“I got blocked by a fan,” he says with a laugh. “In moments like that, though, I stay locked in and get whatever else I can, including player reactions. Often, those reactions can be more impactful than the actual play.” That approach is what’s helped make Yu the successful sports photographer he is today.

An Unconventional Path

Yu’s path to the New York Knicks wasn’t a clearcut one.

The photographer, based in New Jersey and a graduate of Seton Hall University, began his craft as a hobby, spending his free time traveling, shooting street photography, and learning on his own rather than through formal classes.

His professional break came in 2017, when he joined the NBA not as a photographer, but as a photo editor. “That was my gateway into the photo industry,” he explains. “After more than two years editing league photography, I moved over to the XFL shortly before the COVID-19 pandemic. When that league shut down, I was laid off, like many others.”

Fortunately, that setback led to his biggest opportunity. A former XFL connection reached out about an editing position with the New York Knicks in 2021. In his first two seasons, Yu mainly edited images while gradually earning chances to shoot games. By his third season, he had become one of the team’s primary game photographers.

Today, he works as a freelance photographer under contract with the Knicks while continuing to shoot baseball, soccer, and other sporting events throughout the year.

A Different Kind of Energy at MSG

Yu has photographed dozens of regular-season games, but he says nothing compares to playoff basketball at Madison Square Garden.

“The atmosphere is crazy,” he says. “It’s a whole different beast.”

While fans experience the deafening crowd and electric atmosphere, Yu tries to mentally approach playoff games the same way he would a regular-season game in January.

“There is a team of three of us shooting,” he explains. “My primary focus is just shooting the game. The other photographers concentrate on celebrity courtside guests, crowd reactions, and arena atmosphere. I just lock in and focus on the game.”

That consistency is intentional. “It’s muscle memory at this point,” he says. “Trying to anticipate what’s going to happen. It all just flows the same for me.”

Looking for Images Beyond the Play

Ironically, Yu’s favorite images from the championship run weren’t necessarily game-winning baskets.

Instead, they came afterward.

One of his favorites was taken in the tunnel after Game 4. As the celebration spilled across the court, Yu slipped backstage, where Karl-Anthony Towns, aka KAT, walked alone beneath the lights of Madison Square Garden with Finals branding lining the hallway.

“He has his head in his hands,” Yu recalls. “Then he came out after that with a big smile.”

It was a moment only someone with team access could witness. “It’s the emotional stuff, the stuff the fans can’t see that I love most.”

That philosophy defines Yu’s work. While dozens of photographers may capture the same dunk or three-pointer, the moments between the moments often become the most memorable, whether it’s Josh Hart’s exuberant celebrations, Karl-Anthony Towns processing a championship, or families embracing players after the game.

Gear, Technical Challenges, and Workflow

Despite its reputation as basketball’s most famous arena, Yu says Madison Square Garden presents unique challenges for photographers.

“The lighting isn’t great,” he admits.

Unlike many newer NBA arenas with more evenly distributed lighting, the Garden’s theatrical setup creates dramatic brightness variations across the court. “Underneath the basket and in the corners, it can be a stop or two darker than the open floor.”

That means constantly adjusting exposure and white balance while tracking players moving at full speed.

Gear-wise, Yu shoots with a Sony A1 II And Sony A1 Mark 1 throughout most games, usually paired with a 50-150mm f/2 lens. It’s his workhorse for roughly 90 percent of the action. He relies on the 28-70 f/2 for pre-game shots when he is on the floor and then will mix in a 14mm prime and use his 300mm as well.

While the cameras can shoot 30 frames per second, Yu deliberately slows himself down.

“I shoot around 10 frames per second,” he says. “I feel like I know what to look for.”

By the end of a game, he’ll have roughly 700 to 1,000 images, which is far fewer than many sports photographers produce.

“I try to limit my shooting,” he states matter-of-factly.

During games, he transmits selected images to his editor via Wi-Fi, then they are processed and distrubuted in real time to social media, marketing, and the players themselves.

Advice for the Next Generation

Having built his career from the editing desk to the New York Knicks’ baseline, Yu is often asked by aspiring photographers how they can follow a similar path. The inquiries usually include his camera settings, shutter speeds, and the gear he uses.

His answer is rarely what they’re expecting.

“There isn’t a blanket answer,” he says. “Every arena is different.”

A setting that works in an NBA arena might fail completely in a dimly lit high school gym. Instead of copying another photographer’s settings, Yu believes young photographers should learn to understand light, adapt to different environments, and develop their own style.

More importantly, he encourages photographers not to overlook opportunities simply because they aren’t at the professional level.

“A lot of people think, ‘I need to shoot the Knicks right away,” he says. “It doesn’t work like that.”

With only a limited number of credentialed photographers allowed on the floor for professional games, Yu says the best experience often comes from shooting high school, college, or G League sports, where photographers can experiment, build a portfolio, and develop the instincts needed to anticipate the action.

Of course, like anything else, it takes time to perfect an approach and style. Looking back at photographs from the first professional game he ever shot, he admits he sees plenty he’d do differently today.

“I’ll look at some of those photos and think, ‘Ugh, I don’t like this,'” he says with a laugh. “Even the editing, I’ll look back and think, ‘Why did I do that?’ The color is off; the skin tones are off.”

