The photograph titled "Both Worlds of Fishing" by Rafael Fernandez Caballero offers a powerful lens through which the viewer can witness the intersection of tradition, marine life, and responsible practices in the world of commercial fishing. Taken in Ceuta, Spain, during a centuries-old tuna fishing method, the image does far more than capture a beautiful scene. It documents a real-world example of how humanity interacts with marine ecosystems, how deeply rooted cultural practices can evolve into sustainable models, and how photographic storytelling can shift perspectives about conservation. In this first part, we delve into the tradition behind the Ceuta tuna fishery and explore its historical and cultural significance. We also examine how this photograph stands as a compelling artistic and ecological narrative.
Ancient Roots of the Almadraba Fishing Method
The practice captured in Caballero’s image is known locally as Almadraba, a traditional method of tuna fishing that dates back thousands of years. This technique originated during Phoenician times and was adopted and developed through Roman and Islamic periods, persisting into the present. Unlike modern trawling or mass fishing techniques that prioritize quantity over impact, Almadraba utilizes a maze-like system of anchored nets positioned near coastal migratory routes. These routes are traveled annually by schools of bluefin tuna as they move between the Atlantic Ocean and the Mediterranean Sea for spawning.
This system of nets is designed to gradually lead the fish toward a central enclosure, known as the copo, where they are temporarily held. The unique element of this system is that it doesn’t aggressively trap or harm marine life in the way some modern fisheries do. Instead, it relies on understanding the natural patterns of fish migration, strategic net placement, and careful manual operation by teams of divers and fishermen. The net structure itself is often left in the sea for months at a time, maintained and adjusted based on water conditions and fish movement. This process reflects an ancient but refined knowledge of the sea, passed from generation to generation.
The Visual Composition: Surface and Depth United
Caballero’s photograph is a striking vertical composition, artfully blending two distinct but inseparable worlds within a single frame: the human world above the water, and the marine world below. The upper half of the image depicts fishermen, silhouetted against the light, actively pulling on ropes to raise the nets. They appear as a cohesive team, synchronized in their effort. Their positions and postures convey motion, urgency, and cooperation. The water’s surface acts as a natural divide between two realities.
Beneath the surface, a dense congregation of fish fills the frame. Primarily, tuna, the fish, move together in a pulsating mass, their silvery bodies catching and refracting ambient light. The scene below is dynamic and alive, yet also unsettling in its tightness—this is the final moment before selection. The proximity of the fish to one another, their numbers, and the limited space in which they swim evoke both beauty and claustrophobia. Some of these fish will be harvested for food, and others will be released if they do not meet commercial or ethical requirements. Together, the upper and lower halves of the photo symbolize the complex dance of resource extraction and life preservation.
The choice to frame the image with this split perspective is not accidental. It reinforces the photographer’s intent to showcase “both worlds”—the humans who depend on the ocean, and the creatures whose lives are directly affected by those dependencies. This duality enhances the viewer’s understanding of the relationship between the seen and unseen aspects of fishing. It invites us to contemplate what lies beneath surface-level assumptions about food sources and marine stewardship.
Ethical Fishing in Practice: A Living Model
The Ceuta fishery is recognized not only for its efficiency but for its commitment to ethical fishing practices. It serves as a rare example of commercial fishing that intentionally mitigates harm to non-target species. In Caballero’s narrative, we learn that animals caught unintentionally—such as sunfish or turtles—are not discarded lifelessly or used for bycatch profit. Instead, commercial divers are instructed to release these creatures quickly and carefully, returning them to their environment unharmed. This speaks to a strong local ethic and regulatory structure in place, one that values long-term ecological balance over short-term gain.
In many modern fisheries around the world, bycatch is an enormous problem. Non-target species such as dolphins, sharks, rays, sea turtles, and juvenile fish are often ensnared in nets and left to die. These practices contribute to the destabilization of marine ecosystems, threatening biodiversity and accelerating species decline. The fishery in Ceuta counters this trend through strict guidelines and close monitoring by divers, who make in-the-moment decisions about which animals to keep and which to release. This level of human involvement allows for a more discerning and responsive process than industrialized automation.
Furthermore, the Almadraba method doesn’t use high-speed vessels or sonar technology to chase down fish. The tuna are not stressed by long chases or sudden enclosures, which results in better quality meat and reduced mortality for other sea creatures. From a conservation standpoint, this approach supports sustainability by limiting the scale of capture, maintaining breeding populations, and reducing ecological damage. This model demonstrates that it is possible to satisfy commercial needs without entirely compromising environmental integrity.
