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How to take memorable golf photographs

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Rick Rappaport is a commercial photographer in Portland, Ore., specializing in people and producing targeted communications within dynamic compositions.

Sure if you had all those lenses the pros use as well as the time to wait for the perfect light, you’d shoot good pictures too. But all you have is this dinky point and shoot and about 30 seconds before it’s your turn to tee off.

You’ll likely get something like this:

First tee photo jitters. Center of interest too centered, golfer mostly lost against similar background colors and too much bright sky. Bags on left neither wholly in nor out, just mostly a place your eye goes to even though it’s not of real interest.

It’ll still bring back memories, but if you’re going to show many pictures of this caliber you’re also going to have to provide extra pillows for the sleepy time that follows.

Photographing a golf course is challenging even for professionals, but by following three simple rules you will make great strides toward keeping your audience awake. Consider implementing these three rules as part of your picture taking pre-shot routine, because simply aiming the point and shoot in the general direction of beauty is not enough.

You see beauty with your brain not your eyes. Your eyes are merely windows for the brain.  Your brain has an aesthetic and emotional connection to your world, the beautiful blue sky, the yellow flag stick and your golfing buddies.  But your camera only records pictures of shapes, colors and light.  Your goal is to be able to use your camera to produce images along the lines of what your brain told you was worthwhile about taking the picture in the first place.

Your camera sees that yellow flag stick too but as a thin vertical line occupying only about 3 percent of the viewfinder’s landscape.  Your golfing buddies?  They’re just more vertical blobs occupying about 20 percent of the viewfinder.  So while your brain–through your eyes–is attracted to the overall beauty of the lovely scene, cherry picking objects near and dear to you, your point and shoot is just seeing objects, proportions and space. To produce the picture that represents what your eyes are honing in
on, you have to take charge and tell the camera to do some honing in itself. Which brings us to Rule No. 1.

Rule No. 1:  Your picture must have a center of interest not in the center.

No fancy compositional theories here.  Something in your viewfinder has to be large enough or otherwise attractive enough to immediately engage the
viewer.

No, your buddy standing 10 feet away, head to toe with lots of space above and below him, looks to your brain like a center of interest but not to your point and shoot.  To the camera he looks like a vertical blob occupying about 5 percent of the viewfinder and the other 95 percent has no center of interest either — it’s just a mass of blue sky or green grass or trees or an unplanned combination of all three.

No, the flag stick 30 yards away isn’t a center of interest either.  Nor is the gigantic expanse of green between you and the stick.  A green piece of land alone is not a center of interest.  Neither is the sky.  Neither is the sand trap 20 yards away and neither is the ocean in the background 500 yards away.

Lost in Space. Not really necessary to always see your buddies head to toe. This svelte bunch might get away with it but for many of us it’s not the most flattering pose. Typical framing to keep moving back until you can see the full body. Your eye sees your guys but the camera sees the sky.

Size always matters here. Size does it. Get closer to the ones you love — or like, get closer to the flag stick, get closer to the sand trap. Just pick yourself up and move closer.

Saturday is moving day. Walking in closer makes our guys bigger and the image more personal. Understanding that the viewer of the picture sees your picture at the same height as the camera shoots the scene allows us to make the guys appear a bit larger than life as we lower our camera shooting height about two feet.

Sometimes the key object doesn’t have to be large so long as other visual elements “point” to it.

Oh to be here again, Carne Golf Links, Ireland. Can’t remember the hole, but I looked back after walking away with some godawful score and saw this scene as the storm moved in hard. The lighting from behind, the beach grass foreground almost pointing to the hole, and the flag the only thing bright white in the scene allows it to be very small in scale and still retain power in the composition.

Next, place your center of interest off center in the camera viewfinder. There is something called the golden mean, the rule of thirds, quite relevant for our discussion now, which basically divides a certain proportioned rectangle into thirds both in height and in width.  Where those thirds lines intersect are highly likely to be good points for
placing your center of interest.  Just take it as a given but you can research this yourself.  (Here is a good place to start: http://www.jakegarn.com/the-rule-of-thirds/)

Moving in closer has helped create a center of interest by size alone. Moving that center of interest off to the side a bit has helped create a more interesting picture to view.  By also moving up and down and not just standing at your full height you may find a better shooting angle too.

