Talarico Photography - Fishing, Hunting, Wildlife and Landscape

Fishing Pro Series:
Photography (selected parts)
by United Fishing Association

The camera in the hands of an artist is a very powerful tool. Sam Talarico is all artist. He is inventive, curious, upbeat and very well liked and respected in professional fishing circles...

UFA--How many years have you been doing fishing photography?
I decided to focus on fishing related photography in the mid 1980's as a way to help pay for the exotic travel I yearned to do. I spent a lot of my own money and went in debt going to Siberia, Christmas Island, Australia & Papua New Guinea, mostly for the adventure and to see unspoiled lands and culture. I also thought it was a way to break into the fishing magazines with my photography since no one else would have these photos. I was the new kid on the block and I needed something to make people look at my work. I was in for a surprise. Editors were telling me these images were too exotic and their readers would not want to read about places that were too far away and couldn't get to. It took me a long time to realize that I was very different from the average reader. I don't regret those trips a bit. They were adventures of a lifetime. In fact, most of these places today are not what they were when I was there.

UFA--What was it that finally got you in the door?
Mostly a lot of dumb luck, and I made every opportunity that came my way count. I wanted to go to Christmas Island for the adventure, and when I looked in to it, I found out the owners of Frontiers travel were going to be there. I booked that week have an adventure and to do some networking. As dumb luck would have it, I caught a huge Giant Trevally that would have been a world record if the guide had not gutted it before it was weighed. The photo was used in the Frontiers travel catalog for years. Everyone saw it and recognized me after that. But one of the most important things that happened was when I met Lefty Kreh in 1989 at Casa Blanca Lodge. I knew he was going to be there so I booked that week. We hit it off immediately. He has been a mentor and a very dear friend. He has helped open doors for me. Photographer Val Atkinson was also there. I admired his work and it was a treat to meet him as well. The other most important thing was the comeback of the Striper in the Northeast. I couldn't afford to travel anymore because I was in debt from all the early trips around the world so I started fishing and shooting closer to home. By the time the magazines and advertisers realized that the Northeast was the fastest growing segment of the fly fishing scene, I had already been shooting it for a few years and had the stock photography they needed. By then, I knew most of the guides and local striper fishermen and all the best areas. Everyone wanted me to go out with them not only, because we had a lot of fun, but because they would probably get their picture in a magazine and it would help their career. I would always send a print to anyone that got me out on the water so I could capture these images on film. I still do and always will. I didn't ask guides or local fishermen to take me fishing for free, I just asked if I could tag along to do some photography. When the fishing would bust open, I would always grab my camera instead of a rod. I learned early on, you can not fish and shoot and get great images. All you will ever get is grip and grin shots; and that's not what I wanted. There are more than enough of those around. I wanted to capture the real action and the spirit of fly-fishing. These images finally started to get noticed.

UFA--Why do you stick to fishing photography?
First of all, it's what I'm known for and what I'm connected to after all these years. I know it well, built a reputation on it, and I'm starting to make some money at it. Most importantly it's where my passion lies and it's where all my best friends are. My fishing friends and guides are wonderful folks, we have a lot in common, and I feel welcome everywhere I go. I love the environment and being on the water. It's peaceful and beautiful. It balances my life with peace from the stress of making a living and everyday life. I especially love the inshore and estuary fishing. There is so much life going on all around you. There is never a dull moment and there is always a surprise about to happen to try to capture on film. It's a very spiritual place to be.

UFA--What is your most memorable photo shoot?
That's a tough one. The ones that come to mind are my trip to Russia and Siberia in 1989, and my trips to Australia and Papua New Guinea with Lefty, and a few on my own in the early 1990's. Both left images dancing in my brain forever. The Siberian people were so warm and friendly and the land so remote. The New Guinea natives were also warm and curious and very primitive. I witnessed cultural festivities and dances full of folklore that not many white men ever saw. Another was shooting President George Bush fly fishing for false albacore at Cape Lookout, NC. I come from a very simple, working class background, and never could have imagined I'd be spending time with and photographing the president. I thought about my grandparents that came to this country from Italy. I'm sure they could not have imagined their offspring with a president.

UFA--What is the worst mistake you ever made?
Probably letting two editors see the George Bush, cover shots at the same time. Because it was the President, they both wanted it for a cover, even though they knew they both wanted it and were going to print it. Every editor wants exclusive use of a cover. After I realized what I had done I tried to right the situation by making them both aware of the situation. They both wanted it anyway and wound up printing similar photos the same month and it caused some hard feelings. I didn't do it intentionally but once they both saw it, it was too late. I always try to do the right thing and be ethical in my life. But sometimes we make mistakes. I learned a hard lesson. Ever since, I do not send the same photos to more than one editor at a time.

UFA--What are some important elements you look for in a great photo?
For me it's when I capture the precise moment of an action scene. If there are people in the scene they should have great expressions on their faces. The light has to be just right with saturated colors in the scene. Sometimes it's just great light that evokes emotion to a photograph.