If you’re like me, I dream of taking a fishing vacation almost on a daily basis. A trip doesn’t have to be a full-on vacation, but it can be a short respite from a busy week at work. Whether you take off Friday or plan a weekend, getting out on the water can be just what you need. Planning for your mini-vacation can make or break the experience.
When planning for a short fishing trip I like to keep a couple things in mind. These are just a few recommendations I use to help improve my chances of the it being a success. I want to make sure I come home from the trip happy.
I almost never pick a destination that I’ve never been to before. That doesn’t mean I won’t try new places to fish, but I prefer staying within an area or body of water I’m familiar with. This is of course not an issue if I’m going with a fishing outfitter. But, trying a completely new and different vacation spots has it’s risks. If I plan a fishing trip to a new place, I try to make it a whole week adventure.
Whether the fishing guides has accommodations on site or recommends a nearby hotel, I like to do a little independent travel planning. I generally try to find two or three alternative hotels, bed and breakfasts, or inns. I do this because too many times I’ve arrived at my fishing trip destination and been dissatisfied with the quality of the rooms. Obviously I want a clean bed, but location and security are factors especially if I’m hauling my boat.
Planning your equipment is important too. I usually try to get all my fishing tackle organized in a way that makes it easy to carry. One of the greatest features about soft tackle bags is the ability to swap out boxes depending upon the type of fish and water you plan your fishing vacations to. I either use a permanent marker or label maker to mark each box with it’s contents.
I usually spend a little time on the Internet reading fishing reports from the area I plan to visit. There are many websites such as forums and blogs that can give you up to date information. If you’re vacationing in an area that you’ve been to before and plan to visit again, I would recommend bookmarking the websites that provide the best and most current fishing information. Take note of the recent weather trends so you can pack the appropriate clothing. Also note the colors and sizes of fishing lures if that information is available. Sometimes a fishing vacation’s success can be the difference in the color and type of lures.
I love a new adventure, but I explore with care on such a short fishing trip. Remember, the reason for getting away is to be happy, not frustration. With a little planning and care you can make sure your short trips become great vacations.
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If you are going to a villa in Lanzarote in the near future you might be wondering about where to visit when you are there. Well, the capital city of Lanzarote is Arrecife and that is a good place to start with.
Arrecife is a lively port city that took over from Teguise as the Island’s capital. It is located on the south coast of the island, nestled between Costa Teguise and Puerto Del Carmen. Arrecife is also the home to the island’s airport and a slight detour on the road to Puerto Del Carmen will give plane enthusiasts an excellent treat as they can stand almost at the end of the runway and, dependent on wind direction, have the airplanes passing low level over their heads as they take off or land.
Arrecife is home to half of Lanzarote’s inhabitants and the site of Lanzarote’s only multi story building. From miles around the island’s only high rise structure can be seen as a giant over the city. Cesar Manrique’s vision for the protection of the island stopped the building of any more such buildings and for 30 year this hotel, the Arrecife Gran Hotel, was a mere shell mid construction as authorities debated completion or destruction.
As already mentioned, the traditional capital was Teguise, some siz miles further inland. This was chosen as protection from the regular pirate raids of old and was the capital of the island for 4 and a half centuries. It was only in 1852, when the importance of the port was recognized for the marine trade that the capital status was moved to Arrecife.
This piratical history can still be seen today as there are two castles standing guard over the harbour. Although, these days they mainly stand and watch the biggest fishing fleet in the Canaries setting to sea and returning with their catch.
If you are looking for attractions to see when you have booked a villa in Lanzarote to help you escape from the beach, then visitin Timanfaya Volcano Park is a must and could be top of your list if it is your first visit to the island.
You are taken up to the top of the mountain, or drive in a hire car, to the car park at the visitor centre. The journey through the park is the start of the experience. It is described as being a lunar scene and that is really the im pression that you do get as you watch fields of solidified volcanic lava that have been untouched since they were laid down. The area is now a protected park to help preserve this landscape.
When you reach the car park at the top of the visitor center there are an abundance of uniformed guides to entertain you. They will show how a bucket of water emptied down into a bore hole erupts seconds later as steam, heated unbelievably quickly just by the temperature of the rocks below the ground. Another favorite show is to push some brushwood into the ground and then it is pulled out burning seconds later. Again, this is just the heat of the ground.
The visitor centre also houses a fairly unusual restaurant There are no powered ovens. Instead the food is cooked from the heat given off from a hole in the ground. The demonstrations of the heat given off from the subterranean rocks are certainly varied!