Moving down with the camera accentuates the height of the flagstick. Moving my body–which moves the camera–yes you actually have to move around–puts the stick and the golfer close to the thirds positions. Finding a hole where the light comes in at an angle somewhat behind the flag illuminates it and makes it a stronger center of interest. Its shadow provides a strong three dimensional feel to the image. 

Which brings us to Rule No. 2.

Rule No. 2.  Eliminate distracting background or foreground stuff.

Again, no fancy compositional theories.  Remember the guy who put the “V” sign with his fingers above your head in the class portrait?  Same idea here only there is no guy and everything has the potential to be that distracting “V”.  What is distracting?  Anything that does not contribute to the picture is distracting.  Ask yourself, is this contributing to the success of my picture?  If not eliminate it.  Some stuff is obvious: tree branches in the background bisecting your buddy’s head, a tree limb or rock or foliage in the foreground that blocks the heart of your center of interest or just dangles somewhere at the edge of your picture and begs the question “what am I supposed to be and why am I here?” (Often properly placed foreground stuff can lead the viewer right to the center of interest.)

When in doubt eliminate it out.

Take time to make it right. Golfer too centered.  Camera just placed to photographer’s eye without thought about moving up or down. Bag is more a distraction than a helpful element which could lead the viewer into the picture. Guy on left and piece of guy at the edge are not helping. They’re just body blobs drawing attention away from the alleged center of interest. I know, I know, he’s swinging- you can’t move.  So either ask the players to move their bags and their bodies and/or you move and get ready for the next guy to tee off.

Almost Clear sailing.  Same tee 30 seconds later.  You’re starting to get it. You eliminated the distracting elements, you took advantage of the beautiful side light and you’re starting to place the golfer off center.  What could make this better? Two things come to mind: Move your body and the camera down a bit so that my head rises above the landscape and isn’t compositionally buried into it. Either move to the right so I move to the left in the composition—or stay there and move (“pan”) your camera right to achieve the same position.  Either move will change what you see in the background.  Here we see the entire hole.  Panning the camera right (to move me left in the composition) or physically moving the camera to the right (to move me left in the composition) will produce different backgrounds.  It’s your choice.

Rule No. 3.  Don’t take pictures with the sun directly behind you.

That sun angle will not create any shadow definition in the landscape and the scene will appear very two dimensional, or “flat”.  You always need to create the illusion of three dimensions and light coming in from a side or backlit angle will do just fine.  We’re not even talking about people squinting to see you with the sun blasting their faces or you squinting to see the viewfinder with the sun blasting it.

Don’t do this at home.  Don’t even do this on the course unless these guys are your opponents.

Well, almost.  Same place 3 seconds later.  I moved around so the sun helps our composition, moved closer and tried not to center anyone.  Moved one guy forward a bit to add more of a three dimensional feel. If only I could get these guys to actually look alive and smile but we’ll talk about that later.

Taking good pictures is as much a function of eliminating distractions as it is actively creating a composition.  Once you have a center of interest placed off center, eliminated distracting background or foreground stuff and kept the sun almost anywhere except right behind you, you will have produced an image worth looking at.

By Rick Rappaport, www.rickrappaport.com

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18 Comments

18 Comments

  1. len

    Mar 27, 2013 at 2:11 pm

    and all in between

  2. len

    Mar 27, 2013 at 2:09 pm

    i have a pic of the masters winners gloves,go fr;1935/Gene Sarazen/to;1985/1993 Barnhard Langer looking to sall it

  3. Dan Adams

    May 15, 2012 at 3:25 pm

    Rick,

    I have been looking for awhile for an article like yours. I love Golf, and I like taking pictures, especially Concerts and Golf pictures. I have a Nikon D40 with the normal 2 lenses (18-55 and 70-200). I went to the Memorial tournament last year and it was a very hot day (kinda hazy). Anyways i took a ton of pictures, and although after running them through photoshop, i ended up with maybe 20 0r 30 shots i thought were impressive. Anyways, i like some of the other, can never get the deep colors or the depth of the picture that you see when you are there. Somebody had suggested warming or coolking filters as well. Next time i will shoot in RAW mode.

    Any other suggestions?

    Dan

  4. Mitch

    Apr 11, 2012 at 6:35 pm

    Wow!

  5. rick rappaport

    Mar 12, 2012 at 11:52 am

    Gregg,

    The beauty of this instruction article, unlike your golf swing instruction, is the immediate results in the quality of your pictures. Can’t say the same for the usual slump after a quality golf lesson…

    As for being a hacker in photography, it’s much easier to understand what not to do than what to do. You can rotely eliminate the three primary picture killers: subject too centered, no center of interest and distracting elements, and end up with a good picture by default.