His sage advice is: “Hone your craft on the editing side, too,” he says. “Develop your own look. Build your portfolio. Learn the fundamentals first and then go from there.”

It’s Not Over Until It’s Over

The Knicks Championship Parade in NYC where the team received the ceremonial keys to the city from Mayor Mamdani remains one of Yu’s favorite memories.

Stationed atop Josh Hart’s float as hundreds of thousands of fans packed Broadway, he spent the day documenting history while occasionally forcing himself to lower the camera.

“You have to shoot what you have to shoot,” he says. “But at times you want to just look out at everything and take it all in yourself.”

“You never know; it could be a once-in-a-lifetime moment.”

Some of his favorite images, in fact, came even earlier, immediately after the Knicks clinched the title in San Antonio. During the on-court championship ceremony, when Jalen Brunson was named Finals MVP, and the Larry O’Brien Trophy was presented, Yu had already envisioned the photograph he wanted.

As confetti rained down around the team, he captured the players raising the championship trophy amid the celebration, a defining image of the New York Knicks’ historic run.

Still, even after documenting an NBA championship, one missed photograph lingers in his mind: that OG tip-in.

He’s seen overhead photographers’ images of Anunoby perfectly timing the winning play.

“I still wish I was able to get that,” he admits.

Then again, missing one shot hardly defines a photographer who spent an entire postseason documenting everything else: the joy, relief, exhaustion, and emotion that followed. Sometimes, the most unforgettable pictures also happen after the buzzer.

Thumbnail image: Photo by Evan Yu/The New York Knicks

The post How Evan Yu Captured the New York Knicks’ Championship Run appeared first on Adorama.

As my gaze scans the products waiting for their close-up, I notice a lavender-colored scuba mask suspended on a nearly invisible string. “It’s there to give the mask buoyancy and shape,” Gaviria explains. The result is an image that feels clean, dimensional, and ready for e-commerce. Minutes later, when it’s passed to the next department, the string will be edited out, but the illusion will remain.

Day in the Life

Before Adorama, Gaviria honed his speed and adaptability in product photography by shooting at scale in a high-volume e-commerce warehouse, capturing everything from high-end handbags to satellite dishes, sometimes hundreds of items a day. That pace trained his instincts and reinforced a core principle he still uses today: eliminate the noise. “In my current job,” he explains, “the volume varies, but the mission remains the same: to tell the product’s story as clearly and efficiently as possible.” In that vein, he presses buttons, tests features, and explores the design until the product’s main purpose becomes clear and he can convey that photographically.

Daily Workflow and Organization

Now, after more than a decade with Adorama, Gaviria has built his workflow around problem-solving and instinct. Each morning, before doing anything else, he checks the project management program Jira to see which products are in his queue, along with shoot schedules and deadlines. Next, he reviews the list, notes any urgent projects, and then organizes his equipment and studio setup for the day’s work. This series of steps gives him a clear list of what needs to be shot and when. Throughout the day, he adapts to the volume, sometimes working with a single, complex product and other times handling 10 or more items with variations.

Shooting Strategy and Consistency

“I ask myself what a customer wants to know about the product, and then I try to make it come to life on the screen. Assignments move steadily from studio to Adorama’s product pages, blog, and YouTube channel,” he tells me.

The shoot of kids’ scuba masks that I was privy to on this day required photographing six color variations, each with identical angles and consistency across the set. Larger items, like light stands, present different challenges, especially when it comes to controlling reflections and maintaining a clean, distraction-free look. “The goal is always to create crisp, seamless images on minimal backgrounds that maintain consistency across Adorama’s platforms,” he explains. That doesn’t mean Gaviria never uses backgrounds, but when he does, they are done in a way that adds an overall vibe and cohesiveness, not a visual distraction.

Technical Execution

A single product might yield a hero image, then shots of multiple angles and tight macro shots, just enough to answer every potential buyer’s question in a handful of frames. Gaviria often builds these images through focus stacking [a technique that combines multiple exposures at different depths to keep everything in focus], using software like Helicon Focus and Capture One to achieve sharpness from edge to edge. From there, files move to post-production, but the heavy lifting, like lighting, composition, and storytelling, is in Gaviria’s capable hands. Typically, he uses two to five lights, depending on the complexity of the product photography setup.

Product Photography Gear List

His equipment list, in fact, is quite efficient for all he needs to accomplish in a day:

1. Cameras: Nikon Z6III, Sony A1
2. Lenses: Nikon 105mm f/2.8 Macro, Nikon 24-70mm II f/2.8, Canon TS-E 135f/4L Tilt-Shift, Canon TS-E 90mm 2.8 Tilt-Shift, Canon TS-E 45mm f/2.8 Tilt-Shift 
3. Lens Adaptors: Sigma MC-11, Megadap ETZ21 Pro
4. Lights: Flashpoint XPLOR Power 2400, Flashpoint XPLOR 600 II, XPLOR 200 II
5. Tripod/Stands: YC Onion Pineta Peak Tripod & Studio Titan America Side Kick Studio Camera Stand, Flashpoint C-stands, Combo Stands
6. Boards: V-FLAT WORLD Tabletop V-Flat Small, V-FLAT WORLD Light Cone
7. Consumables: Tack it Puddy, SpiderWire Stealth Translucent Fishing Line, Gaffer Tape
8. 3D Printer: Bambu Labs X2D & P2S

Cue the Lights

Lighting is where Gaviria’s work comes alive. He is a pro at finding ways to build dimension through his lighting and his tools. His Foam boards and reflectors shape light, flags introduce shadow, and carefully placed highlights define form. “It’s a constant push and pull, refining the balance so the product never falls flat.”

