Walter & Group.....
From Jim Penrod on confusing terminology:
Hi Gordy,
For me when it comes to
positive and negative curve cast I like to describe a negative curve as one in
which the curve
is lateral or away from my casting
arm and a positive curve is just the opposite or the curve is medial or to the
inside of my casting arm.
That avoids having to deal with left and right. I think of
decelerating and accelerating with more to do with the mechanics of making a
positive or negative curve cast. One, could, of course, make
either a positive or negative curve by either
accelerating or decelerating
depending upon rod
plane, i.e., a negative curve cast by rapid acceleration, wrist twist
and rapid stop in the across the head almost
vertical plane. Just my way of looking at
it.
Jim
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From Jeff Barefoot on placing emphasis on the back cast as a teaching priority. Perhaps we can have some feedback from those of you who have an opinion on this :-
My teaching experience has been also like Troy’s. A majority in favor of
getting back casts down quicker. I wonder why the bias is different between
different instructors? It be interesting to know what bias all the members
of this group experience.
Jeff Barefoot
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As I think you know, my way of looking at it is that the back cast is extremely important to learn well, early. It is the set up for the forward cast. Using different words, you are not likely to have an efficient forward cast unless it is preceeded by a good back cast.
Reminds me of the article written a couple of years ago by Bob Andreae entitled, "YOUR MOST IMPORTANT CAST". Of course, he was talking about the back cast.
Gordy
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One of my messages just before Christmas (I see that not all of you received it.) :-
Group.........
As I think about it, I note that one of the things which makes the
detailed understanding of the many factors which go into the formation of an
almost straight line path of the rod tip and the formation of a tight loop, is
the fact that we are taking a combination of translational and (mostly) rotatory
movements at the rod handle and using them to create an almost pure linear
(translational) movement at the end of a flexible fly rod.
Then when we see the tremendous differences in the flexibility of various
fly rods and the differences in application of power as we cast, it comes
to me as amazing that we can do it at all let alone figure out how we did it
!
Gordy
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Answer from Bob Tabbert:
Gordy,your message is a beautiful discription of this wonderful art
form of casting..my only comment is that we really still do not understand the
whole process, Richards and Perkins have pushed the envelope, I am hanging on by
my finger nails...have a great 2008 , thanks again for your hard work and
guidance in helping all of us who are seeking knowledge and
understanding of the casting process...Bob
Robert L. Tabbert
Conservation, Fly Fishing, Exploration
Winter: 211 Ursuline St,
Lafayette, LA 70506
Summer: N14925,W Turner Lk Rd
Lac du
Flambeau, WI 54538 715 588 2395
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From Mack Martin Jr. (Atlanta Fly Casting School) on the Casting Analyzer:-
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