    Cannot say the same thing about the golf swing.

    Thanks for responding, Rick

  6. Gregg G

    Feb 9, 2012 at 11:54 am

    Thank you for this valuable information Rick. Not only am I a hacker on the course but also behind the lens. I am guilty of breaking the rules (only admitting to the photography rules here). Your suggestions will undoubtedly improve my photographic skills. Now what lets talk about my grip…..

  7. rick rappaport

    Feb 3, 2012 at 1:51 am

    Thanks for the compliments Mark! The Ireland photo illustrates the point that you just can’t aim the point and shoot at beauty and expect to see it in the digital capture.
    The eerie and spectacular sunset storm is not enough of a picture without paying attention to the three principles I set out in the article: center of interest not centered, sunlight somewhere other than behind you and the elimination of any foreground or background object clutter–retaining only foreground or background which leads the viewer to the center of interest.

  8. Mark Garvey

    Feb 3, 2012 at 12:40 am

    A really good article. Teaching by example is very effective. Although explained in the context of a golf outing the principles set forth in this article offer great insight into how to compose photographs in general which can easily be applied to other contexts. After reading this I am confident that my abilities to take better photographs will generally improve. The photo of the golf course in Ireland is especially well composed, beautifully capturing a special moment; an inspiration.

  9. rick rappaport

    Feb 2, 2012 at 7:45 pm

    Thanks Charlie, doesn’t hurt to have a little home cooking.

  10. Charlie

    Feb 2, 2012 at 10:46 am

    Great article, Rick! It’s a real treat to have you as a member of Columbia Edgewater!

  11. Rick Rappaport

    Feb 1, 2012 at 1:02 pm

    Thank you for the kind words Spencer. Like you I think most things sound more complicated than they really are. The overwhelming instructional manuals accompanying most point and shoots continues that same theme. If you aren’t creating an image worth viewing it doesn’t matter how many pixels your camera has sacrificed for that picture. It doesn’t matter how many cool and/or incomprehensible settings there are on your camera. The less you are concerned about the camera, the more likely you’ll make a better picture. So when in doubt just set it on automatic and spend your time following the three rules I described.

  12. Spencer Heinz

    Feb 1, 2012 at 12:26 pm

    I really enjoyed your photos and tips. Concise, conversational, vivid, practical.  I am not a golfer, but I do know that some people sometimes make some things — golf and photography, for example — sound more complicated than they already are. Not you. Thanks for the wise words and photos of ways to get better while still having fun. 

  13. rick rappaport

    Feb 1, 2012 at 1:53 am

    Thank you for the compliments on my article Steve. Of course you’re right about the
    3 rules I discuss; they’re applicable to anyone using a camera anywhere.

  14. Steve Holwerda

    Jan 31, 2012 at 8:06 pm

    Great article for the avid golfer who is an amateur photographer. You have captured a few simple techniques or suggestions that make a world of difference. The contrasting photos that you show really points out how we can all take better pictures, not just on the golf course but anywhere. Thanks.

  15. Rick Rappaport

    Jan 31, 2012 at 7:59 pm

    Thanks for the compliments Dwight. That’s a good question since many people are relying upon their phone’s camera more than ever.

    Always keep in mind that composition usually trumps color as an influence on whether a picture is a good one or not. Sort of deciding whether or not you liked a certain movie. Without a good story the good acting, great set design, and cool cinematography aren’t enough.

    My article gives you enough information to make a good image even if the iphone4 colors are a bit lacking compared to a higher end point and shoot. Not sure they lack anyway, but it’s composition, background/foreground distractions and angle of the light that will make or break your photograph.

    As for making one’s golf game as good as a picture, oh it were easily so because I’d be beating Tiger…

  16. Dwight Nickerson

    Jan 31, 2012 at 5:49 pm

    Rick…Excellent suggestions on how one can enhance their visual reminders of a golfing experience. Do you think that a smart phone’s camera, like an iPhone 4’s, can capture color, light, etc. or would the photo have to be manipulated on one’s computer in order to shine? Any tips on making one’s game as beautiful as a picture?

  17. Rick Rappaport

    Jan 30, 2012 at 9:33 pm

    Thanks for the compliments Dan. All the images in the article were shot with a Canon s90, except the Carne image which was shot with a film point and shoot, a Pentax IQ90 or something like that.

