In today's episode Jeff Bridges' new WideluxX F10 releasing this year, Miami Grand Prix has specific camera rules, Adobe Updates to improve speed in Lightroom and Photoshop and more.
Show Notes
Welcome back to the show everyone, Liam here and this is Episode 504 of the Liam Photography Podcast for the week of April 30th, 2026. In today’s episode Jeff Bridges WideLuxX revival will be $4,400 and release at the end of 2026, Miami GP has rules about what cameras are allowed, new Adobe Updates focus on speed and more.
Just a week after SilverBridges shared that photographers were using WideluxX F10 prototypes out in the field, the exciting new 35mm panoramic analog camera is now available to preorder.
The WideluxX F10 has had an incredible journey. Back in September 2024, Oscar-winning actor and passionate photographer Jeff Bridges announced that he and his wife, photographer Susan Bridges, had joined forces with Marwan El Mozayen and Charys Schulder of SilvergrainClassics to form a new company, SilverBridges. This company’s sole ambition was to bring the Widelux camera back to life.
The original Panon Widelux factory burned down more than two decades ago, taking with it the company, its products, and essential repair parts. Jeff Bridges, well known for his love for the Widelux, wanted to revive it and bring the Widelux’s panoramic charms to a new generation of film photographers.
The team immediately got to work, reverse engineering parts, machining new ones, and refining the classic Widelux design for a new era. Their creation, the WideluxX F10, promises the same sweeping panoramic photography as its ancestor and a premium, handcrafted build.
The camera takes 35mm film and uses a moving 26mm f/2.8 built-in lens to sweep the exposure across a 24 x 58mm frame. This means that a 36-shot roll of film will capture approximately 21 panoramas. The camera has three different shutter speeds, 1/15, 1/125, and 1/250s. Its viewing angle is 140 degrees, and focus is fixed from 1.5 meters (five feet) to infinity. The fully mechanical analog panoramic camera weighs about 880 grams (1.9 pounds).
Today, photographers can secure their place in the first production run for $4,400. There are 350 units up for grabs, and WideluxX says the first cameras are expected to ship in about six to eight months. The company estimates that it will take an additional four to six months to complete the initial production run. Each camera is built specifically for the owner, including optional engraved initials and additional customization options, which will be available later in the production process.
While the WideluxX F10’s asking price is certainly high, it is not too far above what used Widelux F8 cameras cost on the secondhand market. The F8 was Panon’s final model, and it remains coveted among photographers. Further, the new WideluxX F10 comes with a two-year warranty, unlike 20-plus-year-old used cameras. At the time of writing, about 15 minutes after preorders opened, nearly 50 units had already been purchased.
Formula 1 is rolling back into the United States this weekend and keen photographers attending the Miami Grand Prix might want to read the small print.
As professional motorsports photographer Jamey Price points out on his Instagram page, the Miami GP has a strict camera policy.
“This is just a reminder to anybody going to the Miami Grand Prix this weekend as a fan that this event has some very strict camera rules on what you can and cannot bring in,” Price says.
On the event’s FAQs page, under cameras, it says that “point-and-shoot cameras and cameras with consumer-grade detachable lenses no longer than six inches will be allowed in order for guests to take photos, provided that they are only for personal and private non-commercial purposes.” So something like a 70-200mm lens is definitely not allowed.
Even so, Price suggests printing out the Miami Grand Prix’s wording on what kind of camera is allowed, since security might turn someone away simply for having a camera.
It’s also worth noting that “monopods, tripods, selfie sticks, audio recording devices, and video cameras” are not permitted inside the Miami International Autodrome, according to the Formula 1 Miami GP website. “Cameras may be subject to additional screening,” it adds.
Long-time readers may remember an amusing story from 2023 in which a fan was turned away from the Miami GP because he had a mirrorless camera with him.
