all in. Let’s take my small, stripped-down camera bag as an example of having most bases covered; I carry a 24L for scenic stuff, a 50L for catch pics and ‘carpy’ normal perspective stuff, and then I also carry the ‘magic’ 85L for special catch shots with big fish. Basically, you need something wide, and then something for the carpy stuff, so you can get away with two. Everything else – macro, long lenses, ultra-wide … its speciality stuff that you might only use occasionally. All the major manufacturers offer affordable, full-frame cameras and equivalent lenses. Get the most for your money by buying second-hand and remember, lenses are an investment – you can cash them in and not lose much, so don’t be scared of spending a bit.
In practical terms, what sort of advice do you have for most general carp photography?
Most of it comes down to focus control. I try not to shoot too shallow with scenic or catch shots. I might push it a little shallower for water shots, but every lens has its sweet spot and many primes reveal flaws and aberrations when you open them wide. This can be used to your advantage to create a particular look, of course, but it’s better for me to stick within the operating window to get the best out of each lens for your staple catch and scenic pics. I rarely shoot below f2, and actually, I don’t tend to shoot much above f4 either. My sensor is filthy, so I don’t want too much depth of field or it takes ages to remove the spots in post.
Technical skill and execution, or a good eye and unique vision?
It has to be a combination to be consistently impressive. A good eye is something that you can’t teach or learn, though. Anybody can learn to use a piece of equipment, but photography that stirs the soul requires something other than just technical proficiency. It requires some sort of vision, imagination, foresight, empathy, passion, connection with subject – something that is difficult to share and pass on. I guess you either have it or you don’t. I think it comes down a little to what the photographer likes to look at, others also like and understand. Creating images that others connect with, or that take something ordinary and make it pop, makes it unique.
'A good eye is something that you can’t teach or learn, though. Anybody can learn to use a piece of equipment, but photography that stirs the soul requires something other than just technical proficiency'
How do you develop the latter? You have a distinct voice and vision within your images.
You have to be confident that what you are doing is right, and trust your own judgement. Maybe not right for others, but it’s got to be right for you. That self-confidence allows you to be experimental and push the boundaries because photography is kind of an expression of self, is it not? You also have to be super-critical; dissect every image and detail. I’m really anal about composition, something we have spoken about before. I want the images I produce to be perfect, hyper-real. Capturing a moment, but not sloppily – if that makes any sense. Many images don’t make the grade. They might pass for others, but not for me. I’m not a perfectionist, but I do have high standards and ‘average’ doesn’t necessarily mean that they are bad for me, just not special, original or interesting enough.
'I’m not a perfectionist, but I do have high standards and ‘average’ doesn’t necessarily mean that they are bad for me, just not special, original or interesting enough'
For you, what makes a really great image?
Something that can make me stop and look, for many different reasons. An image can be striking without it being perfect. Sometimes, its complexity that catches the eye; or simplicity … use of light and shadow … even imperfection. Sometimes, it’s the subject matter and the context – that’s what makes the still image so interesting; it’s shapeless, formless, and there are no rules. We are definitely drawn to originality, or firsts – I am, anyway! New perspectives and evolution is what drives us as a species.
What are your thoughts on post? Is it an essential part of the process? Do you shoot with it in mind these days?
Post-production is another form of expression. It has transformed digital photography and allowed us a ‘second chance’ at getting it right, but more than that, it has maximised the effectiveness of the shot and permitted much more personalisation. For me, photography is very much a two-stage process now and capturing the moment is only half of it. If you don’t shoot in RAW and post-process, you are really limiting your equipment and your creativity. Understanding what can be done to an image in post definitely affects the way I shoot. It offers a safety net for those times when I don’t get it quite right, and don’t have another chance to relive that moment. In those instances, sometimes a creative edit can save and elevate an image. It also allows me to get the very best out of each frame in terms of composition, sharpness and exposure.
'For me, photography is very much a two-stage process now and capturing the moment is only half of it. If you don’t shoot in RAW and post-process, you are really limiting your equipment and your creativity'
Who do you take particular influence from, if anyone?
I try to keep my eyes open and suck it all in. I’m definitely interested in street photographers and candid documentary photography, rather than posed stuff, but I also like the perfect epic landscape stuff – I think that polished look of a perfect scene also appeals. I believe we are all influenced subconsciously by the things we see and like, so it pays to have a wide range of inspiring inputs. It’s good to try to combine these elements and mix genres.
Are there any particularly memorable carp fishing images that have inspired you over the years? What was it about the shot that did it?
There are a few that stand out; there is a great catch pic by a Dutch guy and seriously talented photographer, Hans Van Vrouwerf, with the Milky Way in the background. Technically, excellent, an ambitious vision realised. That fly on the wall top down-shot of the guy taking a picture with multiple flashes – German I think he is – such an original perspective and again, technically inspiring. Chris de Clerc’s misty mountain and swans catch pic – Excellent pic location, carp and composition! Springate’s brace shot – just a great moment captured well. That’s iconic and something I’ve definitely tried to ape over the years.
How do you try to keep photography fresh with so many images out there these days?
I’m beginning to wonder that myself! It’s hard now to be original and stand out as purely a stills photographer in a world of content creation. Revisiting and perfecting certain techniques will always be one way to move forward and stand out, though. I hope that I’ll be motivated enough to push myself.
'It’s hard now to be original and stand out as purely a stills photographer in a world of content creation'
Obviously, you make a living from working with a camera now, but what do you get from photography? What does it mean to you?
I actually get a lot of pleasure and satisfaction from the effect my pictures have on others. I’ve had loads of really positive messages from people over the years, and that’s as good a motivation as any, but from a selfish point of view, I also enjoy that polishing process of the edit and the finished result. I’m a visually stimulated creature. I like to look back through my pictures, too, because they are powerfully evocative in terms of remembering each occasion and moment, and staying in touch with the past has always been important to me – sentimental maybe, almost a diary.
'I’m a visually stimulated creature. I like to look back through my pictures, too, because they are powerfully evocative in terms of remembering each occasion and moment'
Hot tips for an iG account or two to follow?
Only a couple? I’m feeling generous! Here are a few of my favourite most inspirational non-angling visual-based accounts
@maxrivephotography
@itsruben
@a_l_x_ender
@hillarycoe
@visualmemories_
@davidalanharvey
@danielkordan
@badfish (ok its angling, but they are fucking cool)
@nicholassteinbergphotography
@shainblumphotography
@nicolasroemmelt
@coughh_syrup
@jaimievanheije
@inter_disciplinary