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#2 caught my eye. Probably because it isn't seen too often.
#14 is seen all the time, or rather something "close" to #14 is seen all time. One has to admit that the particulars of this specific #14 are unusually elegantly excecuted, by both the athlete as well as the photographer's timing. Does the capability of the camera facilitate this intersection between athlete and artist?
#10 is appreciated precisely due to the timing. Those back kick flicks happen in mere milliseconds, and there is not much "preparation" in the way of "cues" to let a photographer know ahead of time that this microsecond of a moment is coming. The athlete is already balanced and supported, and is not leaving the mat, so there is no deep breath, nor plie preparation, nor mat spotting to offer the clue. That kick just happens and it's gone... and unlike compulsorys or collegiate, where you know the routines by rote or by repetition, one never knows what optional levels 7-10 will do.
Yet here it is, absolute optimal peak, on both 10 and 14, and a rather rarely seen moment on vault. It is blasphemous to even suggest that experienced photographers rely on frame rate for their work. They don't. And they don't need to.
But I'm beginning to wonder, within the short micro bursts of double or triple taps, if there is indeed a world of difference between 14FPS vs 8 FPS? Not for blindly machine gunning, but for the more precise dithering of peak millimoments. where one can chose between eyes open and closed, for example.
The timing of 10 and 14 inspired this question, where "very close" no longer is good enough, because spot ON has been seen and achieved.