There is also a guided coach tour from the visitor center that shows tourists a little more of the area and the rock formations. All of this makes Timanfaya, Fire Mountain, worthy of a visit!
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Materials are important to the artist and like most things in life, it is better to obtain the best that you can possibly afford. Painting isn´t always an easy craft – so your tools are very important to you.
For example, if you choose mediocre materials the final result obtained will probably reflect this.
If you go for quality it should certainly obtain improved results.
As a contemporary artist I can tell you that you require a firm support to paint on, together with a mixed selection of colours and certainly good brushes. Brushes are important! You need one that is both clean, a naturally good shape, but that is also flexible. With a good brush you can draw freely and not simply make a certain size brushmarks.
If you use short, bristled brushes they do not usually appear to give a particularly good finish.
If, for instance, you want to draw a persons head you need an amount of flexibility and a precise touch. To achieve this you need to be drawing with the paint continually and in small accurate strokes.
As brushes go I find that it is a fine idea to have a few sables that are pointed, as well as a few hog hair brushes. If you use a flat brush you can get delicacy by lying it on its side.
If you wish to draw well and put down patches of colour, you need brushes that have fairly long hair, filbert, round or flat, so they are flexible.
When you get yourself good quality brushes then they should stay in shape well, but it is a must that they are washed at the end of each painting session. It is pretty obvious they will not be good for long unless you treat them well.
What will help you? Well, being a contemporary painter, I usually keep an old jam jar filled with turps substitute at my side. This you can use for cleaning out used brushes whilst you are painting and of course when you finish your work for the day. It is recommended that you should clean them properly in this, preferably dry them on an old piece of rag and then finally it is usual to give them a wash with some soap and water.
It is useful to hold the soap in one hand and rub the brushes across it, then clean them gently in your hand with your fingers. The second step is to rinse in water and then start to reshape the bristles with your fingers.
This sounds a lot to do, but normally should never take long to do, but it is important.
Sometimes if you are tired you may forget to do this and then find you will be mad with yourself the following day.
Actually most people seem to collect quite a large collection of brushes but end up using only six or seven at a time. As with everything else you have your favourites and really you do not necessarily require a large stock. You find that you still use your very old ones. These are very lovely on wide areas of painting as they are well worn and this saves on your newer brushes as it tends to wear them down.
This article was written by Anna Meenaghan of http://annameenaghanart.com
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To craft interesting fluid portraits that breathe life you must appreciate the effect of the spine on the head and shoulders.
To produce a relaxed feeling in your portraits quite often you will need to sketch the head tilted. Most people when they are at ease will pose with their head slightly slanted. In this article we will point out what to look for and how to tackle the slanted skull.
In the tilted skull view the subject will show a clear change of direction from the action of the torso to the slant of the skull. Also take note of where the shoulders are. The model’s shoulders will almost be aligned with the base of the nose.
With this information in mind, the first step is to measure the angle of the skull’s tilt (from the bottom of the chin to the top of the head) before drawing the arabesque. To do this hold your pencil (or a knitting needle) at arm’s length, closing one eye, and adjust the angle of the held pencil so that it relates to the angle of the slant. Keeping your arm straight and locked you can now transpose this angle onto the drawing.
Now that the angle of the slant is established you can strike the arabesque and validate the height/width proportion.
The axis of the features is vertical to the tilted facial angle. A common tendency while rendering is to straighten out the features so that they are horizontal to the paper. Be aware of this and ever on-guard because this tendency is delicate and is constantly trying to sneak into the drawing.
It is not a recommended practice to situate all of the features at this stage. It is actually more correct to first fix the brow line and the base of the nose and work from there.
When the skull is tilted you should also be conscious of the effect that gravity has on the face. The skin, in particular on the underside of the jaw, will be slightly pulled down. This effect is quite fine but for those of you who are expert portraitists you should catch this in your original arabesque. If you are a novice just put this information away for future reference.
Take note, also, of the neck. The important visible neck muscle is extended. Its companion is compressed. This opposite muscle action is referred to as abduction/adduction. This action of the neck always renders a striking effect.
Once the arabesque is placed and you are satisfied with its accuracy relative to size and shape you can draw the features and hatch-in the chief big darks and lights. Keep the value simple. The more complex the lighting arrangement, the more this applies.
The tonal arrangements are worked further, but are still a bit crude and unresolved. The main concern is the overall light effect.