The Role of the Photographer as Conservation Witness
Rafael Fernandez Caballero, through this photograph, takes on the role of a visual witness—an observer and documentarian of a process that few outside the fishing industry ever see. His image is not one of accusation, but of awareness. He presents a nuanced reality where humans and nature interact with care and complexity. By capturing the precise moment when the fish are encircled and the nets are being raised, he highlights the delicate timing and coordination involved in the process. The photo doesn’t shy away from the fact that animals will be killed, but it contextualizes that action within a system designed to minimize suffering and prevent ecological overspill.
As a conservation photographer, Caballero’s aim is not merely to showcase beauty or drama, but to foster reflection. His use of natural lighting, clean framing, and vertical storytelling allows the viewer to appreciate the multiplicity of elements in a single moment. His work advocates for more widespread adoption of fishing practices like those in Ceuta, where coexistence, not conquest, defines the relationship between man and sea.
The photograph also serves as a conversation starter for viewers, students, researchers, and policymakers. What standards should we demand from commercial fisheries? How can centuries-old techniques inform future sustainability strategies? How do images shape our perception of environmental responsibility? These questions arise naturally when encountering a work like Both Worlds of Fishing, which is why it was recognized in the Conservation category of Ocean Art 2019.
The Ecology of the Catch: Target and Non-Target Species
In Rafael Fernandez Caballero’s photograph, Both Worlds of Fishing, the focal point beneath the surface is the massive congregation of tuna. These large pelagic fish are among the most commercially sought-after species in the world, particularly prized in sushi markets and high-end seafood cuisine. However, the image also captures a hidden reality: that many marine species—some edible, others not—become part of the fishing process, even when they are not the intended target. This complex interplay between targeted harvesting and incidental capture is one of the most pressing ecological issues in marine resource management.
Bluefin tuna, the primary species featured in the image, are apex predators in their habitat. Their migratory behavior, spawning grounds, and long lifespan make them vulnerable to overfishing. Their role in maintaining the structure and function of marine ecosystems cannot be overstated. When large numbers of tuna are removed from the food web, it can lead to cascading ecological effects, altering the abundance and behavior of prey species and changing predator dynamics. By using methods like Almadraba, which limit the total number of fish caught and allow the selective release of non-target animals, this particular fishery reduces the broader ecological toll of tuna harvesting.
Just as significant is the treatment of bycatch—species that are caught unintentionally. Among these are sunfish, turtles, rays, and smaller fish with little or no commercial value. Caballero’s written narrative underscores that in this specific fishery, such species are deliberately released by divers, thereby preserving biodiversity. This stands in stark contrast to the widespread problem of wasteful bycatch, where millions of tons of marine life are discarded, often dead or dying. The fact that sunfish are routinely found and released here reflects the volume and variety of life drawn into these fishing operations and the human effort required to minimize unnecessary deaths.
Conservation Through Selective Fishing Practices
Selective fishing is the practice of catching only certain sizes or species of fish, and it is a cornerstone of sustainable marine resource management. In Ceuta, the Almadraba system inherently supports this approach. By herding fish slowly into netted enclosures and by involving divers in the final stages of the process, the fishery allows for real-time identification and sorting. This would be nearly impossible in industrial trawling or longlining operations, which rely on mechanical equipment and mass entrapment.
Commercial divers play a key role as decision-makers in the system. When the final net is closed, they enter the water and assess the fish within. Turtles, sunfish, and other protected or unfit species are located and released quickly, often with the help of support crews. This form of active management enables the preservation of vulnerable species while maintaining the efficiency of the operation. It also provides an educational opportunity: the divers and fishermen engaged in this process become stewards of the sea, aware of their impact and empowered to act responsibly.
This fishery’s protocol for releasing turtles, even on days when nets are not being raised, reflects a deeply embedded respect for marine life. It suggests that conservation is not just a policy, but a culture—a way of thinking that pervades the daily routines of the workers involved. In this way, selective fishing becomes more than a strategy; it becomes a moral commitment to sustainability. This ethical foundation is what gives Caballero’s photograph its emotional weight and what sets this fishery apart as a model worth replicating.