James Tu told PetaPixel that he brought a Sony a9 with a small 40mm prime attached, but the small setup was rejected by security on the gate. He was told his setup was too “professional.”
Undeterred, Tu brought a Sony Mavica MVC-FD90 that records photos on a 3.5-inch floppy disk. When he showed up at the gate, security laughed and waved him through.
The strict rules in Miami are a far cry from some other races, namely Japan, which operates a special ticket for photographers. The 1,000 tickets made available to amateur snappers are known locally as “cameraman seats.” They were introduced over a decade ago to accommodate hobbyist photographers so that they don’t interrupt the regular race fans’ experience.
Adobe has released the April 2026 updates to Photoshop and Lightroom, bringing version 27.6 to desktop users with a mix of AI-driven tools, workflow refinements, and performance improvements. The update continues the company’s broader push to streamline complex editing tasks while expanding generative capabilities directly inside the app.
At a high level, Photoshop 27.6 focuses on reducing friction in everyday workflows. New tools aim to simplify compositing, clean up layered documents, and accelerate repetitive tasks, while deeper integration with generative AI models reflects Adobe’s ongoing investment in assisted editing.
One of the most notable additions is the new Rotate Object feature, now widely available after its earlier beta debut. The tool allows users to rotate 2D elements directly on the canvas with real-time previews, effectively giving flat cutouts a 3D-like orientation before rendering the final result at full resolution.
Rather than relying on multiple transform steps, users can adjust perspective and angle more intuitively. The feature is particularly aimed at compositing workflows, where matching perspective between subject and background has traditionally required more manual adjustments.
Generative AI remains a central focus of this release. Photoshop 27.6 expands support for multiple models, including Adobe’s Firefly Image Model 5 and partner integrations such as Gemini 3.1, including variants designed to give users finer control over how content is generated.
The update also emphasizes more intuitive, natural language-based editing. Users can describe changes using text prompts in Generative Fill, producing more precise and realistic results without complex manual masking.
Support for multiple reference images has also been expanded, allowing users to guide outputs with greater consistency across style and composition. In addition, text-to-image generation can now be performed without leaving the Photoshop workspace, further consolidating ideation and execution into a single environment.
To improve transparency, Adobe has added a Generative Credits Usage panel, giving users a clearer breakdown of how credits are consumed across different tools and models.
Beyond generative features, Adobe is targeting common pain points in file management. A new AI-powered Layer Cleanup tool can automatically remove empty layers and apply descriptive names, helping users manage complex documents more efficiently.
Other workflow updates include a redesigned Actions panel with natural language search, categorized browsing, and hover-based previews that allow users to see the effect of an action before applying it. A more responsive Contextual Task Bar also surfaces relevant tools based on the current selection.
Together, these changes reflect a broader effort to reduce manual organization and make large projects easier to navigate.
Photoshop’s core editing toolkit also sees incremental updates. The Remove tool gains an enhanced “Find Distractions” mode that detects and removes a wider range of unwanted elements, including people, wires, and general background clutter, and allows the user to review and refine results before committing changes.
A new Reflection Removal feature targets images shot through glass, generating cleaner results while preserving the original image non-destructively and, in some cases, separating reflections onto distinct layers for more flexible adjustments.
Meanwhile, Dynamic Text has been expanded to better adapt to shapes and curved paths, and gradient controls have been refined, allowing users not only to fine-tune color, direction, and transitions but also to revisit and adjust gradients after they’ve been applied.
Additional updates include new color controls in the Filter Gallery and improved handling of brush opacity during resizing.
On the performance side, Adobe has introduced optimizations for newer AMD processors, particularly Zen4-based systems, with improvements aimed at compute-heavy workflows. File support has also been expanded to better accommodate modern formats, including those used in web and HDR pipelines.
Alongside the Photoshop update, Adobe has rolled out several improvements to Lightroom. These include expanded natural language search on desktop, allowing users to locate images with conversational queries, and Assisted Culling, an AI-powered tool designed to help photographers quickly sort large batches of images by focus and exposure.
