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
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
Master your takeaway with force and torques
Most golf swings last less than 2 seconds, so it’s difficult to recover from any errors in the takeaway. Time is obviously limited. What most golfers fail to realize is that the force and torque they apply to the club in the initial stages of the swing can have major effects on how they are able to leverage the club with their arms and wrists.
Our research has shown that it is best to see the golfer as a series of connected links with the most consistent golfers transferring motion smoothly from one link to another and finally to the club. Approximately 19-25 percent of all the energy created in a golf swing actually makes its way into the motion of the club. That means the remaining 75-80 percent is used up in moving the body segments. This emphasizes the fact that a smooth takeaway is your best chance sequence the body links and become more efficient with your energy transfers.
In the video above, I give a very important lesson on how the forces and torques applied by the golfer in the takeaway shape the rest of the swing. There will be more to come on the subject in future articles.
Learn from the Legends: Introduction
There is a better way to swing the golf club. I’d prefer to write that there is a correct way to swing the club, but I know that really freaks people out. People love to talk about how everyone’s swing is different. “There are lots of ways to get it done,” they say. “Look at Jim Furyk’s swing – it’s not what you’d teach, but it works for him.”
To some extent, they’re right. Elite swings do have different looks. Some take it back inside (Ray Floyd). Some cross the line (Tom Watson). Some swings are long (Bubba Watson). Some are short (young Tiger). But these differences are superficial and largely irrelevant. When it comes to the engine – the core of the swing – the greatest players throughout the history of the game are all very similar.
Don’t believe me? Well, let me prove it to you. In this series of articles, I will do my best to show you – with pictures and videos and data – that the legends all move a specific way. Focusing on these elements (while ignoring others) and practicing a certain way is the surest path to improving your golf swing and lowering your scores.
So, let’s get into it. There are a number of important elements that all the legends have, but the biggest and most important of these elements is rotation. Every great player throughout the history of the game has had elite rotation. It’s the most important thing they do, and it’s easy to see. When you’re looking down the line at all the great players at impact, you’ll see hips and torso open.
This is what the legends look like at impact:
And here’s what some very good players with less good rotation look like at impact:
Now, there are plenty of nuances to how great players rotate. They do it while keeping spine flexion, for example, and they do it with very little (or no) lateral movement toward the target (lateral movement impedes rotation). I will discuss these things in detail. My hope is that at the end of this series you will have a much better understanding of what separates the legends from the very good… and from the rest of us.
You will understand their “engine,” and hopefully this understanding will help you begin to create your own legendary swing!
10 reasons your golf game isn’t improving (even if you’re practicing a lot)
One of the things I hate to see is when you watch someone come to the practice facility day after day, week after week, truly doing what they think is best for their games and they continue to get worse. In fact, you can actually do more harm than good by “practicing” if you are not careful. So in this article I want to give you my top-10 reasons your game is not improving, even if you’re practicing more than ever.
1) You’re not practicing, you’re just getting exercise
We all know the guy who walks into the grill room and boasts that he has hit five pyramids of balls that day. The problem is, at least 90 percent of those shots were a complete waste of time! This guy is only getting exercise, not doing himself any good whatsoever. As a matter of fact, this is my number one pet-peeve for my clients who have retired and are looking for something to fill their day. When you hit this many balls, you have no chance to get better as you are only ingraining poor swing flaws or improper motions from getting tired.
Please limit yourself to one hour per range session, and use this time wisely with slow motion swings, proper feedback, and mirror work; this way, you just might improve. Anything past that hour mark (unless you’re a trained professional athlete or top-level amateur), and you are spinning your wheels, in my opinion.
2) You don’t understand “feel vs real”
Feel and real are two different things, and if you don’t know the difference, you’ll have to practice twice as hard for twice as long to get any better. Remember the feeling of making that “new” move? How weird it feels and how similar it actually looks on camera? Don’t be afraid to exaggerate a new move in order to make the change you want; if you don’t exaggerate it, then you may have to put in much more time in order to eradicate yourself of whatever move you’re trying to eliminate.