Implications for Global Fisheries and Marine Policy
The global demand for tuna and other high-value fish has led to a proliferation of large-scale industrial fishing operations. These operations are often responsible for widespread ecological degradation, including habitat destruction, species decline, and pollution. As nations race to supply international markets, they frequently sacrifice long-term sustainability for short-term profit. It is within this broader context that the Ceuta fishery’s practices, as documented by Caballero, acquire added significance.
This localized model demonstrates that conservation and commerce need not be mutually exclusive. By preserving the integrity of marine ecosystems, the fishery ensures that future generations of tuna will continue to migrate and reproduce along these coasts. This foresight benefits not only the fish but also the human communities that depend on them for their livelihood. Policymakers and conservation organizations can draw critical lessons from this approach. Instead of investing heavily in enforcement-heavy or punitive regulation systems, they can focus on incentivizing sustainable models, offering support for selective gear, and fostering community-led monitoring initiatives.
Furthermore, the Ceuta fishery can serve as a template for integrating traditional knowledge with modern conservation goals. Rather than dismissing historical methods as outdated, this case reveals how centuries-old practices can be refined to meet contemporary environmental challenges. Scientific assessments, such as stock surveys and ecological impact studies, can further complement these practices, providing empirical support and helping scale responsible fisheries to other regions.
At the international level, recognition through awards and competitions, such as the Ocean Art Conservation category, helps elevate such models into the public consciousness. It encourages other fisheries to innovate, adapt, and prioritize ecological integrity. The photograph is thus more than an aesthetic object—it is a vector for environmental education and policy transformation.
Human-Nature Interdependence in the Fishing Industry
The duality represented in Both Worlds of Fishing mirrors the dual dependence between humans and oceans. People rely on marine ecosystems for food, jobs, and cultural identity, while the health of these systems depends, increasingly, on responsible human stewardship. This interdependence becomes especially vivid in traditional fishing communities like Ceuta, where the livelihood of families has revolved around the sea for centuries. Here, fishing is not just a commercial activity but a way of life—a ritual embedded in seasonal rhythms, community norms, and inherited wisdom.
This photograph captures that relationship in motion. The fishermen above water are not anonymous figures in a supply chain; they are individuals with inherited skills, responsibilities, and an acute awareness of the sea’s generosity and fragility. Their synchronized pulling of the nets signifies collective labor, shared outcomes, and mutual respect for what lies beneath the surface. Meanwhile, the fish below are not mere commodities; they are vibrant agents of a marine ecology, moving as a single organism within their school, reacting to stimuli, adapting, resisting, and yielding.
This moment, suspended in time by Caballero’s lens, invites reflection on our place within the natural order. It challenges viewers to reconsider consumption habits, to recognize the true cost of seafood, and to appreciate the invisible systems that bring fish to our plates. It also honors the fishermen whose work, when done ethically, sustains more than just economies—it sustains ecosystems, traditions, and futures.
The Power of Visual Storytelling in Conservation
Photography holds a unique place in the realm of environmental communication. Unlike data charts, scientific papers, or verbal testimony, a powerful image can speak directly to the human heart and imagination. Both Worlds of Fishing exemplifies this role by combining artistic composition with ecological truth, capturing a fleeting moment that reveals a deep, layered story. In conservation, photography is not merely documentation—it becomes a compelling tool of advocacy, education, and transformation.
Rafael Fernandez Caballero’s image accomplishes what words often cannot. It bridges two perspectives—human and marine—in a way that no graph or report can render. The split-frame composition creates a dual narrative, allowing the viewer to simultaneously occupy two worlds. This visual device evokes empathy for both the fishermen and the fish, showing neither as villain nor victim, but as participants in a shared ecological system. The photograph doesn't rely on shock, gore, or guilt. Instead, it persuades gently and thoughtfully, giving its audience space to reflect.
This is the subtle strength of conservation photography. It humanizes the environmental struggle, making abstract issues like biodiversity loss or unsustainable harvesting immediate and tangible. It allows people who may never set foot on a boat or dive beneath the ocean surface to understand what is at stake. Through skillful framing, careful timing, and meaningful context, Caballero transforms a single moment into a lasting message. His photograph serves as a visual entry point into conversations about ethics, responsibility, and balance in marine resource use.
The Photographer as Observer and Advocate
Conservation photographers like Caballero serve dual roles. They are observers who immerse themselves in environments, documenting the behaviors, rituals, and consequences of human interaction with nature. But they are also advocates—storytellers with a mission to inform, provoke thought, and inspire change. In Both Worlds of Fishing, this duality is clear. The image is not voyeuristic; it is participatory. It reflects the photographer’s engagement with the community, his understanding of the method, and his commitment to showing the system in all its complexity.