Adobe also reports significantly faster slider performance and broader compatibility with newer camera formats, including recent the new compressed RAW format introduced in the Sony a7 V.
As with most major updates, Photoshop 27.6 includes a long list of bug fixes and stability improvements. These address issues across gradients, selection tools, UI behavior, generative credit tracking, and system stability, including several crash scenarios tied to specific workflows.
Notably, Adobe has also corrected inconsistencies in generative credit usage and improved the reliability of AI model availability in certain conditions.
Photoshop 27.6 is available now as part of Adobe’s Creative Cloud subscription. The software continues to be offered on a subscription basis, with Photography plans and single-app options available on monthly or annual pricing tiers.
DJI has been busy lately, at least everywhere but the United States. DJI today unveiled the Mic Mini 2, a colorful upgrade that promises improved audio performance and usability.
The DJI Mic Mini 2 builds upon its predecessor’s compact wireless form factor and overall shape, but gets a smoother front face with much more color. While the original DJI Mic Mini, a very popular choice among content creators, is all black, the Mic Mini 2, which DJI says combines “sound and style,” works with an array of colorful optional magnetic covers. DJI showed off teal, blue, green, yellow, orange, purple, and pink covers “to match almost any outfit.” The Mic Mini 2 comes standard in a semi-transparent clear/white.
The new magnetic cover design also opens the door for special collaborations, including the first one with internationally renowned illustrator Victo Ngai. She created four illustrations, all for the Mic Mini 2’s very compact front facade, that build upon a unifying theme of “sound.” The four illustrations in Ngai’s “Time Series” embrace different stages of life and how existence intersects with creativity.
The transmitters remain extremely lightweight, weighing just 11 grams (about 0.4 ounces). Despite the compact form factor, the Mic Mini 2 system doesn’t skimp on tech. The wireless mics feature omnidirectional recording, three voice tone presets (Regular, Rich, and Bright), a pair of noise-canceling levels, automatic limiting, five-level gain adjustment, and dual-track recording for a safety track with the DJI Mimo app.
The DJI Mic Mini 2 also promises to work easily with a wide range of DJI devices, like the DJI Osmo Pocket series, Osmo 360, Osmo Nano, and Osmo Action. The DJI Mic Mini Receiver can also easily pair with cameras, smartphones, computers, and tablets.
Transmission distance depends on the setup, but the system promises impressive reach. When used with the DJI Mic Mini Receiver, transmission reaches up to 400 meters. Meanwhile, with the mobile receiver and DJI Mic Mini 2, the range is still up to 300 meters.
The DJI Mic Mini 2 is not yet listed on DJI’s online store in the United States, so it is a safe bet that, as with the company’s Osmo Pocket 4 and new Lito Series drones earlier this month, the Mic Mini 2’s arrival to the U.S. is dependent upon pending authorization.
Elsewhere, the Mic Mini 2 is available now, including in the United Kingdom. The DJI Mic Mini 2 (2 TX + 1 RX + Charging Case) is £89 ($120 at current exchange rates). The version with the Mobile Receiver is £69. A mobile kit with one transmitter costs £49, and individual transmitters cost £29.
Thypoch’s interesting Eureka 28mm f/2.8 lens announced last November is now available, providing photographers with a retro-inspired, charming pancake prime.
Although PetaPixel doesn’t have a comprehensive Eureka 28mm f/2.8 ASPH. review, Chris Niccolls has been using the lens for a while now and enjoyed his time with it, noting its rugged build quality and surprising heft.
The Leica M-mount version of the lens is only around 20 millimeters (about 0.8 inches) long and weighs under 140 grams (4.9 ounces), but Niccolls describes it as very solid-feeling. The lens features a lacquered solid brass barrel that is not only stylish but also durable. The X-mount version is slightly longer, measuring just under 27 millimeters (about 1.1 inches).