Rather than eliminating reflections, he embraces them. “I like using highlights and shadows to build depth, texture, and dimension,” he says. “You’re always fighting your own lights, but over time, I’ve learned how to make them work for me.” He also says that if you can’t decide between hard and soft light, or between a high-key shoot and something darker and more cinematic, his advice is simple: “Don’t be afraid to mix hard and soft light and experiment with negative fill to add shape and contrast to the product. And remember, hard light brings out texture and hard edges in a product, where soft light allows for diffused shadows and softer edges.”

This philosophy shows up in subtle ways in his finished images: a highlight that emphasizes a product’s finish, a shadow defines its form, and a gradient adds just enough contrast. He loves using materials like Foamboard, background paper scraps, even mirrors, and string or fish line to help him wrangle the light and understand how it behaves. “White surfaces soften highlights; black adds contrast; and gray creates balance. It’s less about expensive gear and more about control,” he states. Which is a slight departure from his early years….

Early Years and Inspiration

Growing up, Gaviria was a young graffiti artist who was heavily influenced by the WildStyle 3D lettering of the 80s and 90s. It was through comic books, B&W photography, and the cinema that he later learned the bold contrast and dimensional shading that drive his work today. Graffiti artists like Cope, Daim, and Seen showed him creative ways to shape and color objects. Photographers like Ansel Adams, Henri Cartier-Bresson, and Daido Moriyama taught him contrast and white space. His childhood comic books and favorite movies taught him camera framing and how to light a scene for a commercial application.

The Nuts and Bolts: Capture to Completion

The process for Gaviria is seamless. After capturing the images, he makes an initial pass to adjust color, exposure, and composition. He then hands the files off to an editor who cleans the backgrounds, removes dust, and edits out any distractions. Lastly, he reviews which elements should stay or go, providing some direction for the editing process. This streamlined workflow is vital in keeping up with the precise demands of e-commerce.

“Consistency is critical, especially when photographing multiple variations of the same product,” he explains. “That is why I build repeatable setups and carefully track each version and rename files to keep everything organized.” The goal, he adds, is to achieve uniformity across the lineup, even fine-tuning lighting and angles to bring out the best in each piece. Reflections, particularly on glass, are controlled but not always removed. Sometimes they’re positioned deliberately to enhance texture or suggest how a product feels in use.”

In the studio, he works mainly with a Nikon Z6 III paired with a 105mm macro lens for detail work and a 24–70mm for versatility, tools that allow him to move seamlessly from tight shots to wider compositions. But as he’s quick to point out, the type of camera you use matters far less than understanding light and interacting with the object in front of you. 

The tripods he uses are also vital staples of a successful shoot approach, he says. “My main tripod for smaller objects is the YC Onion Pineta Peak Tripod with a Manfrotto 410 3-Way, Geared Pan-and-Tilt Head. This allows for quick angle and level changes. And the Manfrotto 410 Gear Head aids with precise adjustments. For larger objects or tabletop videos, I use the Studio Titan Side Kick Studio Stand.”

Tips and Tricks

If you’re mulling over a career in product photography or want to update your current portfolio, Gaviria offers up some sound advice: “Shoot everything; don’t wait for a client job to come in. Everyday objects around the house are your friend and could very well be your next photo subject: soda bottles, cleaning sponges, toys… They all have their material characteristics and need to be lit differently.”

He also says it’s important to log notes about why and how you lit the subject, why you chose the camera angle, and what it says about the product. “Note the focal length you used and how it shows off the product, whether it be using a deep, wide-angle distortion or a shallow, cavernous perspective.”

How does one decide whether to use deep focus or shallower focus? “Good question,” says Gaviria. “I personally shoot with a deep focus f/16 or f/18 and then focus stack if needed, as I want to deliver a tack-sharp, edge-to-edge image that gives my editor the most “workable” file possible. It is easier for my editor to add a blur effect in post than it is to fix a soft corner.” 

Other advice includes using negative fill to give your product dimensionality or gradients if your product feels flat. “And always start with a single light and then build from there. This way you can track what each light is doing and how it affects the final look.”

Final Thoughts

In the end, his overall approach sounds like a lot of fun, not work at all. “Just tinker. I like to use Play-Doh, Legos, sculpting putty, wood scraps, a 3D printer, strings, magnets…whatever it takes. They all help when rigging up a product for a shoot and making something flat come to life.”

View more of Gaviria’s work on his website, www.josipthg.com.

The post A Peek Into the Product Photography Process appeared first on Adorama.

Cyber scouting uses Internet resources like Google Earth, PhotoPills, and ShadeMap to your advantage. Viewing overhead imagery, exploring street-level perspectives, checking access information, getting lighting timelines, and having weather condition updates gives you a head start before you ever arrive at a location.