Use video feedback to remind yourself of what is actually happening when you’re making a swing change. Huge changes in our mind often translate to very small changes in real life; the camera will remind you what needs to be done.
3) You only practice the fun things
How many times have you gone to the range and worked on smashing your driver versus working on hitting trouble shots around trees, or your super-long lag putting? In fact, we are all guilty of working on things that we are already good at or enjoy doing with the excuse that “we don’t want to lose it.” Personally, I hate practicing my long irons and seldom did when I was playing, and because of this fact, I am not too stellar from outside 200 yards still today. Why? Because that was in the days of small bladed forged irons and whenever you missed them they felt terrible and therefore I avoided them. Not a smart idea. Hone your strengths, but work hard on your problem areas to really improve.
4) You’re not making practice uncomfortable and pressure filled
Another one of the things I constantly see is where a player can hit the ball like a champ on the range, but the moment they walk on the course, things change for the worse. Why? Because they become too outcome focused. If they could reverse the mental process — making practice pressure filled and the course worry-free — they would be a world beater. My favorite drill is to set a goal during a practice session, such as making 100 3-footers in a row; and if you don’t reach that goal, open up your wallet and throw $20 on the ground for someone to find. If you do this, I promise you will focus and feel pressure. These are the type of things that one must do in order to simulate game-like conditions.
5) You’re not testing your changes on the golf course
Ok, you’ve worked on it, and you feel that you have mastered the “new” move that will cure your snap hook… now take it to the course and test it out! There is no better way to see if your no-double-cross swing is working by aiming down the line of trouble and trying to work it away from it. The course is the only place for you to see if you truly have a grasp of the new move, and under pressure on the course is the only way to actually know for sure!
6) Your equipment isn’t truly fit to what you’re trying to do as a player
If you have faulty equipment, then how can you actually know you have eliminated a faulty move or funky shot? Maybe those super-slick grips are causing your grip pressure to increase at address and this is the reason why you tend to swing the club too much to the inside on the way back? Or is it a faulty motion of the forward arm and wrist? If your clubs are not correct, then you will always fight something that might not actually be your issue.
Think about the buddy of yours who has irons that have an incorrect lie angle… how much easier could the game be if they were correct?
7) You don’t have any… goals, practice, evaluation or feedback
I’m sorry, but just swatting balls daily is not the best way to get any better! Have you ever asked yourself “what is today’s goal?” and then “what is the best way to work toward achieving that goal?” Next time you’re at the range, ask yourself those two questions, and then ask yourself how you will measure this and understand the feedback you’re given. Most people do not even think of these things, nor do they have factors in place in order to do so.
To be a better player, like in life, you have to have clear-cut goals in mind, or else you are being sloppy. Remember to take into account the four things above, or you will not improve as rapidly as you’d like!
8) You’re working on mechanics only, not how to score
Yes, you can do either or both in your practice, but don’t get them confused! What is your first objective in a given practice session — making a more consistent motion or lowering your score? Most of the time, they don’t have anything to do with one another.
9) You’re overly focused on the “look,” not the function
Are you too focused on making a perfect swing instead of one that is functionally correct and repetitive? Yes, we’d all like to look as pretty as Adam Scott, but understand that Furyk has a better record — it’s not about beauty, it’s about function at the end of the day.
10) You’re working on your swing with a non-professional
This is one that hits close to home, as I HATE to see people working on the incorrect things on the range, or from their buddy who can’t break 90. It kills me to watch someone working on their exit pattern when their grip or transition is the fault. Please make sure you at least consult with someone who knows more about the game and the swing than you do, and if your thoughts check out, then by all means go at it alone. I’m a big fan of players being self-sufficient, but for every Watson or Trevino who figured it out on their own, there are millions of golfers who screwed themselves up royally doing this.
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