Despite its stout stature, the lens still features seven glass elements arranged across four groups and promises great sharpness across the frame with minimal aberrations. Given its 28mm focal length (about 42mm on an APS-C camera), it is well-suited to a wide range of photographic situations, including street, landscape, and even lifestyle or portrait photography.
The manual focus lens can focus as close as 0.4 meters (1.3 feet). Its length changes during focusing, and it gets a couple of millimeters longer when close focusing.
As PetaPixel wrote when Thypoch first announced the lens last year, the Eureka 28mm f/2.8 ASPH. borrows heavily from the built-in pancake prime from Ilford’s 1950s-era Advocate film camera. Ilford, which still makes film, photographic paper, and development products today, used to make eye-catching analog cameras as well. The Ilford Advocate’s built-in Dallmeyer Anastigmat 35mm f/3.5 prime lens was quite interesting, and the Thypoch Eureka 28mm f/2.8 ASPH. looks extremely similar to it.
The Thypoch Eureka 28mm f/2.8 ASPH. lens is available now in matte black or silver colorways. It is worth noting that the silver version features a lacquered white front ring, reminiscent of the original Ilford Advocate’s design. The lens is available in Leica M and Fujifilm X mounts, though the M-Mount version can also be purchased with a separate M-to-X adapter for $20 more. The lens is $459 on its own.
EvrBridge Automation for Resolve
EvrApp has introduced EvrBridge, stylized “evrBridge,” a new Windows application designed to automate one of post-production’s more persistent workflow challenges: extracting and organizing camera metadata for use inside DaVinci Resolve. The app marks the company’s first native Windows solution built around its established metadata processing pipeline.
Positioned as a streamlined utility for editors and colorists, EvrBridge reads embedded metadata directly from video and image files and converts it into a structured .csv file that can be imported into Resolve’s Media Pool. The goal is to eliminate the need for manual data entry or custom formatting, particularly in projects involving multiple cameras or complex shoots.
Metadata management has long been a friction point in video editing, especially within workflows that rely on accurate information such as camera type, lens data, exposure settings, and timecode. While much of this information is embedded in source files, it is not always accessible or automatically populated within editing software.
EvrBridge addresses this by extracting metadata at scale and preparing it in a format that Resolve can immediately recognize. Once imported, editors can populate key metadata fields such as scene, take, ISO, aperture, shutter speed, color space, and lens data without additional processing.
The application supports a wide range of camera manufacturers, including Sony, Canon, Arri, Blackmagic, Nikon, Panasonic, Fujifilm, Z-Cam, Kinefinity, GoPro, and iPhone. It also automatically detects and processes companion sidecar files, such as XML metadata generated by certain camera systems, helping ensure that additional data captured during production is not lost in post.
Although EvrBridge is new to Windows, it is built on the same underlying metadata engine used in EvrExpanse, EvrApp’s macOS-based tool. This allows the application to inherit a mature, field-tested pipeline while adapting it to a Windows-native environment.
The software bundles widely used analysis tools, including ExifTool, MediaInfo, and FFmpeg’s FFprobe, removing the need for users to install or configure third-party dependencies. This integrated approach is intended to simplify setup while maintaining compatibility with a wide range of file formats, including common video containers and still image formats such as RAW, JPEG, PNG, and HEIC.
In practice, the tool can process batches of media files in parallel, exporting up to dozens of metadata fields per clip. These include not only technical capture details but also information on color science, GPS data, and timecode, depending on the source material.
System requirements are relatively straightforward for its intended audience, supporting Windows 10 and Windows 11 on 64-bit Intel x64 processors, and compatible with DaVinci Resolve 17 or later.
The release of EvrBridge reflects a broader shift in how post-production workflows are evolving. As productions increasingly rely on multiple cameras, higher resolutions, and hybrid photo and video capture, metadata is becoming more critical for organizing and navigating large volumes of media.
