When you say "on plane" am I right in thinking you mean the path of the hands or specifically the #1pp vis a vis the Hand Path you delineated previously from Top to Impact?
Do you prefer that analytically to the Shaft/ Sweet Spot Plane? Or do you consider them both?
Interesting, thanks
I personally do, yes. That said, you of course have to see what the shaft is doing, as well as sweet spot motion/rotation. Very few can have a good hand path without a good shaft/sweetspot plane and get away with it, and basically nobody can get away with it on the downswing.
Ray Floyd comes to mind re: backswing.
All of that said, a good argument can be made that if the camera is correct, all that matters is the sweetspot in an uncompensated motion.
Perhaps Ted and Jeff will chime in as well, as I know they'd both have good insights into their preferences.
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I personally do, yes. That said, you of course have to see what the shaft is doing, as well as sweet spot motion/rotation. Very few can have a good hand path without a good shaft/sweetspot plane and get away with it, and basically nobody can get away with it on the downswing.
Ray Floyd comes to mind re: backswing.
All of that said, a good argument can be made that if the camera is correct, all that matters is the sweetspot in an uncompensated motion.
Perhaps Ted and Jeff will chime in as well, as I know they'd both have good insights into their preferences.
Thats pretty cool stuff EdZ. I guess you'd have to take into consideration the number or shifts etc as you monitor the hand path. The backswing may not be the same as the downswing etc. Interesting concept though on pressure points, hand paths etc. Thanks
I personally do, yes. That said, you of course have to see what the shaft is doing, as well as sweet spot motion/rotation. Very few can have a good hand path without a good shaft/sweetspot plane and get away with it, and basically nobody can get away with it on the downswing.
Ray Floyd comes to mind re: backswing.
All of that said, a good argument can be made that if the camera is correct, all that matters is the sweetspot in an uncompensated motion.
Perhaps Ted and Jeff will chime in as well, as I know they'd both have good insights into their preferences.
EDZ,
I think you are discussing some VERY important concepts in video teaching. Would it be asking too much for a quick tutorial? I'm hoping you may have saved a couple of pictures of right and wrong in regards to how you are watching the sweetspot plane, as well as how you are watching PP#1. I have a hard time learning without a picture in my mind.
If it would take too much time I understand 100%.
Thanks for considering,
Kevin
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I could be wrong. I have been before, and will be again.
One thing I have to work on with my video is to make sure the camera is position the same distance and correct height on easy swing or making comparisons to previous swings is futile.
One thing I have to work on with my video is to make sure the camera is position the same distance and correct height on easy swing or making comparisons to previous swings is futile.
Same lens or amount of zoom too. The wider the lens the more parallel lines converge or bend even. Im not a photographer but I work with them and think the naked eye is about the same as a 22 or 24 mm lens or something. A fish eye lens makes straight lines look weird. Some one help me out here, TAG!
Yep, when using a wide angle lens the the image bends or 'distorts' more and more as you move toward the perimeter of the frame. The image distortion increases as the lens size decreases.
Here's an example.
More importantly, perspective distortion increases when the camera is not aligned perpendicularly to the subject.
One thing I have to work on with my video is to make sure the camera is position the same distance and correct height on easy swing or making comparisons to previous swings is futile.
Absolutely imperative! A couple of informative lines are the tush line from DTL and the lead hip line FO (both will reveal a proper or improper pivot).
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