So don’t do it! His hips have thrust and his feet are really pushing off the ground, the left leg is posting up and offers some much-needed resistance which he can work against. The clubhead is matching up nicely with the hands and the toe of the clubhead is pointing upwards nicely, indicating a square clubface and good left forearm rotation.

Do you often feel “stuck” at address, as though you’re wearing cement spikes?

In the next frame you’ll see how this move allows him to get his arms nice and extended through impact.9) Boom! His legs have initiated the move and what you can notice is that while his back is still somewhat to the target, his legs and hips have started to unwind.

That’s a huge compliment, because there are a lot of great players—and I work hard on tempo.

His right elbow adjacent to his right hip, the clubhead is tracking a similar path to the one it went back on and thus he’s on plane, but look at where his hips are (belt buckle almost pointing to the target), in relation to his shoulders (buttons on his shirt are pointed to the ball). It’s a bit unorthodox, but it works. Then I start the club back, shifting the weight back to my right foot. Hands are behind the head and the shaft angles ever so slightly diagonally downward from left to right. That hip and shoulder differential is what’s going to give him that snap at impact.

The left arm is effectively across his chest and notice how both the left arm and shoulder plane match.

My pre-swing press ignites a Tour-caliber … Finally, his head has maintained pretty much the same position throughout the swing but will now begin to swivel to allow his eyes to look ’under’ the shot.11) This is a classic look, the hands are nice and high, the feet are working nicely to the finish and look at how the right foot is rolling onto its big toe. Plus, my hometown of Mossel Bay is one of the windiest places in South Africa (locals joke that even the birds have to walk). My swing has been called the smoothest on Tour. Make a smooth, three-quarter swing, as though you’re hitting a 70-yard pitch.

That tiny pause harmonizes all the moving parts happening in your swing, creating the smooth tempo needed for pure contact.Try this: Swing to the top, maintaining the connection between your left arm and your chest (photo below).

His hips have unwound fully and as such the buckle on his belt would be pointed a touch left of his target. This smooths out your swing, and the smoother it is, the easier it is to catch the ball flush.This has always been my approach. Snatching the club back is a rhythm-killer, but I see it all the time in pro-ams. The key for you? From here he can hit whatever shot he wants.

If you don’t, try the following trouble-shooting moves to get your motion grooved:Rushing your downswing can kill good contact. This image and Image # 5 almost mirror each other.12) You’d be hard pressed to find a better finish to a swing than this. You will also notice how the clubhead is clearly outside the hands and what I love is how his left arm is working in unison with his chest and that there is very little daylight between the left forearm and chest.4) Here you can see the club shaft is parallel to his toe line, the left arm is nice and straight thus maintaining the width in his swing, the right wrist is hinging nicely and the right arm is bending at the elbow. The wrists have hinged fully, the right arm has folded perfectly and all that needs to be done from here is to complete his pivot.6) This is picture-perfect.

Here’s how to do it.Take your regular address with a pitching wedge, but with your feet about two inches apart (or even touching). Here’s the way to start down—and crush every iron.

I’ll often do it while counting in my head: “1”—settle, “2”—press, “3”—swing.


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