How Digital Location Scouting Works

Digital photo scouting works by helping you find locations, giving you detailed views before you visit, and helping you plan time of day, seasons, and weather. Whether you have a spot in mind or are searching for specific location types in a given area, digital location scouting gives you an advantage. 

Researching in advance helps you prepare before the shoot for just about every genre, including landscape, travel, urban, street, and portrait photography. My workflow for digital location scouting is to:

• Crowdsource location ideas
• Get the big picture
• Nail down timing and lighting conditions
• Make a plan before I go

Research What Other Photographers Have Found

You aren’t in school anymore; you can “cheat” off of everyone else. Dig around and look at popular photo-sharing sites using location tags to see what everyone else is shooting. It helps you find new angles on old locations, hidden viewpoints, seasonal changes, and discover new-to-you spots.

Remember that the most popular spots often have big crowds, and this stage of research is more of a general idea generator than a set of directions. Blogs, travel guides, and trip reports do offer nice insights into access, safety, and extra information like costs, however.

Best apps for seeing what other photographers found

1. Flickr: One of the largest photo-sharing communities, the Flickr map is a great way to get ideas for photo locations.
2. Reddit: Check location-based subreddits and don’t be afraid to ask for tips when you are traveling to a location.
3. YouTube VR: My favorite weird photo-scouting tip for touristy areas is to check out virtual-reality tours. Dust off that Meta Quest or SteamVR and head over to YouTube’s Virtual Reality side for 360-degree walkthroughs of interesting locations around the world. I find so many spots this way that are overlooked in online guides.
4. Instagram: Search is horrible on Instagram, but location tags are still helpful to access the vast number of shots out there.
5. LocationScout.net: More formal than Flickr and Reddit, LocationScout is moderately curated, and users submit a wealth of information about shooting locations and conditions.

Start With a Broad Location Scan

Whether checking out a hot photo spot mentioned in a travel guide or hunting a great aurora viewpoint, when I’m digital scouting photo locations, I start with the big picture and then narrow it down. Satellite imagery, terrain, and aerial photos give me a good overview of an area and access points. It helps me find things like water features, open fields, buildings with rooftop access, and abandoned buildings. Then I can narrow down areas using street view images.

For example, if I’m traveling to a new, darker-sky area that’s several hours away, I don’t want to physically scout locations at night on a tight schedule. I can use satellite imagery to identify areas most likely to offer a good field of vision in the direction I need before I go. Then, I use street-level imagery to get a good sense of parking (such as whether there are narrow road shoulders or a church where I can park), identify any private property to avoid, and check for obstructions like power lines.

Best apps for broad scan photo scouting

• Google Earth: Using Google Earth instead of Google Maps gives you multiple images of the same location at different times. Remember to check how recent images are, especially for street-level images. If street-level views aren’t available, look for 360 photo bubbles at points of interest.
• Skywatch: Offers free and paid plans, but there are plenty of free views. This includes aerial shots as recent as a month old in many cases. 
• Mapillary: Similar interface to Google Earth, but with far more detailed satellite images, although they may be older. Great for better overviews of roads and trails in areas Google Maps street shots don’t cover, such as wildlife refuges and other rural areas.
• Local tax assessor websites: Admittedly, this sounds a little creepy on the surface. However, if you need to know who owns property and check boundaries, the local tax assessor website usually lets you search by address or on a map. It’s very helpful for avoiding trespassing and finding out who to ask for access permission.

Study Light, Time, and Conditions

Once you have a location mapped, it’s time to plan when to be there. After all, getting to a location only to find it’s in shadows 3 hours before sunset or that the moon is dead center in the Milky Way core that night can destroy your shooting plans. There are some amazing digital tools to help you be in the right place at the right time to get the shot. 

What I check first depends on the shot I want. For example, when I need the sun, moon, or stars to be just right, I review sky maps and apps that show me where and when those celestial bodies will appear. I also check their positions relative to foreground objects. Likewise, if I need foggy conditions, I check a powerful weather app. 

Regardless of the situation, I almost always check shade, cloud, wind, and fog condition forecasts ahead of time. Then I do it again right before leaving for a shoot. 

Best apps and programs for light and timing your photo shoot

• ShadeMap: Checking sunrise and sunset times isn’t enough to ensure good light at a given location. ShadeMap (free and paid options available) shows how trees, buildings, and elevation affect lighting at a location on specific days and times. It’s saved my bacon more times than I can count.
• Stellarium: An amazing free program that shows you stars and heavenly body positions by date, time, and location. While the horizon imagery is generic, it’s a great place to plan for overall rise/set times and directions. It also clearly shows you when the moon washes out visibility at night.
• PhotoPills: Designed specifically to align sun, moon, and Milky Way with terrestrial objects, including augmented reality overlays. It is a mobile-only app.
• The Photographer’s Ephemeris: Another sun, moon, and starlight app, but this one has basic no-login-required functionality on your desktop in addition to an iOS app (sorry, Android users). It also offers solar and lunar eclipse simulations.
• Sunsethue: Fabulous sunrises and sunsets need clouds at certain heights and densities. Sunsethue gives you detailed information on cloud makeup and predicted results. You can even get alerts for certain conditions.
• Windy: Toss out your generic weather app. Windy gives you fog, cloud levels, waves, snow depth, and dozens of other options with multiple forecast models. It’s my absolute favorite for fog and visibility predictions.