There are a few things to keep in mind as you prepare to finalize the sketch:
1. Determine how far you should carry the drawing. You can get a real nice effect if you give the shoulders and upper torso an unresolved quality. Remember, sketches are not meant to resemble photographs.
2. As you gain a better understanding of the facial structure the tendency exists to render what you know rather than what is actually there. So make sure you always pause to observe the life model or the model in the photograph.
In closing, the tilted head pose is special in that the features will be centered on a tilted axis and that the tension in the shoulders will be different from one side to the other. Also the changeover from the torso and shoulders to the head should be carefully observed.
Do you want to learn the secrets of pencil portrait sketching? Download my brand new free pencil portrait drawing course here: portrait drawing tutorial.
Remi Engels is a pencil portrait artist and oil painter and skilled sketching teacher. See his work at pencil portraits.
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Including a hand in your portraits adds a important measure of excitement but can quickly destroy an otherwise fine portrait if done badly.
The goal is to incorporate the hand so that it is not only proportionally and gestural accurate, but is congruous in personality with the expression of the face.
For example, an agreeable facial expression juxtaposed with a clenched fist may not yield the effect you desire unless you intend to add an ironic twist to your portrait. On the other hand, a hand supporting the skull goes very well with a stern scowling expression.
First, absolute novices should not be attempting to sketch both the hand and portrait together. Things will quickly get muddled. The lesson for the absolute novice here is to get an understanding of the significance of acquiring a solid foundation of your craft.
In a view where a hand supports the skull there is a delicate forward tilt because the model is a little bit hunched and leaning forward. For the draftsperson, this situation translates into the presence of a faintly foreshortened and reclined portrait. In the hand/head case this means that the chin is somewhat receding relative to the forehead.
As always, you should begin with the construct, which in this case, includes the hand and the shoulder. If you first draw the skull and then attach the hand to it you are definitely asking for trouble. The hand and the head will lack harmony and will give the awkward impression that they are two different objects that are coincidentally juxtaposed.
When drawing the construct be aware of the negative as well as the positive spaces. Also, do not pre-measure any aspects of the complete arabesque. It should be rendered with as much flair as possible without losing your sense of size. Sketch first then verify.
Further build upon the complete arabesque by positioning the face, hand, and shoulder signpost
s and sizes. The internal architecture of the complete arabesque is initiated by blocking-in the principaldarks and painting out the lights with a putty eraser.
What you are doing is to set the stage for articulating the facial features, the hand, and the shoulder. The hand must be situated and proportioned in accordance with the head and the facial features. The compression of the jaw into the palm must also be taken into account.
Using a sharp pencil you can now further develop the tone and shape with cross-hatching, stumping down, and erasing. In this, you will be going back and forth hoping that you know when to quit. Rendering is about making decisions, i.e., knowing what to build up and, just as critical, knowing what to leave out.
In the hand/head case you have to be particularly careful how far you develop the hand. The hand should be seen as an extra element, that is, a supporting element that should not be part of the focus. Do not feel compelled to refine every element in your sketch. Everything in rendering is about equilibrium and transferring your intent directly to the viewer’s eye.
In closing, it is important to see the hand and the shoulder as parts of one whole. Starting your sketch with drawing the construct will help you greatly with maintaining this unity. Treat the hand and shoulder as props that surround the face. This means that you should sketch them in a subordinate role.
Do you want to learn the secrets of pencil portrait sketching? Download my brand new free pencil portrait drawing tutorial here: portrait drawing course.
Remi Engels is a pencil portrait artist and oil painter and expert sketching teacher. See his work at graphite pencil portraits by Remi.
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Sampling Alvor and Armacao de Pera in Portugal
For those considering Algarve villas, then an option to be looked at is Alvor. Located 8 km west of Portimão, Alvor became an important port during the time of the Moorish occupation. It once had its own castle, which was destroyed by the earthquake on 1 November, 1755. Originally built by the Carthaginians in 436 AD, it was attacked and plundered by the Christian Crusaders in 1189, at the same time as the larger settlements of Silves and Portimão were taken. King João II died here in 1495, after taking the waters at the spa of Monchique in an attempt to cure his dropsy.
The village of Alvor itself is a maze of traditional cobbled streets and a 16th-century parish church with a fine Manueline portal featuring a round arch and beautiful abstract floral motifs. As well as Alvor beach itself, there are some golden stretches of sand towards Portimão, most notably the small cove of Praia dos Três Irmãos with its red cliffs.
