Cast Net - Construction and Technique

Construction and Technique

Contemporary cast nets have a radius which ranges from 4 to 12 feet (1.2 to 3.6 metres). Only strong people can lift the larger nets once they are filled with fish. Standard nets for recreational fishing have a four foot hoop. Weights are usually distributed around the edge at about one pound per foot (1.5 kilograms per metre). Attached to the net is a landline, one end of which is held in the hand as the net is thrown. When the net is full, a retrieval clamp, which works like a wringer on a mop, closes the net around the fish. The net is then retrieved by pulling on the landline. The net is lifted into a bucket and the clamp is released, dumping the caught fish into the bucket.

Cast nets work best in water no deeper than their radius. Casting is best done in waters free of obstructions. Reeds cause tangles and branches can rip nets. The net caster stands with one hand holding the landline, and with the net draped over the other arm, so the weights dangle. The line is then thrown out to the water, using both hands, in a circular motion rather as in hammer throwing. The net can be cast from a boat, or from the shore, or by wading.

There are also optional net throwers that can make casting easier. These look like a lid from a trash can, including the handle on top. The outside circumference has a deep gutter. The net is loaded along the gutter and the weights are placed inside the gutter. The net is then tossed into the water using the thrower.

  • Net casting in Fisher at Barra da Lagoa, Florianópolis, Brazil

  • Fishing with a cast net.

  • Fishermen casting nets on Lake Sélingué.

  • Fishing with cast net from a boat in Magra River, Italy

Read more about this topic:  Cast Net

Famous quotes containing the words construction and/or technique:

    Striving toward a goal puts a more pleasing construction on our advance toward death.
    Mason Cooley (b. 1927)

    The audience is the most revered member of the theater. Without an audience there is no theater. Every technique learned by the actor, every curtain, every flat on the stage, every careful analysis by the director, every coordinated scene, is for the enjoyment of the audience. They are our guests, our evaluators, and the last spoke in the wheel which can then begin to roll. They make the performance meaningful.
    Viola Spolin (b. 1911)