Build a Simple Pre-Visit Plan

My final step in digital location scouting is building a shoot day plan. This is when I pick the gear I need, such as zoom or wide lenses. Then I decide between a larger tripod and a shortie tripod for ground-level shots. I also plan out my access map and shoot timeline. Personally, I always add in extra time because I’ve run across many found scenes on the way to my planned shoots over the years.

I use apps like Mapstr to build personal location lists and load all my needed information. Don’t forget to update the information with any extra information you find in the field. No matter how much pre-scouting you’ve done digitally, there will always be something surprising when you get there. Have a backup plan for better results, and be prepared to pivot in case of unexpected on-site challenges.

The post Best Digital Tools for Planning Photo Locations appeared first on Adorama.

Final Cut Pro vs DaVinci Resolve Editing and Workflow Aspects

Final Cut Pro

The first thing that stood out to me in Final Cut Pro was how open and easy the interface felt. Within a few clicks, I was able to drop in photos and video clips, add some transitions, and build a timeline. You can even scrub through your project just by moving the mouse. Adjusting color and white balance is simple, too. If you’re new to video editing, being able to put something together that looks good in just a few minutes is a big plus. Final Cut Pro feels like it’s built for anyone, whether you’re in a hurry or just starting out. I appreciate that.

Davinci Resolve

DaVinci Resolve splits everything into tabs, each for a different editing step. It keeps things organized, but if you like to jump around—say, add a file here or tweak color there—you have to switch tabs a lot. That can slow you down. However, you’ll want to edit in passes, like rough cut, b-roll, sound, color, and final polish for an efficient workflow. That said, if you prefer everything in one place, Final Cut Pro is a better fit. Ultimately, it’s about what works for your workflow. I’m used to the traditional setup, but I see why a simpler interface is appealing.

If you’re a pro editor, though, you’re probably after more than just a clean interface. DaVinci Resolve is packed with powerful tools and is built to handle just about anything you throw at it.

Color Work

When it comes to color work, DaVinci Resolve is ahead of Final Cut Pro for me. You can get really detailed with color grading, though the node system takes some getting used to. It took me a while to figure it out, but once you do, you have a lot of control. Final Cut Pro uses layers, which are familiar if you’ve used Photoshop or Pixelmator. For most creators, that’s plenty for color tweaks, but if you want that cinematic, pro-level grading, DaVinci Resolve is the way to go.

Audio Tools and More

I like that DaVinci Resolve gives me a solid voice-over tool for those behind-the-scenes moments, plus both a classic multi-track timeline and a faster tape-style one. Having options is always good. If you need to dive into audio or VFX, Fairlight and Fusion are built right in. So, DaVinci isn’t just for tutorials or voice-overs—it’s ready for filmmaking, commercials, or even TV work.

Final Cut Pro’s magnetic timeline keeps everything lined up, and the Audition tool makes it easy to manage different takes or camera angles. It’s efficient, no question. But if you want to do advanced animations or pro-level audio, you’ll need to use Apple Motion or Logic Pro, and I find the round-trip to other apps a bit annoying coming from DaVinci Resolve.

However, Adobe Premiere and After Effects users looking to make a switch to a new video editing software might not see it as an issue. Both Motion and Logic Pro are included in the Creator Studio bundle, but they’re still separate apps. Should you ever want to bail out of the Creator Studio Plan, you’ll need to buy them separately to keep your workflow; the cost adds up.

Final Cut Pro vs DaVinci Resolve: The AI Battle

DaVinci Resolve Studio has added a bunch of AI-based tools since version 19, which may come in handy for creating tutorials. The program can create timelines based on scripts, animate words whilst I speak, and assemble a multicamera timeline based on speaker detection. It also features an AI Audio Assistant able to create a professional audio mix. I don’t rely entirely on AI for these tasks, but it’s nice to have a good starting point. Keep in mind that most of these AI tools require the Studio license, not the free version.

Final Cut Pro has its own set of AI tools, like smart search for visuals and transcripts, a magnetic mask to pick out people or objects, and an auto-crop for social media. There’s even a beat detector that lines up your video with the music. I like keeping things organized, so the search and crop tools are especially useful for me.

Pricing and Resource Drain

I use the paid DaVinci Resolve Studio version (which now has a one-time fee of $295), and I know that the free version provides many of the features of the paid one and will keep most creators happy.

Final Cut Pro has a one-time fee of $299, but you need to add $199.99 for Logic Pro and $49.99 for Apple Motion if you want a level of complexity similar to DaVinci’s built-in tools. Even with the seemingly more affordable Apple Creator Studio, it still requires a $12.99 monthly subscription that adds up over time. In two years’ time, that adds up to $312, but keep in mind that you also get all the other apps like Pixelmator in the Apple Creator Studio bundle.

So, money could be a decisive factor when deciding between DaVinci Resolve and Final Cut Pro.