    No HDR processing, no vivid setting. I use the camera RAW setting and there is no camera filtration affecting the image capture. The Carne image was underexposed with film and I used a Velvia film stock which can have very saturated colors. Still, you can achieve the same effects with any number of image adjustment softwares like Photoshop. Just a matter of adjusting contrast and the hue/saturation/lightness tools.

    Long before digital photography photographers were doing their level best to enhance images in camera with filters and exposure and film stock, or in the darkroom with any tools they could get their hands on. There is no true color of an object that has to be worshipped digitally unless perhaps you must reproduce the object’s color faithfully—like a commercial photo shoot of a clothing for a catalogue.

    The color saturation of an object is related to the quality of light reflected off that object. Texture of an object becomes more apparent to the camera when that object reflects lighting from the side, and generally the color becomes more saturated too. So look for that kind of light as well as backlight like the Bandon Dunes flag shot.

    Look down a fairway into the setting sunlight and you’ll see that the fairway is not saturated at all because the fairway is reflecting the actual source of the light (the sun) as though it were a mirror. So you’re not seeing the color of the fairway, you’re seeing the sun reflected off millions of blades of grass and that is obscuring the green color.

    The big idea is this: your camera does not see the objects in its sight. It sees only the light reflected off of objects in its sight. Whatever shapes the objects reflect, that’s what your camera sees.

    If the object is shiny that object will reflect the light source that is illuminating it, and wherever that light source is “reflected” in the object there will be little or no color saturation. That’s why professional photographers will create large very very soft lighting sources when photographing shiny objects. Same idea looking outside at leaves on a wet day in the Fall. Direct sunlight will enhance color saturation of some of the leaves but the wet spots will likely reflect the sunlight itself and there will be little color saturation in those spots. In that case it might be that overcast light, the absence of any direct sunlight, would provide the best color saturation.

  18. Dan

    Jan 30, 2012 at 3:54 pm

    Nice article!

    I look forward using these tips on a up coming Bandon outing.

    What advice can you give to help improve color saturation?

    The Carne image is so rich and the Bandon flag photo has nice color as well. Are those HDR images, post processed or just using the camera’s “vivid” setting.

    To often my golf photos appear washed out. I have a new Canon s95 but have yet to work out all the details.

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Instruction

Davies: The Trail Elbow In The Downswing

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In this video, I discuss the role of the trail elbow in the downswing. I also share some great drills to help golfers deliver the trail elbow correctly, which will help improve distance and contact.

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Instruction

The 3 different levels of golf practice

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“I would have practiced as hard, but I would have made my practice more meaningful. I would have worked more on my short game and putting. I would’ve done a lot more drills to make the practice more meaningful, and I would’ve added pressure to the practice as much as possible.” — Lee Westwood

Now here’s the rub. Practice is not monolithic! I approach practice as having three different, distinctive and separate curriculum and criteria.

  • Level 1: Basic
  • Level 2: Advanced
  • Level 3: Extreme

Basic Practice (Level 1) by definition is “repeated exercise in or performance of an activity or skill so as to acquire or maintain proficiency in it.” Basically, it’s doing the same thing over and over again to get better at it. My favorite skill that requires practice is the 76-yard “flighted wedge.” I do it, and I recommend it be done at every range practice session. Additionally, I identify and then practice as many different “skills” that are required to hit different golf shots. I have found that a non-pressurized environment is the best way to practice in a basic model.

It goes without saying that golf is not played in a pressure-free environment, so basic practice doesn’t help us play golf. The prime objective of Level 2 Practice (Advanced Training) is to take what you do in Basic Practice to the golf course.

First, create on-course situations that require you to hit the shots you have practiced. There should be rewards for demonstrations of competence, and there should be consequences for demonstrations of incompetence

“When you practice, try to find a situation to fit the shot you’re trying to practice.” — Ben Hogan

For example, a major problem is the unevenness of the lies you will encounter during play as opposed to the lies you used for your drills. From marginal to extreme, lies are difficult to replicate on the practice tee. So, play a round of golf and move the ball into the most undesirable lie that is very close to where you are.

Another example would be duplicating the creativity that is sometimes required during actual play. The prime example of that would be the sensation of “being in-between clubs.” I would suggest that you play an occasional round of golf using only half of your clubs. Take two wedges instead of four. Take only the “odd” or “even” numbered irons. Look at not taking the driver, or not taking all of your fairway clubs. I have not taken my putter, which forced me putt with my sand wedge!

