Love the swing sequences. A pet peeve, though, is seeing the slightly different framing of the photos. For example, in the Paul Casey sequence the first frames are not the same framing as the next frames. (Look at position of palm trees and rocks for reference points.) Makes me wonder if I'm seeing the same swing throughout. Also, I would really like to see some very faint grid lines (as close together as practical - maybe alternating colors, or every other one numbered or something like that) in the background of each picture so that I could see, for example, if the player's head drops, or sways back and forth during the swing. Thanks for considering these ideas.
In the old days--the mid-80s--readers would have seen a lot of this "movement" in the background. That's because we often shot the sequences with 35 millimeter cameras that might or might not catch the key moment: impact. To make sure we captured impact we usually shot several swings and then chose the photographs that gave us the best positioning at various points in the swing. Sometimes, when we did that, backgrounds did not match. When we acquired a Hulcher high-speed camera that became unnecessary. But the Hulcher could sometimes be temperamental. Our instruction editor Peter Morrice takes it from here....No longer.
Alan Wilson, Poway CA
Up until two years ago, we shot our sequences with Hulcher cameras, which use one long piece of film, like a movie camera. They shoot 50 frames per second, and you can get several swings on one piece of film. To take advantage of technological advances, we recently started shooting sequences with digital Casio cameras. These cameras shoot 60 frames per second, and we actually use two cameras stacked on top of each other to capture a single swing without having to piece together positions from different swings. The digital images are very sharp, and the cameras are more dependable than those wonderful but moody old Hulchers.
We're glad you love the sequences. We like your idea of the grid. Stay tuned.
Bob Carney
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