Walter & Group...
From Mac Brown :
Gordy,
I like the term variables. I threw in an attachment on a few ideas
of variables in a word document. Cheers, Mac
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Check out Mac's attachment. I note his wording on "loop planes". This is understood by too few. I first came across this concept when visited by Jeff Barefoot of Penn. a few years ago.
Lots to be learned, here. This fits well with Mac's "enlightenment casts" from his CASTING ANGLES.
Gordy
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Mark Milkovitch took my list of questions literally as he answers each one. My comments in italics :
Gordy,
Here are my responses to the Casting Variables Quiz.
In the past, we have discussed the mechanics of and the physics behind straight line overhead casts. Discussions have included the ESSENTIALS as well as numerous elements of STYLE. You all know these well. Now I'd like to enter the World of VARIABLES. Joan Wulff once referred to these as "Variations on a theme". Mac Brown wrote about "Enlightenment casts". Al Kyte, in his papers, discussed several "Variables".
QUESTION: WHAT IS YOUR CONCEPT OF "VARIABLES"?
Wulff?s description of oval casts as a variation on the theme of ?straight line overhead casts? produced by manipulating the rod tip path ?variable? appeals to me as a particularly useful teaching concept. It emphasizes the primacy of the straight line overhead casts as a foundation, a point echoed by Brown, and provides a framework for teaching useful casting deviations, by manipulating a handful of basic variables to accomplish an extremely wide variety of alternative casting objectives.
Well stated.
In responding, I'd like each of you to ask yourselves these questions (No "right" or "wrong" answers, here). Keep the specific answers to yourselves and then prepare your answer to the question on the table. Best to try to do this as you would answer a question on a Master's oral exam with: A SHORT ANSWER, followed by # AN EXPLANATORY DETAILED ANSWER. :-
1.) What do YOU consider variables to be?
Those elements of a cast which when changed alter the casting result. Agree.
2.) Can you define "variables"?
Modifiable elements of the cast. Yes.
3.) How do they impact the essentials of fly casting?
They don?t. Agree
4.) How do they fit the concept of style?
Used in combination they define a casting style. One way to look at it. The can also be used within a particular casting style as well as change of style to suit a particular casting goal.
5.) Can you come up with some examples of Variables?
1. Power (acceleration/deceleration)
2. Arc
3. Tip Path
4. Rod Plane
Yes.
6.) How do these variables enter our World of fly fishing?
They drive the process of loading/unloading the rod. We modify them quantitatively (e.g. amount of power) and qualitatively (e.g. shape of tip path) in order to achieve specific casting objectives.
Yes.
7.) How do they impact our teaching?
They provide a skeletal framework which can be used to present casting variations in a systematic fashion. Systematic or for single accomplishments.
8.) Should the family of elliptical casts be considered as a set of variables?
For teaching purposes a ?Variation on a Theme? produce by consistently varying the tip path variable from SLP. Well.... the dyed in the wool Spey caster might consider straight line overhead casting as a variation on his theme !
9.) Would you include casts such as the "bow & arrow cast" or the "underpowered curve cast", the "Maloney cast" or the so-called, "helicopter cast" be considered as variables?
Again, Variations on the Foundation (straight line overhead) Cast Theme produced by varying one or more elements of the cast. Yes.
10.) Do you think the "River Dump & Pump" is a Bone fide variation?
Any variation which consistently produces a desired casting objective would for me qualify as bone fide. This for me would also apply to all the items listed below.
I agree to all except for 10.) The "River Dump & Pump" doesn't really involve any cast at all.
This is a denegrating term used by some guides in Alaska for a way of getting salmon hook ups forclients who couldn't really cast a fly rod.
The guide would anchor his craft up current of a good run or pool, then have the client simply feed line out into the river. He''d then have the angler strip in. This was repeated over and over until a salmon was hooked.
11.) How about "dappling", "blow-line casts" or Tenkara fishing?
12.) What about SNAP CASTS?
13.) .... and Hugh Falkus' "Two way fishing"?
14.) .... Joe Shedlock's "Sky Writing"?
15.) The "Salt Water Speed Casts "?
16.) On and on?
Thanks,
Mark
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From Mark Surtees. My comments in italics G. :
Short
answers here Gordy, sorry, and some I need to do more research
on.
Mark.
1.)
What do YOU
consider variables to be ?
All casts and the motions that generate
them, in the abstract sense, are potentially variable, and in the practical
sense all casts are almost always different although we strive for homogeneity
in the basics.