Further east are the caves at João de Areus and the quiet, secluded beach of Praia do Vau nearby. The village of Abidaca, situated on a slope to the east of Alvor, has traces of a Roman settlement. Further to the east, is the bustling fishing port of Portimão, which has many good restaurants and plenty of night-life to experience.
There are many beaches to choose from, many just minutes away. Children are not left out either. There are a number of Water Parks nearby including Slide and Splash, The Big One and Zoomarine. There is also the town of Silves that was once the Moorish capital. In these inland towns and Villages, you can sample a quieter and more relaxed way of life and maybe catch a flavour of what life was like in bygone days.
Another option within the Algarve if you are considering villas Algarve is Armacao de Pera. Armacao de Pera was for centuries a fishing village, a focal point for fishermen attracted by the abundance of fish, especially sardines and tuna, which was salted and sold in the south and in the centre of Portugal. To defend the settlement against raids from pirates and corsairs, a small fort was built in the 17th century at the initiative of a prosperous and generous boat-owner. One of the walls of this old fortification, with a doorway, and above it the royal coat of arms, still stands on a slight elevation overlooking the sea. The chapel inside dates from the same period. Theses days, the fishermen’s nets are still to be seen on Praia dos Pescadores. But it is to the tourists who come for its broad sands and warm waters the Armação de Pêra now owes its lively, cosmopolitan atmosphere.
Armação de Pêra is a traditional town. The main beach is dotted with colourful fishing boats along the sandy beaches. The old part of the town has plenty of shops, cafés and restaurants that provides an excellent place to sample the local fish and fruits as well as giving you a flavour of the culture of old Portugal.
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Sinulog 2009 drew millions of both local and foreign tourists and devotees who flockedover the weekend of January 17-19 to Cebu, some 600 kilometers south of Manila, Philippines, to join the Sinulog festival in honor of the centuries-old miraculous image of the Sr. Sto. Nino.
Portuguese navigator Ferdinand Magellan gave the image of the Sto. Nino as a baptismal gift to Hara Amihan, wife of reigning Rajah Humabon, when Magellan came to Cebu on April 7, 1521.
The same image was found unharmed among the burning embers of the city when conquistador Miguel Lopez de Legazpi came to Cebu more than 40 years later on April 28, 1565 to start the formal Christianization and colonization of the Philippine islands.
The festivities turned fever pitch Sunday morning as the carousel-type Sinulog parade rolled off to the boomingbeat of drums and blare of trumpets at nine a.m. over a 5.2-kilometer parade route.
Sinulog Foundation Inc. (SFI) executive director Ricky Ballesteros said Sinulog 2009 parade participants include 44 contingents and 112 groups divided into higantes (paper mache giants), floats and puppeteers.
Police said the swelling crowd of revelers by mid-morning along the parade route reached as high as 2.5 million.
Thousands more watched the parade on television as this was covered live by major television networks.
On Saturday, an estimated 1.5 million people joined the solemn procession in honor of the Sto. Nino.
The crowd was so huge that the lead pack already returned to the Basilica Menore del Sto. Nino before those in the tail end could even start walking.
Sinulog Festival organizers said this was the grandest parade ever since the Sinulog was enlarged into a full-blown annual festival in 1981.
The Sinulog, a dance of pagan origin performed by the natives to pay homage to their native idols, has been considered as the country’s Christian link to its pagan past.
Historians said the Sto. Nino’s image was found in a wooden box lying side by side with wooden idols when Legaspi came to Cebu 44 years after Magellan was killed by Mactan chieftain Lapu-Lapu in the historic Battle of Mactan on April 27,1521. Legaspi bombarded Cebu to subdue the natives.
This led historians to conclude that the natives worshipped the Sto. Nino together with their idols as they danced the Sinulog even after Magellan’s death in the Battle of Mactan.
The Buyugan Festival of Abuyog, Leyte with its environmental theme, won first place in Sinulog 2009, stealing the award from the current champion the Lumad Basakon of Basak San Nicolas, Cebu which settled for second place in this year’s Sinulog Festival.
The Buyugan Festival dancers wowed the thousands of onlookers
at the Cebu Sports Complex and the thousands of people who lined the Cebu City main thoroughfares, with the mastery and fluidity of their steps and execution, the clear storyline and the spectacular props which provided drama to the total wonderful presentation.
The Buyugan Festival was also adjudged as third placer in the street dancing category which was won by the Sinundalay Cultural Group from Tangub City.