This approach differs from traditional photojournalism, which often seeks to report events with detachment. Conservation photography, by contrast, invites intentional bias in favor of ecosystems and their preservation. The photographer makes a conscious choice to highlight sustainable practices, endangered species, or environmental threats. Caballero's decision to document a fishery that exemplifies balance and respect is a political act—one that offers a counter-narrative to the destructive models often associated with commercial fishing.
Furthermore, the photographer assumes risk and responsibility. Underwater photography, especially in active fisheries, requires technical skill, physical endurance, and precise equipment handling. The lighting conditions, the movement of fish and divers, and the presence of netting and ropes all introduce hazards. Yet the result of these efforts is a photograph that extends far beyond its composition. It enters global contests, appears in publications, and circulates in educational and policy spaces. In this way, the photographer becomes a conduit through which marine realities reach and influence broader audiences.
Education Through Imagery: Connecting Viewers to the Ocean
One of the enduring challenges in ocean conservation is the so-called "out of sight, out of mind" dilemma. Unlike forests or mountains, the ocean's depths are largely hidden from everyday experience. This detachment leads to a lack of awareness and urgency when marine ecosystems are threatened. Conservation photography combats this by bringing those hidden worlds to the surface, literally and metaphorically. It reintroduces the public to a realm that is both alien and essential.
Caballero’s image does precisely this. It doesn't just show fish in nets; it immerses the viewer in the process of fishing. It exposes the structure of the nets, the coordination of the crew, the density of marine life, and the ethical choices made in real-time. It tells a complete story without needing accompanying narration. In classrooms, exhibitions, and online platforms, such images can spark curiosity and lead to deeper inquiry. Why are these fish here? How do the nets work? What is the fate of each animal? These questions become gateways to learning about marine biology, fisheries management, and conservation science.
Visual learning is especially powerful for younger audiences or non-specialists who may find technical literature inaccessible. A single image can lead to lifelong awareness. It can also reshape misconceptions. Not all fishing is destructive. Not all conservation is about stopping activity. Sustainable coexistence is possible, and visual evidence of this possibility makes it real. The more people see ethical practices in action, the more likely they are to support them—whether as consumers, voters, educators, or community members.
From Recognition to Influence: The Impact of Awards and Exhibitions
The Honorable Mention awarded to Both Worlds of Fishing in the 2019 Conservation Ocean Art category represents more than personal achievement. It signifies validation of a message, amplification of a story, and increased visibility for a method of fishing that deserves attention. Awards in the conservation space serve a vital role in bringing attention to projects, practices, and places that might otherwise go unnoticed. They create platforms where excellence in ethics and aesthetics converge.
When a photograph like Caballero’s wins recognition, it reaches an audience far beyond the diving or scientific community. It enters galleries, social media streams, printed magazines, and conference presentations. It may influence viewers who have never thought about sustainable fishing, or who have assumed that all industrial methods are destructive. It invites discussion across disciplines—between artists, scientists, policymakers, and the public.
Moreover, awards act as institutional endorsements. They say: This is worth looking at. This is a model that matters. In doing so, they lend credibility to the subjects within the photograph. The Ceuta fishery, by association, receives a degree of international acknowledgment. This can encourage funding for similar projects, promote tourism based on ethical seafood consumption, or inspire replication in other coastal communities. In this way, the photograph becomes a seed for broader change.
Recognition also empowers the photographer to continue their work. It creates professional momentum and opens doors to future assignments, collaborations, and publications. More importantly, it reaffirms that visual storytelling has a real-world impact. For Rafael Fernandez Caballero, this means continuing to explore and expose the nuances of life beneath the waves—knowing that his lens can alter perceptions, behavior, and policy.
Cultural Heritage and the Future of Sustainable Practices
Fishing has long been more than a livelihood. In coastal regions like Ceuta, it is a legacy passed from one generation to the next. These inherited practices are deeply embedded in local identity, seasonal cycles, and regional history. The image captured by Rafael Fernandez Caballero not only portrays a technical operation—it reveals the preservation of a cultural ritual that connects the modern-day worker to their ancestors. This transmission of knowledge is as vital as any written manual or ecological policy. It allows communities to innovate without severing ties to their past.
