Shooting Technique and Form
The standard convention on teaching archery, is to hold the bow depending upon eye dominance. Therefore, if you were right eye dominant, you would hold the bow in the left hand, and draw the string with the right hand. Not everybody agrees with this line of thought, though. A smoother, and more fluid release of the string produces the finest and most consistently repeatable shots, and therefore determines the accuracy of the arrow flight. There are some who believe that the hand with the greatest dexterity, should be the hand that draws and releases the string. Either eye can be used for aiming, and even the less dominant eye can be trained over time to effectively become the more dominant. This can be achieved by retraining with the use of an eye-patch over the dominant eye as a temporary measure.
The hand that holds the bow is referred to as the bow hand and its arm the bow arm. The opposite hand is called the drawing hand or string hand. Terms such as bow shoulder or string elbow follow the same convention.
If shooting according to eye dominance, then right-eye-dominant archers, shooting in a conventional way, will hold the bow with their left hand.
If shooting according to hand dexterity, then the string will be drawn with whichever hand possesses the greatest dexterity, regardless of eye dominance.
Read more about this topic: Archery
Famous quotes containing the words shooting, technique and/or form:
“... though it is by no means requisite that the American women should emulate the men in the pursuit of the whale, the felling of the forest, or the shooting of wild turkeys, they might, with advantage, be taught in early youth to excel in the race, to hit a mark, to swim, and in short to use every exercise which could impart vigor to their frames and independence to their minds.”
—Frances Wright (1795–1852)
“The audience is the most revered member of the theater. Without an audience there is no theater. Every technique learned by the actor, every curtain, every flat on the stage, every careful analysis by the director, every coordinated scene, is for the enjoyment of the audience. They are our guests, our evaluators, and the last spoke in the wheel which can then begin to roll. They make the performance meaningful.”
—Viola Spolin (b. 1911)
“That’s one thing I like about Hollywood. The writer is there revealed in his ultimate corruption. He asks no praise, because his praise comes to him in the form of a salary check. In Hollywood the average writer is not young, not honest, not brave, and a bit overdressed. But he is darn good company, which book writers as a rule are not. He is better than what he writes. Most book writers are not as good.”
—Raymond Chandler (1888–1959)