A third example would be to play a round of golf and deliberately miss every green in regulation. Should your ball accidentally finish on the green in regulation just move it off into the rough, a bunker or whatever else could use the extra attention. You can create games where your opponent moves your ball off the green into something that would be advantageous to him.

Level 2 Practice is conducted on the practice ground as well as on the course. What I do and recommend is to take each of the shots, skills and drills used in Level 1 and add some accountability to the range experience. I have my students and clients use a “Practice Book” to schedule activities and to keep track of improvement.

Author Note: I will send you a sample practice book page that many of my players actually use. Request it at edmyersgolf@gmail.com.

Please be advised that Level 2 Practice can feature games, wagering or other forms of friendly competitions because they should only activate the lesser emotions of irritation, annoyance, anticipation, anxiousness, joy, pleasure and disappointment. Dealing with these feelings in practice will help you recognize and deal with the minor stresses experienced by most recreational golfers.

Stress is the major cause of “CHOKING.”

Stress, by definition “is a state of mental or emotional strain or tension resulting from adverse or very demanding circumstances.” Stress can ruin our ability to perform when we experience the major emotions such as fear, anger, shame, humiliation, euphoria, ridicule, betrayal, doubt and/or disbelief.

Level 3 Practice (Extreme Preparation) is on-course training sessions best suited for very serious competitive golfers. The more a player is able to compete in a simulated or controlled environment that accurately replicates the actual “pressures” that produce the kind of stresses that can effect performance, the better the player will perform when stressed in actual tournaments or events. Please be advised that Extreme Practice DOES NOT feature games, gambling or “friendly” competitions. They don’t control the conditions of play sufficiently to replicate the type of pressure that would induce “stress.”

“Simulation, which  is a technique (not a technology) to replace and amplify real experiences with guided ones, often “immersive” in nature, that evoke or replicate substantial aspects of the real world in a fully interactive fashion.” For many years now, the medical profession has used simulations to train doctors, the military has used simulations to prepare troops for the realities of the battlefield and aviation has used simulators to train pilots. Simulating has the added benefits of being cost and time effective while producing verifiable results.

If it’s possible for airlines to replicate every possible scenario that a pilot could experience in the cockpit by using simulations, then why isn’t it possible to replicate situations, and subsequent emotional responses, that a competitive golfer could experience on the golf course? Let me give you an example of what I mean.

“I got nervous all the time, as nervous as the next guy. It’s just that I caught myself before it became destructive.” Jack Nicklaus

Recent events at the WGC-Dell Technologies Match Play gives us some evidence of the destructiveness of uncontrolled emotions. Justin Thomas said that he couldn’t get the thought out of his mind of becoming the No. 1-ranked player in the world should he defeat Bubba Watson in the semi-finals, which he failed to do.

“I haven’t had such a hard time not thinking about something so much,” Thomas said. “And that really sucked. I couldn’t stop thinking about it, to be perfectly honest.”

Then there was Ian Poulter being told that with his win over Louis Oosthuizen he had earned a spot in this years’ Masters tournament only to be told 10 minutes before his next match that he had not actually secured the coveted invitation. With elation, joy and satisfaction jerked away and replaced with disappointment, and possibly anger, the Englishman went out and got whipped by Kevin Kisner 8 & 6!

I concede that Justin Thomas’ and Ian Poulter’s situations were so unique that simulation-based practice and preparation techniques may not have been available to them, but now they both must know that their performance was effected negatively by mental stresses. And with that knowledge they may want to get tougher mentally. Level 3 Practice does that!

Not all that long ago, I was approached by a PGA Tour veteran for some on-course, one-on-one training. He was experiencing severe “choking” in pressurized short-game situations. So I took him out on the course and we replicated the exact shots he had problems with in the past. He demonstrated that he could perform each and every shot in a stress-free environment. We went into a “low-stress” training environment and his performance began to suffer. Then, at his urging to get “real,” we went into a “high-stress” practice mode and he melted down. Without going into details, he became so angry that not only couldn’t he hit golf shots, he tried to run me down with the golf cart as he retreated to the safety of his car.

Now, that’s not the end of the story. A few hours later, after some soul searching, he apologized for his lack of self-control and acknowledged that he had recognized the early signs of stress growing internally as we worked. We went back out onto the course and got back to work.