Final Cut Pro only works on Macs and iPads, while DaVinci Resolve works on Mac, Windows, and Linux, making it more flexible for different systems. A downscaled version of DaVinci Resolve is also available for iPad.

DaVinci Resolve prefers 32GB RAM for heavy color grading, but for basic 4K edits, it runs well on a Mac with 16GB.

Both programs are built for Apple Silicon, but DaVinci Resolve needs more power if you’re doing high-end editing.

Expandability

One of the things I love about DaVinci Resolve is the ability to enhance the workflow with dedicated hardware, like the DaVinci Resolve Speed Editor for faster editing on the cut page, or the DaVinci Resolve Micro Color Panel for faster, more precise color grading. For Final Cut Pro, you need to use third-party panels like LoupeDeck CT, which does bring you some of the way but requires setup time, and you might not be able to get all your desired cutting/grading features to fit a logical editing and grading workflow. That said, the Davinci panels offer little opportunity to customize their functionality. You need to use it as Blackmagic Design intended.

Is Final Cut Pro or DaVinci Resolve for You?

If you’re on Windows or Linux, or you don’t want to spend anything, DaVinci Resolve is your only real choice here. It’s the best free video editor I’ve found. If you’re on a Mac or willing to pay, things get a bit trickier.

If you’re already comfortable with editing software, I’d say pick the one that fits your workflow and feels right. Budget and resources matter, but trust your gut. Both Final Cut Pro and DaVinci Resolve let you try them for free, so spend some time with each on real projects. That’s the best way to see if you prefer DaVinci’s deep toolset or Final Cut’s magnetic timeline and organization.

If you’re just starting out, think about what you want to make. For YouTube, vlogs, quick edits, or short films, Final Cut Pro is probably the easiest and fastest way to get going. The interface is simple, it’s easy to pick up, and it works well with other Apple apps. If you need to get content out quickly, this could be your answer. You can always subscribe to Apple Creator Studio for as long as you need it.

But if you want to make professional videos, cinematic projects, or need an all-in-one editor, DaVinci Resolve is worth the effort. It takes time to learn, but if you stick with it and dig into the advanced tools, you’ll have a powerful setup. It’s used by filmmakers, editors, and VFX artists everywhere, so it’s a solid skill to have. If you want to edit for free and don’t mind a learning curve, I would go with Davinci Resolve (free version).

Final Thoughts

So, that’s my take on DaVinci Resolve and Final Cut Pro as someone who makes wildlife and photography tutorials. DaVinci Resolve gives you more built-in tools and flexibility, plus a great free version. Final Cut Pro is faster, easier to use, and fits right into the Apple world. My advice? Try both and see what feels right for your workflow, gear, and budget.

The post Final Cut Pro vs DaVinci Resolve from a Creator’s Perspective appeared first on Adorama.

Photography First, That’s the Leica Way

Ok, that’s not their official tag line, at least I don’t think it is. I was never good at tag lines. However, when Lecia flew me and Fernando (Head of Adorama YouTube) to Germany for this launch, that was the vibe I got. Leica treated us to tours of the Leica factory to see the craftsmanship that goes into their cameras (Like the SL3-P). We had tours of their camera and photo archive as well. There, we saw their love of photographic history. We spoke to the Leica team on every level, and 90% of the discussions were about capturing beautiful photos.

They didn’t hard-press the specification of the SL3-P on us constantly, and I won’t either. I’ll touch on some of the tech below, but you can see a full breakdown here.

Hands-on Experience Beats PowerPoint Every Time

Leica gave us about four days with the cameras. We were free to wander and shoot around the complex the first afternoon to get a feel for the Leica SL3-P. Essentially, they gave us a run-down of the functions and made their team available to answer any questions that came up naturally during our shooting.

Day Two, we not only got a chance to work on a fashion set to see how the SL3-P performs in a studio environment, but we also had the chance to visit their darkroom and see prints being made. As a film/analog lover myself, I was thrilled to see a master darkroom technician at work. In Studio, with relatively low light, the Hybrid Autofocus System with 819 points worked well, keeping the subject’s eyes sharp in every frame.

Two New Leica SL Lenses with the Leica SL3-P

For most of my time in Germany, I chose to work with the new Summilux-SL 50 f/1.4 ASPH. Leica calls this “the world’s most compact autofocus lens with this focal length and a lens speed of f/1.4.” That seems right in my estimation, and in use, even seemed a bit smaller than the Summicron (F2). This lens was fast, compact, and sharp. What else could you want from a 50mm?

I also took some time to make portraits and detail shots with the new APO-Macro-Elmarit-SL 100 f/2.8. There was a lot of excitement in the air for this lens as the APO-Macro-Elmarit-R 100 f/2.8 (released in 1987) is often adapted by SL users.

Is the SL3-P Going to be the Workhorse of the SL3 Line?

One thing I appreciated about this trip to Leica was, for lack of a better word, the honesty. I’ve been to many launches, and brands tend to want to position their new releases as amazing innovations while still maintaining that the other cameras in their lineup are absolutely perfect for everyone. In short, this is what Leica has to say about the SL3 line.

