How to get in line
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square Pronunciation (skwâr)
n.
1. A plane figure having four equal sides.
2. Something having an equal-sided rectangular form: a square of cloth.
3. A T-shaped or L-shaped instrument for drawing or testing right angles.
4. Mathematics The product obtained when a number or quantity is multiplied by itself: 49 is the square of 7.
5. Games Any of the quadrilateral spaces on a board, as in chess.
6.
a. Abbr. Sq. An open, usually four-sided area at the intersection of two or more streets, often planted with grass and trees for use as a park.
b. A rectangular space enclosed by streets and occupied by buildings; a block.
7. Slang A person who is regarded as dull, rigidly conventional, and out of touch with current trends.
8. Slang A square meal. Often used in the plural: three squares a day.
lev·el Pronunciation (lvl)
n.
1.
a. Relative position or rank on a scale: the local level of government; studying at the graduate level.
b. A relative degree, as of achievement, intensity, or concentration: an unsafe level of toxicity; a high level of frustration.
2. A natural or proper position, place, or stage: I finally found my own level in the business world.
3. Position along a vertical axis; height or depth: a platform at knee level.
4.
a. A horizontal line or plane at right angles to the plumb.
b. The position or height of such a line or plane.
5. A flat, horizontal surface.
6. A land area of uniform elevation.
7.
a. An instrument for ascertaining whether a surface is horizontal, vertical, or at a 45° angle, consisting essentially of an encased, liquid-filled tube containing an air bubble that moves to a center window when the instrument is set on an even plane. Also called spirit level.
b. Such a device combined with a telescope and used in surveying.
c. A computation of the difference in elevation between two points by using such a device.
n.
1. A plane figure having four equal sides.
2. Something having an equal-sided rectangular form: a square of cloth.
3. A T-shaped or L-shaped instrument for drawing or testing right angles.
4. Mathematics The product obtained when a number or quantity is multiplied by itself: 49 is the square of 7.
5. Games Any of the quadrilateral spaces on a board, as in chess.
6.
a. Abbr. Sq. An open, usually four-sided area at the intersection of two or more streets, often planted with grass and trees for use as a park.
b. A rectangular space enclosed by streets and occupied by buildings; a block.
7. Slang A person who is regarded as dull, rigidly conventional, and out of touch with current trends.
8. Slang A square meal. Often used in the plural: three squares a day.
lev·el Pronunciation (lvl)
n.
1.
a. Relative position or rank on a scale: the local level of government; studying at the graduate level.
b. A relative degree, as of achievement, intensity, or concentration: an unsafe level of toxicity; a high level of frustration.
2. A natural or proper position, place, or stage: I finally found my own level in the business world.
3. Position along a vertical axis; height or depth: a platform at knee level.
4.
a. A horizontal line or plane at right angles to the plumb.
b. The position or height of such a line or plane.
5. A flat, horizontal surface.
6. A land area of uniform elevation.
7.
a. An instrument for ascertaining whether a surface is horizontal, vertical, or at a 45° angle, consisting essentially of an encased, liquid-filled tube containing an air bubble that moves to a center window when the instrument is set on an even plane. Also called spirit level.
b. Such a device combined with a telescope and used in surveying.
c. A computation of the difference in elevation between two points by using such a device.
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If you are a right handed player, as you are descending into the shot, turn your shoulders and upper body slightly to the right. Turn your head slightly to the left so your dominant eye or chin is over the cue. There is very little strain involved in this, and this is how most pool players are able to keep everything in one line. Your hips and feet can turn slightly to the right also for more comfort. Like Colin said, I think bridge placement is key. If the bridge is lined up correctly with the stroking arm (which has only one natural opening and closing path), a straight stroke will be very easy. If your bridge hand is not in line with your stroking arm's natural path, you will find yourself using alot of elbow and shoulder and wrist movement to compensate. Try getting down into your stance without your cue in front of a mirror, see how everything is lined up.
Tbeaux said:
I would love to see that pic, i love her form very solid nothing moving at all when she is down on ther shot. I Wub the way she doesn't move her head until the shot is in the pocket. i must pick up this habit.