Another contingent from Leyte, the Karatong Festival of Dulag, won the fifth place, showing the entire country and the whole world that Leyte is a province to watch when it comes to festivals and cultural presentations. The Karatong Festival muse also won as the first runner up in the Miss Sinulog 2009.
The 200-man Tribu Kabatuk of Tacloban City headed by Mayor Alfred Romualdez and City Councilor Cristina Romualdez, also participated in the Sinulog 2009 and performed well. Its muse won as the best in production number in the Search for Miss Sinulog 2009.
The other winners in the free interpretation category were one of the most applauded Sinulog Tribe from Carmen, Cebu, third place; and the festival of Lanao del Norte, fourth place, which was headed by no less than the provincial governor.
For the Sinulog-based category, the winners were the Sinandaloy Cultural Group from Tangub City, first place; Don Sergio Sr. Memorial National High School, second place; Silaw Culture and Arts representing Carcar City, while Siloy Festival of Alcoy and Pakol Festival of Sta. Catalina in Negros Oriental were fourth and fifth, respectively.
The first prize winners for the Sinulog 2009 and Free Interpretation will receive P500,000. Second placers will get P300,000 each and third placers will go home with P200,000. Fourth and fifth placer will receive P150,000 and P100,000 respectively.
Winners in the Street Dancing will receive the same prizes as those of the two major categories.
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The sketching of children demands freshness and directness of purpose. Regrettably, there are not too many quick and ready rules. Let us just say that children’s portraits demand a sharp and patient eye.
For those who intend to do commercial portraiture the good news is that kids’ portraits can be profitable. There are very few artists who can competently sketch children.
Soft lighting works best for portraits of children. The kid could be looking towards a bright light source. This sort of light source will light up the kid’s face and create an introspective facial expression. The value range goes from light to medium with the eyes really dark.
Addressing the facial proportions of children in a general sense is somewhat of a waste of time. Their facial proportions change dramatically within a six month time span.
Suffice it to say that the younger the child is the smaller the face in relation to the head. The eyes also appear larger although this can be deceiving. A kid’s nose can be very difficult to draw – there is nothing really to hold onto. And the mouth is very fine and sensitive not to mention its constant motion if you draw from life.
If you do want to list some broad proportions you can say that whereas an adult face is about 1/2 the size of the frontal head side, a kid’s face is about 1/3 of that size. Also, observe how little an infant’s neck is compared to the size of the head.
At its widest section, a baby’s face is about five eye widths wide. The width between the eyes is a tiny bit more than the width of an eye. Both the mouth and the nose are approximately the same width of an eye. Once more, we must stress that these sizes are only a general rule and individual face proportions can vary. The above general rules can be employed for comparison purposes when you do your own careful observations of a particular face.
As always, start your drawing by striking the arabesque and then correcting the height/width proportions as necessary.
After establishing the primary facial proportions (i.e., the brow, nose, mouth, etc.) block-in the major light/dark patterns. Then, stump down the graphite using your fingers or a stump. To render and re-shape the lights utilize a clean kneaded eraser.
Now the features are carefully placed, sized and partially sketched. There are two things to take into account here:
1. Your pencils must be very sharp, and
2. At this time, you should never fully complete a feature. Sketch each feature no more than 50%.
Once the features are sized and located as best you can, you can now further develop them. Do not neglect the hair and sides of the face. Everything should be brought up together. As you proceed to render you should always be on the lookout for mistakes in proportions and value.
In conclusion, the fundamental methods used to render a kid’s portrait are of course always the same. Above, we listed most of the differences in proportion and form between an adult skull and that of a child. Your frame of mind when rendering a child should be one that reflects the innocence and the softness of a child.
Do you want to learn the secrets of pencil portrait drawing? Download my brand new free pencil portrait drawing course here: pencil portrait tutorial.
Remi Engels is a pencil portrait artist and oil painter and skilled drawing teacher. See his work at graphite pencil portraits.
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A interesting thing about drawing the side view view is that novices find it much easier than the other poses. Yet, the advanced draftsperson can find the side view quite challenging.
For the advanced artist the challenge lies in the struggle to affect a three-dimensional sculptured quality.
Looking at the construct in the side view observe how the head is broken down into straight lines. Using these architectonic lines communicates a firmness of shape.
In the start, you should keep the shapes plain. Also at this time, do not draw all the profiled features. There are 2 reasons for this:
1. It is very likely that even the most skilfull artist will be off, and
2. Once a line is established the language center of your brain will consider that association as correct one. Therefore, it will look proper to you but everyone else will see the error.