1. Original SL3, loved for its huge files, but not fast enough for some shooters.
2. SL3-S is made to be fast, video forward with smaller file sizes. However, some photographers really need larger files.
3. SL3-P was made to be fast and have large files, not as large as the SL3 (60MP), but large enough for many commercial shooters (44MP). SL3-P is fast with a 40fps burst mode and an autofocus system that keeps up with it.

Simple as that, this camera is meant to bridge the gap, to be the go-to for most types of photographers, but those who want the small and fast SL3-S have that option, and those who need that extra bit of file size have the SL3. These are not incrementally “better,” they are a group of cameras that make up a complete and versatile system.

Real Life Testing of the Leica SL3-P

Because the Leica SL3-P is about versatility, Leica gave us a variety of shooting options and locations. I already mentioned the fashion shoot above. We were also given the opportunity to shoot at a medieval festival, in a small town, and finally at the Nürburgring race.

What Does 14 Stops of Dynamic Range Actually Mean?

Dynamic Range is one of these things we always mention in the specifications. I want to talk about why this is useful and really helped when we walked around the small town and the medieval festival. Simply put, the wider the Dynamic Range, the less you have to sacrifice when shooting in contrasty light. That is, you don’t have to expose so your highlights don’t blow out at the cost of detail in your shadows ot vice versa. Keep in mind that some tweaking needs to be done during RAW development to put out all the details.

Did I Mention 8K/30p Open Gate Video?

I was so focused on the stills that I almost forgot how capable the Leica SL3-P is in video. Below is the video we made for AdoramaTV. All the video in Germany was shot on the Leica SL3-P. You can read all about how it does 4K/120p, Apple ProRes, and other great video specs here. Also, watch the video!

40fps with the Leica SL3-P

This is one of those features (burst mode) that I tend to breeze over, as I rarely use such things in my portrait and fashion work. However, with Leica getting us access to the Nürburgring, I had my chance to blast away. I attached the Sigma 500mm f/5.6 DG DN OS Sports Lens, of course, you know Sigma is part of the L Mount alliance) and had great fun capturing the cars as they sped past. Any missed shots were definitely on me as the autofocus and burst rate performed perfectly.

Make the Leica SL3-P Your Own

In 2009, Leica handed me the S2. This was their second entry into the medium format digital market, and a beautiful camera. Why I mention this is that it was the first time I saw a feature that would now be the standard on the SL3 line. Blank buttons that are fully and simply customizable. Press the button, and the assigned function is activated. Long-press and a menu comes up that allows you to assign a function to this button. Where the S2 had 4 such buttons, this is applicable to ALL the buttons and dials on the SL3-P.

Of course, many cameras allow you to customize some or all the dials, but the fact that they are blank on the SL3-P and the process to change functions is so simple, programming and finding exactly the right setup is instinctive and fast. I know Fernando was quite happy with the button that switches between photo and video mode, and the fact that the menu, etc., changes color based on which mode you are in.

Is the Leica SL3-P for me (or you)?

I’m a long-time Leica M shooter, and I love the quality, feel, and simplicity of those rangefinders. Not to mention the Leica “look.” For my commercial work and videos, I use mirrorless cameras. Could this camera handle everything I do as well as bring the solid Leica build quality and look into all my work? Yes. Yes, it could. I’ve already requested that Leica loan me a sample for another test in my actual studio, doing the work I do on a day-to-day basis. If it performs half as well as I believe it will, I have found my next pro camera. Only you can decide what is right for you. Check out the video, check out the specifications, and rent or borrow an SL3-P. If you are like me, you’ll know.

The post Leica SL3-P: Who Says a Workhorse Can’t be Beautiful? appeared first on Adorama.

The true excitement of seascapes lies in testing your compositional skills, gear prep, mastering location scouting, judging the best time of day, and analyzing weather systems.

In this article, I will break down all of the above, sharing tested tips and tricks to elevate your coastal images.

Gear Preparation

I suggest utilising a camera that allows you to manually control your aperture, shutter speed, and ISO. The ability to swap lenses is highly preferable, as is the capability to shoot long exposures, from a few seconds up to 30 seconds or more, using either a self-timer or a shutter release cable.

Lenses

For seascape photography, I recommend using a wide-angle lens, such as a 16-35mm, to capture the ocean’s atmosphere: sand, rocks, the ebb and flow of water, golden-hour light, and the drama of the clouds. However, if you want to shoot massive waves and compress the ocean’s patterns, a telephoto lens like a 70-200mm f/2.8 or longer is ideal. 

Filters

1. Circular Polarizer (CPL): It is useful for cutting through reflections on wet rocks or tidal pools.
2. Neutral Density (ND) Filters: Not a must-have, but I do advise investing in a ND filter. Go with 3-stop, 6-stop, or 10-stop, for long exposures.
3. Microfiber Cloths: Ocean mist and sea spray are constant factors, so bring multiple cloths to keep your front element clean.
4. A Sturdy Tripod: While a light travel tripod might suffice if you are on a strict budget, a heavy, sturdy tripod is required because tripod legs sink into wet sand, and you stand in moving currents.
5. Shutter Release Cable: This lets you shoot past your camera’s 30-second limit in Bulb mode. Plus, it gives you precise timing when the water hits the rock or beach in your composition.
6. Apparel & Accessories: Shorts and waterproof shoes are highly recommended to wade into the surf comfortably.

