The shots had to be different — which is the way I’ve always approached my visuals. Hours and even days of planning have gone into each shot. I wanted, for example, to shoot bonefish free-swimming inches from the lens. Most people, including my guides, called me loco. The shots started out with camouflaged radio-triggered cameras placed on the flats, followed by hours, and eventually days, of sitting 200 yards away in a skiff getting broiled by the sun, waiting for a school to swim up to the crab bait in front of the camera. After much trial and error, we refined the process and were able to spend much of our first trip of the project underwater, literally lens to nose with a school of bones, for several hours each day for a number of days.