There is a superior way. You start with striking the construct using architectonically straight lines. The chief concerns are fixing the general proportions and form correctly. At a more advanced level you should also consider rhythm and flow.
Instead of right away including the nose into the arabesque you should use the facial angle, i.e., the line from the forehead to the chin that breaks at the base of the nose. The signpost reference for the bottom of the nose is the tiny ledge-like protrusion.
A plumb-bob is an great tool for accurately placing the bottom of the nose. A plumb-bob is a length of thread (preferably black carpet thread) that has a weight attached to it. The plumb-bob is made use of to verify vertical alignments (when working with life models) and their relationships to that vertical line. The vertical line is referred to as the plumb-line.
Aligning the plumb-line to the chin allows you more correctly to see the relationship of brow to chin. The brow is set back from the chin. Note that the entire region of chin and mouth is referred to as the “muzzle”.
Having verified that the initial arabesque and facial angle are right you can now continue with establishing the facial proportions, chief anatomical signposts, and the hair-line. So, at this stage do not even think about rendering the complete nose. Drawing the nose at this time is a sure remedy for disaster. The angle of the nose and the creation of the tip require a high degree of precision.
Instead, begin to lay down the general light/dark pattern.
The lights are taken out using a putty eraser. The look we are seeking is that of a ghost image. That means, above all, not to add minutia. In addition, work from the general to the specific.
Once the general light/dark pattern is developed then the profiled features can be done. utilizing a very sharp pencil you can work upwards from the chin to the forehead carefully observing the shape. As you draw mutter the anatomical terms of each feature that you draw. You would be surprised at how that clarifyies the sketching process. Having an idea of the facial anatomy will set your portrait drawing miles ahead of those who do not.
The tip of the nose, particularly, demands anatomical reconstruction to get it right.
A common error novices make with the profile view is placing the eye too far forward. The eye sockets are recessed quite considerably into the head. If you drop a plumb-line from the inside corner of the eye you will notice that the eye aligns itself with the corner of the mouth.
Further sketching and cross-hatching tones are done with 2H and 4H pencils. Choosing how far you want to take your sketch is an aesthetic choice you have to make yourself. If you want, you can leave the portrait somewhat unrefined.
In closing, sketching the side view involves the same general principles relevant to any view. In this case, the construct is particularly critical. The significant thing to remember is not to place the actual complete features of the head too early in the process.
Do you want to learn the secrets of pencil portrait drawing? Download my brand new free pencil portrait drawing course here: portrait drawing tutorial.
Remi Engels is a pencil portrait artist and oil painter and skilled sketching teacher. See his work at pencil portraits.
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Fishing On Spain’s Ebro River Is A Remarkable Sport
It could be that you are one of the many people that are out there catfishing on a regular basis or you might be a person that is looking to take it up, if you are either of these people then we can say to you now it is one of the best bits of fishing that you will ever do in your life, just try it and see. If you have already tried it and loved it then you really need to get yourself over to Spain’s river Ebro to experience some real catfish fishing in. Over there you will find catfish that grow up to huge lengths and also they will give you the fight of your life trying to reel them in.
The Ebro is famous for its Spanish catfishing which sees hundreds of these fish caught every day and these fish are no ordinary fish, they are huge and this river has yielded some of the biggest ever catches for catfish ever and the scary thing is that they are being caught at such a great rate you really start to think how many are actually in the Ebro.
There are different ways that people go about catfishing on the river Ebro and each of them seem to be very efficient, these methods include fishing from the banks, free roving and fixed live bait fishing. The most effective method for catfish fishing on this river though definitely seems to be fishing free from a boat as you are able to get out into places where you cant get to from the sides. Also you are able to get to parts at the side of the river where you normally could not go and these places seem to be where most of the catfish are located.
Catfish fishing on this river can be done all year round as the weather is just right for them most of the year round giving them roughly a 10 month breeding season. The catfish tend to spawn during the month of May so this is probably not the time of year to go but you can still yield some very large catches, the main monster catches seem to appear a month or 2 after which is when I would probably recommend fishing it if you are just out for big catches, but as I said massive catches are being caught day in day out all throughout the year. These are just typically the months you will have the best fishing of your life.
As well as catfish fishing on the Ebro there are many different past times that you can do while you are having a rest from catching these superb monster fish, activities include horse riding and shopping etc. You can be sure that you will not be bored during your visit. Also the weather over there in Spain is nice pretty much constantly other than the odd couple of months in the winter which are still quite warm.
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