LastTwo said:
Good info here is a little more on that subject of a mirror for you head alignment Thanks to my Buddy BadAndy. Props.
""""""To make sure you have your head aligned vertically and not crooked you can use a mirror that is at least the size of a sheet of paper. Tape a string vertical, going up and down using a T-square or some other device to make sure the string will be perpendicular to the table, not slanting toward one side or the other.
Set the mirror up on the table. Place the CB a few inches away from it and inline with the string so the string is in the center of the CB. Pretend to shoot the CB into the image on the mirror. After you are lined up and ready to shoot look at your face and cue in the mirror. Is the cue in a straight line with the string? Where does the string intersect you face? Is it straight down the middle? If so you are in a centered aim position, which has a lot of advantages. Is it directly through the middle of the left eye? If so you have true left eye alignment which also has advantages. Is it halfway between the left eye and center of the face? Then you have dominant left eye aiming. None of these aim alignments are wrong but they have their advantages depending on what focus you use along with the aim technique. Also, is your head aligned vertically with the string or is it on a slant. If on a slant it makes aiming more difficult because each eye is seeing a different view and your brain has to make sense out of it. The dominant eye also has disadvantages because one time you may shoot at 80% - 20% then the next time you may be 70% - 30%. The change makes for a different view with respect to parallax and it may look good but is off. It is hard to be consistent with dominant eye. To see what I mean, just aim a shot as normal then without moving shut one eye and look at you aim. It looks different, like it is going to miss. Then shut the other eye and it will look different in the other direction. Your brain figures all this out but if you keep changing alignment its like shooting a gun with the site being changed before you aim."""""""""""''
Interpreting form through motion blur
I haven't seen the photo, but consider two points when you try to draw such conclusions based on photographic blur.
1) motion towards and away from the camera lens (i.e. motion oriented along the axis of the lens) creates much less blur than equivalent motion going from side to side and/or up and down in front of the lens (i.e. motion oriented across the axis of the lens). For example, consider a photo where the cue travels left to right. If the stroking hand travels an inch while the shutter is open and the head tilts an inch toward the camera during that time, the hand will blur much more than the head.
2) we don't need a photo to tell that the cue, hand, and forearm are moving faster and/or farther than any other part of the body. If anything else moved the same distance over the same period of time, you'd be lucky even to make contact with the CB. Given that you describe the forearm as only slightly blurred, it may well be that something else was moving but the shutter speed was quick enough to freeze that smaller motion. In order to really see that nothing else was moving, you would want to use a shutter speed long enough to make the forearm, hand, and cue extremely blurry. In fact, I suspect that with an appropriate shutter speed, most of the forearm would come out nearly invisible. Ideally, you would want to have the camera on a tripod for that, and if this picture was taken during a match, I seriously doubt there was a tripod involved.
Tbeaux said:
I haven't seen the photo, but consider two points when you try to draw such conclusions based on photographic blur.
1) motion towards and away from the camera lens (i.e. motion oriented along the axis of the lens) creates much less blur than equivalent motion going from side to side and/or up and down in front of the lens (i.e. motion oriented across the axis of the lens). For example, consider a photo where the cue travels left to right. If the stroking hand travels an inch while the shutter is open and the head tilts an inch toward the camera during that time, the hand will blur much more than the head.
2) we don't need a photo to tell that the cue, hand, and forearm are moving faster and/or farther than any other part of the body. If anything else moved the same distance over the same period of time, you'd be lucky even to make contact with the CB. Given that you describe the forearm as only slightly blurred, it may well be that something else was moving but the shutter speed was quick enough to freeze that smaller motion. In order to really see that nothing else was moving, you would want to use a shutter speed long enough to make the forearm, hand, and cue extremely blurry. In fact, I suspect that with an appropriate shutter speed, most of the forearm would come out nearly invisible. Ideally, you would want to have the camera on a tripod for that, and if this picture was taken during a match, I seriously doubt there was a tripod involved.