"A few years ago I discovered this angle to shoot Augusta's 18th tee. The dramatic side light is low enough to get under a golfer's cap, and if it's a cloudless afternoon, that light is as clean as it gets. The last rays on a fading final day at the Masters highlighted the power and determination of soon-to-be champ Trevor Immelman."
"Sometimes you have to be creative to convey the location and make the tournament look interesting. The 17th at the Sony Open has a green fronted by immense bunkers. As Jim Furyk misses a putt, my wide-angle lens captures the bunkers and palm trees in a way that creates a very dynamic and graphic scene and screams Hawaii."
"This spot at the U.S. Women's Open had nice, diffused light and a plain green background that made Natalie Gulbis and her red outfit jump out of the frame."
"I caught Mi Hun Kim resting at this waterfall behind the 18th at the Stanford International, and I love the way the white lines of the falls draw your eye to her."
"Frost delays are common at the FBR Open, causing late finishes in golden light, which in this shot turns the sand under Phil Mickelson's feet a toasty brown."
" Tiger Woods and Stevie Williams at the Match Play was no big deal, but I couldn't resist when they were joined by clouds that looked like a triple-decker alien spacecraft."
" Sergio Garc�a is a picture that's always happening. As he putts on 18 at the Players, the composition couldn't be better—simple but very graphic with bold colors."
"When I was at the Stanford International, I knew that shooting from ground level would not capture the course's unique depth and the horseshoe of high-rise condos that surround it. I didn't have access to a helicopter, but I found a shooting position on a balcony close to the top of a nearby hotel and used a fish-eye lens to grab the full view."
For a season's worth of spectacular SI photography, go to GOLF.com.