The Almadraba method, represented in the image, is a rare example of how tradition can coexist with innovation. Rather than rejecting ancient methods as outdated, the fishers of Ceuta have refined their approach to meet contemporary environmental standards. They apply new diving techniques, use modern safety equipment, and incorporate selective sorting—all while maintaining the original structure and rhythm of the process. This hybridization is essential for global sustainability efforts. If conservation is to succeed, it must engage local customs rather than impose top-down models that alienate communities.
Caballero’s photograph acts as a visual testament to this possibility. It shows that solutions to environmental problems do not always require abandoning tradition. Sometimes, the answers lie in revisiting and adapting long-standing practices. For many regions across the globe where industrial infrastructure is unaffordable or environmentally disastrous, revisiting cultural methods like Almadraba may offer a sustainable, affordable, and community-owned path forward.
These practices also contribute to food sovereignty. By managing resources locally and harvesting in ecologically responsible ways, communities like Ceuta ensure that they are not merely supplying foreign markets, but feeding themselves and protecting their ecosystems. This self-reliance becomes increasingly important as climate change and economic inequality threaten to destabilize global supply chains.
Reframing the Narrative Around Commercial Fishing
Much of the contemporary discourse around commercial fishing is understandably critical. Overfishing, illegal practices, bycatch, pollution, and the collapse of marine populations have given the industry a reputation for exploitation. However, this generalized narrative can overlook efforts made by smaller operations and responsible fisheries that operate with sustainability and ethics at their core.
Caballero’s Both Worlds of Fishing compels us to pause and reconsider this narrative. It reminds us that not all fishing is inherently harmful. The issue is not the act of fishing itself but how it is done, under what regulations, and with what values. In this sense, the photograph reclaims commercial fishing as a space of potential harmony—where humans can extract resources without depleting them, where workers can operate with care rather than urgency, and where marine life is respected rather than commodified.
Changing public perception is critical. Many consumers are unaware of the differences between high-impact and low-impact fishing practices. Visual stories like this one bridge that knowledge gap. They provide a window into methods that do work—methods that balance yield with protection, technique with mindfulness. As more of these examples are showcased, a more nuanced and hopeful conversation around seafood production can emerge.
Furthermore, this reframing has practical implications. Consumers may choose to support sustainable fisheries. Restaurants and retailers may seek to source from operations that demonstrate ethical practices. Governments may pass policies that reward good behavior rather than simply punish violations. In all these scenarios, awareness is the first step—and photography is one of the most direct paths to that awareness.
The Emotional Arc of a Single Image
Every powerful photograph contains an emotional arc. It carries the viewer from an initial impression through deeper contemplation and, ideally, into reflection and change. Both Worlds of Fishing achieves this arc with subtlety and grace. The first reaction is visual admiration—the clarity, the composition, the contrast of above and below. Then comes curiosity: What is happening? Why are the fish packed so tightly? What are the fishermen doing? And finally, emotion takes root—empathy for the fish, respect for the workers, concern for the ocean, and perhaps a sense of relief that care is being taken to avoid unnecessary harm.
This emotional arc is not accidental. It is built through light, texture, framing, and the inherent tension of the scene. The surface of the water acts almost like a veil, separating two connected realities. The viewer is invited to move between them, to inhabit the in-between space, where understanding deepens. This ability to emotionally engage the viewer is what elevates Caballero’s work from documentation to art.
Emotion is a critical driver of conservation. People protect what they care about. They act when they feel connected, not just when they understand the science. By engaging both intellect and emotion, Caballero’s photograph becomes a catalyst. It leaves the viewer changed, even if subtly. And it plants a seed—a desire to know more, to care more, to do better.
Conclusion: A Model of Balance, A Message of Hope
Both Worlds of Fishing is more than a winning image. It is a symbol of balance in a time of ecological imbalance. It shows that fishing does not have to be exploitative. It does not have to be driven solely by profit. It can be a practice rooted in heritage, shaped by ethics, and responsive to environmental needs.
Rafael Fernandez Caballero, through his lens, offers a vision of coexistence—where tradition informs innovation, where humans act as stewards rather than conquerors, and where marine life is both harvested and honored. His image affirms that storytelling has power: to influence policy, to inform public behavior, and to inspire cultural pride in sustainable practices.
In an age where so many images of the ocean speak of damage, loss, and despair, Both Worlds of Fishing speaks of care, resilience, and possibility. It reminds us that solutions exist. That beauty can emerge from responsibility. And that the ocean’s future is not yet written—it is being shaped, every day, by those who choose to fish with respect and those who choose to tell their stories.