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Winning Ways: Here’s what it takes to become a winner in Junior Girls golf

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Every competitive golfer strives to win, and I want to help them achieve their goals. Recently, I wrote a story highlighting the statistics behind winning in junior boys golf, and how they can do it more often. Now, we set out to examine the data on winning in junior girls golf, and provide ways they can improve. The data is based on an analysis of tournament results from all events during the 2017 year from the Junior Tour of Northern California. We then asked stats guru, Peter Sanders, Founder of ShotByShot.com, to provide the stats related to the winning scoring numbers that we found. Finally, we discuss ways that juniors can practice building skills and work towards becoming tournament winners.

The Winning Scores

In 2017 the Junior Tour of Northern California held 26 tournaments with 850+ members. According to our data collection based on information available on the website, the average girl’s tournament course measured 6145 yards. The average winning score for girls was 146 (36 holes), or 73 per round. Ten of the 22 tournaments where won with scores of 144 or better and the low 36 holes total was a whopping 133! In the data collection we also collected the average 10th place scores girls. The average 10th place score for girls was 159 or 79.5.

The Winning Stats

We provided the numbers to statistics expert Peter Sanders. Peter’s company has been providing Strokes Gained analysis for golfers for the last 29 years. Peter is the founder of ShotByShot.com, a website that provides golfers at all levels with Strokes Gained analysis, pinpoints specific strengths and weaknesses and highlights improvement priorities. Since the launch of ShotByShot.com in 2005, Peter has collected over 317,000 rounds. Accordingly, Peter has agreed to share the numbers, below, for a typical female player who averages 73. There are two important points to consider when reviewing these statistics:

  1. In order to have a complete picture of the puzzle that is golf, one must consider the ERRORS, or lack thereof, that play such an important role in scoring at every level. Even the 650+ PGA Tour stats ignore these important miscues. Shot By Shot has included them in their analysis from the beginning and they are highlighted in the infographics below.
  2. The data provided represents only tournament rounds. As such it will primarily represent the high school and college programs that use ShotbyShot.com

Infographics Created by Alexis Bennett

The Winning Preparation

Junior girls are encouraged to use these stats as a benchmark against their own performance to determine where they might need to improve against the “typical 73 player.” After identifying gaps in their game, they can then create practice plans to help improve. For example, a junior might notice they have more 3-putts than the model. To improve, they could work put more time into practice, as well as playing games on the golf course like draw-back and 2-putt.

  • Drawback is a game where after your first putt, you draw the second putt one putter length away from the hole. This often changes a shorter putt (> 2 feet) to a putt of between 3.5 – 5 feet. This putts significantly more pressure on your putting.
  • You may also play Two-Putt, a game where when you reach the green, you (or your playing competitor) tosses the ball away from the hole. You must 2-putt from that spot to move to the next hole (even if it takes a couple attempts!).

Others reading this article might find that they don’t hit enough greens. Improving this area will require more consistent strikes, which may require further technical development and block practice, as well as working on the golf course. To start, I would recommend that every junior implement the yardage rule. The yardage rule works like this; figure out the distance to the very back of the green. For example, this number may be 157. Then figure out what club ALWAYS flies 157, which might be 6-iron. Then choose 7-iron for the shot. This way your best shot will not fly the green, your average shot will likely be in the middle of the green and your less-than-perfect shot will hopefully end up on the front of the green.

During practice rounds, play competitive games with yourself to sharpen your ability to hit greens. For example, if you normally hit 7 greens per round, in practice your goal might be 9. You would track your results over a month and then see your progress.

Beyond building individual skills, like hitting greens or working on putting, junior golfers need times to play competitive rounds on their home golf courses. Ideally, these rounds are played against other people with similar skills and done under tournament like conditions with consequences (loser buys winner a coke or cleans their golf clubs). Playing hundreds of rounds at your home golf course under these conditions gives you a unique opportunity to sharpen your game, learn your tendencies and build skills such as endurance and mental toughness. Most importantly, it teaches you to win and shoot under par!

Please also keep in mind building these skills may take months (or even years). In my own personal experience, when I set out to improve my birdies per round, it took nearly 4 months and 75+ rounds and significant practice to begin to see a change. Depending on your schedule and access to resources like a golf course and instructor, some changes might take a year or more. Regardless, don’t ever worry; building a solid foundation in golf will always lead to rewards!

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