Variables in the way that I think you have asked these questions are modifications of what might be considered a standard set of casts or casting components, though I would be interested to know what different people consider that standard set to be.
Good way to
express it.
2.)
Can you define
"variables" ?
Variables are alterations to elements of
a cast which generate outcomes different to that intended by the original
standard cast. Yes.
3.)
How do they
impact the essentials of fly casting ?
Not in any way, they employ the
essentials of fly fishing as I understand them to create new solutions to
circumstantial challenges on the water. Agree
4.)
How do they fit
the concept of style ?
Style is a variable. We could look at it that way. Then there could be variables within a particular casting style..........
5.)
Can you come up
with some examples of Variables ?
Mends in a PULD, curves. Curves and mends.... yes. Please help educate me. What is a PULD ?
6.)
How do these
variables enter our World of fly fishing
?
Good casters are creative in trying to resolve specific casting challenges so if the standard cast doesn?t put the fly on the fish then varying elements of the cast may do. Good anglers look and learn and many share their skills with others so the techniques spread. Yes, indeed.
7.)
How do they impact
our teaching
?
They make my teaching way more interesting but I would normally only consider adding variations to a casters bag of tricks when they had good basic control over the rod and line.
Good
point. Getting into variables might will confuse the early
caster.
8.)
Should the
family of elliptical casts be considered as a set of variables
?
Not unless we have established from what they are vaying ie is there an abstract idea of the ideal elliptical cast in an agreed set of ?standard casts?
We can look at this in two ways. Those who are dead set on straight line overhead casts as the "norm" might see other ways of casting as belonging in the realm of variables. The reverse might also apply.
Then we can take a typical or "classic" set of elliptical casts (whatever this may be) and consider any deviation for a purpose to be a variable.
9.)
Would you
include casts such as the "bow & arrow cast" or the "underpowered curve
cast", the "Maloney cast" or the so-called, "helicopter cast" be considered
as variables ?
Yes. Agree.
10.)Do you think the "River Dump & Pump" is a Bone fide
variation ?
I?m an ignorant Brit?I?ve never heard of it?..
Not really a fly cast at all. See my comment in Mark Milkovitch's anwer sheet.
11.)How about "dappling", "blow-line casts" or Tankara fishing
?
I don?t really count these as ?casts? but that is an entirely subjective position, they are certainly fly fishing.
Perhaps we could
look at these as lying in a "gray
area"
12.)What about SNAP CASTS ?
These are not really a variation of a standard loop generating stroke because they use a slightly different method for accelerating the line. In fact I?ll have to go away and find out exactly how they do work?..rapid shift of mass from the line under tension to the rod leg apparently?.is this correct Gordy ?? I may have misunderstood the physics here.
Some look at the snap casts or snap moves as a "cast within a cast". In most instances, the line / leader is on the water. A lift is made, then the rod tip is accelerated beneath the line causing a wave of energized line to result in propelling a loop in the opposite or nearly opposite direction. (The angle can be determined by the direction the tip was travelling as the loop began to form at RSP.)
To my eye, it becomes even more of a "cast within a cast" or even a violent disruption of a cast when I practice by making a forward cast..... then before the loop has fully unrolled, I make the "snap" by drawing the rod tip back and then suddenly accelerating it just beneath the travelling loop. The wave thus produced results in the line forming a second loop which is propelled in the opposite direction.
Is this a variation ? I think so.
13.) .... and Hugh Falkus' "Two way fishing" ? I interpreted this as a series of mends designed to swing a salmon fly in each of two directions one following another.
14.) .... Joe Shedlock's "Sky Writing" ? Joe gave some workshops at conclaves a few years ago with this as the title of his presentation. The concept was to imaging drawing or "writing" an image in the sky with the rod tip as the prelude to a particular desired layout.
15.) The "Salt Water Speed Casts "
? I'd classify these as
variations
16.) On and
on........................................................................................................................
Endless !
As you do this, allow your
minds to leap beyond the standard fly casts !
Gordy
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Return comment on Donald Rudd's diagrams approved by Alexander Grant from Ally Gowans :
Hi
Gordy,
A ha! You refer to
vertical drift but the diagrams from Rudd show the rod stopping positions
exactly (stop the backcast with the thumb vertical). But diagram designed to
show horizontal horizontal movement of the casting hand also appears to show
horizontal rotation (see position of the reel) which is what I referred to. This
is perfectly possible I tried it myself today but I don?t know what the
advantage is.
Best
regards,
Ally Gowans
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variables.doc
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