The images from Golf Illustrated & Outdoor America, June, 1915, Vol. 3, No. 3, p. 8-10. Photos by Livingston Sporting Picture Company.
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Analysis of swing by J. A. SCOTT. Golf Illustrated & Outdoor America, June, 1915, Vol. 3, No. 3
THESE pictures of Mr. Francis Ouimet driving, bring out two very important things. First, the naturalness of his methods, in common with all the master golfers whom I have studied, and second, the time consumed in making the stroke, giving us an opportunity to get an idea of the rhythm of his swing, and to compare, not only methods, but time, with other golfers illustrated in this manner.
First I will briefly comment on his methods, although I feel that I can almost safely say that in describing the stroke of the Triumvirate, in the March, April and May numbers of GOLF ILLUSTRATED I have analyzed the stroke of Mr. Ouimet. He has mastered the simplicity of the golf stroke, by following the lines of least resistance, he does not try to perform any complicated motions, he swings and hits in the way that is natural to him, and long years of practice and a most perfect golfing temperament, have made him what he is, one of the half dozen best golfers produced in this country, amateur or professional.
Mr. Ouimet is an upright swinger, most decidedly, and like Harry Vardon, he goes back and comes down in absolutely the same track. This means conservation of energy for the impact of club and ball, and also is the reason for the seeming ease of their stroke. Although it is only fair to say that Mr. Ouimet has not yet reached the stage of grace and style of Vardon, as he is still full of the excess fire of youth, and loves to swat the ball, this is something old Father Time will attend to, and he will continue great only if he will meet the old chap with the same easy grace Vardon has. (I am speaking of the age of athletes, not age in the ordinary sense.)
It will be seen that Mr. Ouimet swings his hands straight back along the line of play, i. e., a line across the feet, parallel to the line the ball is to be driven, and that there is no body action until the hands have reached a point (No. 4), where he must either sway to the right or let the left leg relax and the body commence the turning movement around and under the spine. From this point to photo No. 6, practically all the body turn takes place, as in No. 6 he has reached the extreme limit of the backward swing of the hands. From this point to the top of the swing, No. 9, it is a matter of swinging the arms and hands upward, and bending the wrists to get the tension and quick start back of the club.
It will be noticed that no bending of the wrists takes place until body action is completed, wrist action to this point having been a rolling over of the wrists, or the turning of the left over the right, due to straight back swing of the arms, with the left arm kept straight, there being absolutely no bend of the left arm, from shoulder to hand, in fact it will be seen that the left arm is straight from the address to the top of the swing and from there to the point of impact. Even after the ball is hit (see No. 14), the left arm is still straight. From the top of the swing, he has swung the hands straight downward, in such a direction that they will go under his head, see No. 13, 14 and 15. He has not allowed the slightest tendency toward any outward swing, from back to front, which is a general fault and usually referred to as a mowing motion. His right shoulder has been kept well back, waiting to get its power in the stroke at the right time; with the right hand, following it (the right hand), into the stroke.
Notice how he is still looking at the spot where the ball was (No. 14) long after the ball is well on its way. This was only possible by swinging his hands under his head and allowing the right shoulder to follow. A swing out and around would have instantly turned the head to the left, and pushed it forward.
Space forbids a more extended comment, I can only suggest a reading of the articles already referred to, to any one who is sufficiently interested to want to go further into Mr. Ouimet's methods, as these motion pictures show them.
What interests me, and I believe is of great importance in comparing methods and getting at reasons, is the time taken to make the stroke, the entire time and the time of different parts.
It may not be generally known, but motion pictures are taken at the rate of sixteen a second, and I assume this to be the case with those which I will compare. It will be seen that the time taken for the complete stroke was one second, in the case of Mr. Ouimet, the first one showing no action. Precisely the same time was taken by Mr. Edward Blackwell, illustrated last month, and I will very briefly compare them. Mr. Blackwell habitually drives a longer ball than Mr. Ouimet, and these pictures show why. He gets more speed into the club-head, and being a much more powerful man, probably uses a slightly heavier club. This is what drives a golf ball, pace and weight. (I think many golfers fail to get pace because they place weight ahead of pace, and so use clubs decidedly too heavy for their strength.) Look at the series of Blackwell in the May issue, and it will be seen that from No. 12 to No. 14, including just before hitting, hitting, and the follow on, his club-head has traveled from a point waist high to a point slightly higher than his head, in the meantime having driven the ball. This action took place in two-sixteenths of a second. (Showing that the maximum pace is between the two points illustrated.) In the case of Mr. Ouimet, his club, probably slightly lighter, traveled from a point waist high to a point waist high on the other side. See Nos. 12, 13 and 14. This action also took two-sixteenths of a second, and the difference in the distance the club-heads traveled in the case of each man, shows the difference in pace, hence the reason for the longer driving of Mr. Blackwell.
The March number shows Mr. Hilton taking about onesixteenth of a second longer than Mr. Blackwell during this part of the stroke, and about one-thirty-second longer than Mr. Ouimet. And it will be found that he is the shortest driver of the three. The April number shows Miss Cecil Leitch using a cleek, and the effective part of the stroke, Nos. 11, 12, 13 and 14, consumed a full three-sixteenths of a second, only slightly longer than Mr. Hilton, and it will be found that, allowing for difference in weight of clubs, that represents the difference in length of drive. Miss Leitch, as I know from personal observation can give most of the first-class men players all they want to do to keep up with her in length of drive, and can beat a lot of them. I saw her drive a terrific ball at Ray's Club, Oxhey. Both Ray and Braid told me she was a wonder for length off the tee. It is speed that does it, and these motion pictures of Ouimet, Blackwell and Hilton, as well as those of Miss Leitch show where the speed comes in the case of fine drivers.
J. A. SCOTT.