Here’s why you need a sturdy tripod. Remember to keep an eye on big, unexpected waves 

Caution and Safety

Seascape photography is thrilling, but a surprise “sneaker wave” can easily claim your equipment, or worse. If you are visiting a spot with volatile waves and slippery rocks, go with a buddy. I have seen many unsteady tripods tipping into the surf, my own included, and unexpectedly powerful waves knocking photographers off their feet. Avoid getting too close to the danger zone – safety first.

Composition and Choosing a Location

Composition is the soul of any photograph, but when utilizing a wide-angle lens, it needs to be particularly deliberate. This is because a wide field-of-view requires anchoring your image with an interesting foreground subject to draw the viewer’s eye seamlessly through the middle ground and into the background. However, sometimes the natural elements combine so powerfully that a traditional, distinct foreground element isn’t necessary.

A great composition is only possible if you are in the right location.

• Digital Scouting: Use Google Maps to find interesting coves or rock formations. Use apps like PhotoPills to check whether the location aligns with sunrise or sunset, and, critically, to check the tide charts. A beautiful beach at low tide might be completely submerged and inaccessible at high tide.
• Time of Day: Shoot during the Golden Hour for warm, directional light that highlights the textures of the rocks and waves. The Blue Hour (twilight) is perfect for ultra-long exposures, offering soft, moody, and even lighting.
• What to Look For: Train your eye to spot leading lines in the sand, jagged sea stacks, reflective tidal pools, or interesting pebbles. Look at the sky, dynamic clouds are just as important as the water.
• Tripod Height: A low tripod angle exaggerates foreground elements such as leading lines or rocks, making them feel monumental. A higher angle compresses the scene slightly, allowing you to shoot over immediate obstacles to reveal the wider patterns of the water and the middle ground.

Camera Setting Guidelines

The camera settings, especially your shutter speed, depend on what you want to achieve. If you want to create silky smooth water with no waves or ripples, long exposure with ND filters is the answer. For water patterns or textures, I find that sometimes 1 second can be a bit too long.  

Rather than relying on strict numbers, use these conceptual guidelines to dial in your settings:

Aperture & Depth of Field

Use a narrow aperture such as f/9 or f/11 to ensure everything from your immediate foreground to the distant horizon is in sharp focus. Learn your specific lens’s “sweet spot” for sharpness. Conversely, if you are shooting massive waves far out at sea with a telephoto lens, you will need a wider aperture paired with a fast shutter speed to freeze the action.

The ISO Balancing Act

Keep your ISO as low as natively possible to retain maximum detail. However, don’t be afraid to raise it slightly to achieve your desired shutter speed. 

Shutter Speed for Water Textures

During golden hour, a shutter speed of around 0.5 – 1 second is generally ideal for capturing the beautiful, streaking “veins” of water as it retreats over sand or rocks. For ethereal, flat water and streaking clouds, you will need to enter the realm of long exposure, utilizing your ND filters and bulb mode to shoot for 30 seconds or even many minutes.

Increase or decrease the ISO to get your desired result. For example, if your long exposure is rendering at 1 second and you prefer a 0.5-second exposure for better water texture, increase your ISO slightly to reduce the shutter speed.

Timing is Everything

For me, seascape is about timing the water. Press your shutter right as a receding wave begins to pull back over the rocks, or exactly a split-second before a wave crashes into your main subject, to capture the most dynamic patterns.

Shoot Voluminously

I shoot many frames of the exact same composition. In Lightroom, I choose the best from the variety of wave patterns to see which one perfectly reflects my vision.

Nailing Focus

Focus on the most interesting element in the composition in the foreground, for example, a rock formation over which the water is splashing. I usually switch to manual focus so that during low light, the camera does not hunt back and forth to focus each time the shutter is pressed.

Editing Priorities

When editing a seascape, establishing a visual hierarchy is your top priority. 

• Global vs. Local: Start with global adjustments to recover your shadows and tame your highlights, then move to local adjustments. This is where RAW files are essential.
• The Sky: The sky should be dramatic, but shouldn’t overpower the ocean. Control your highlights and add contrast to the clouds.
• The Foreground & Middle Ground: Use dodging and burning (lightening and darkening) to emphasize leading lines, water trails, or interesting rock textures in the foreground.
• De-emphasize Distractions: Darken the edges of your frame slightly using a subtle vignette or drop the exposure on cluttered, distracting rocks on the periphery. 

Bonus Tips for the Field

• Cover Your Viewfinder: If you are shooting long exposures on a DSLR, light can actually leak in through the optical viewfinder and ruin your image. Cover it with the provided eyepiece cap or black tape. 
• Post-Shoot Gear Care: Saltwater and sea breeze are highly corrosive. When you get home, wipe down your camera body, lenses, and wash your tripod legs with fresh water to prevent rust and salt buildup.

Final Remarks

Seascape photography demands patience and a willingness to get a little wet. For me, it is more than just shutter-speed calculations; it is about enjoying the creative process of taming the tide through your lens and fostering respect for the ocean through your images.

The post Learning Seascape Photography: Essential Tips, Gear, and Techniques appeared first on Adorama.