In platforms like DaVinci Resolve, metadata is closely tied to sorting, filtering, and conforming footage. When that data is missing or incomplete, editors often resort to manual input, which can be time-consuming and prone to error. By automating this process, tools like EvrBridge aim to reduce overhead and improve consistency across projects.
This becomes particularly relevant in color grading and finishing workflows, where accurate metadata can influence everything from shot matching to HDR grading decisions. As Resolve continues to expand its capabilities across editing, color, and now photo workflows, the role of structured metadata is likely to grow alongside it.
With EvrBridge, EvrApp is extending its metadata-focused toolset to a broader user base, bringing a previously macOS-centric workflow to Windows users while addressing a longstanding gap in Resolve-based post-production pipelines.
EvrBridge is available now, priced at $28 during an introductory period through May 12, 2026, after which it will return to its standard price of $40. A 15-day full-feature trial is also available.
Blackmagic Design has released DaVinci Resolve 21 Beta 2, a quick follow-up to its recently introduced public beta. The update arrives less than a month after the initial announcement and focuses largely on stability, bug fixes, and refinements, particularly in the new photo editing tools.
The pace of updates suggests a deliberate effort to quickly respond to user feedback as Resolve 21’s broader creative ambitions begin to take shape. The changes collectively point to a platform still in active transition, especially as it begins to accommodate still image workflows alongside its established video editing foundation.
The latest update centers on improving reliability and consistency, with several fixes targeting early friction points in the Photo page. Crop, flip, and rotate actions for still images have been refined to behave more predictably, alongside improved handling of crop resolution metadata, an area that can impact both accuracy and export consistency.
Support for still-image workflows has also been expanded through improved decoding of formats such as RAF and 12-bit NEF files, while the ability to export stills with original file names addresses a practical workflow concern for photographers managing large libraries. Additional refinements include improved default ease profiles for retime curves and adjustments to how keyframes are normalized within the editor.
Beyond the Photo page, the update delivers performance improvements to IntelliSearch, which analyzes and organizes media more efficiently. There are also updates tied to emerging platforms, including foveated rendering controls for Apple Vision Pro workflows, as well as broader stability and rendering improvements across Fusion, particularly in areas like 3D rendering and Cryptomatte.
Taken together, these changes reflect a typical early beta cycle, where the focus is less on introducing new features and more on stabilizing and refining what has already been introduced.
What stands out less in any individual feature and more in the overall cadence is how quickly DaVinci Resolve is evolving in response to its new Photo page. Historically positioned as a video-first platform, Resolve is now beginning to take on responsibilities traditionally associated with dedicated photo editing software.
The introduction of still image tools, combined with rapid updates like Beta 2, suggests that Blackmagic Design is actively testing how far it can extend Resolve into a unified creative environment. Rather than treating photo editing as a separate discipline, the company appears to be integrating it directly into an existing timeline-based ecosystem.
This approach has implications for how photographers and hybrid creators may begin to think about their workflows. Instead of moving between multiple applications for photo and video tasks, Resolve is positioning itself as a single environment where both can coexist, supported by shared tools like color grading, asset management, and AI-assisted search.
The ongoing development of the Photo page highlights a broader industry trend toward convergence. As cameras continue to blur the line between stills and video, software platforms are beginning to follow suit. Resolve 21’s updates, particularly those focused on crop behavior, metadata handling, and RAW decoding, address foundational elements that photographers rely on, even as the overall experience continues to evolve.
At the same time, features like IntelliSearch hint at a future where media organization and retrieval become more automated and context-aware, regardless of whether the source material is a still image or a video clip. This aligns with Blackmagic Design’s larger strategy of embedding intelligent tools across the platform, rather than isolating them within specific workflows.
The inclusion of immersive and spatial features, such as Vision Pro support, further complicates the traditional boundaries between media types, suggesting that Resolve is being positioned not just as an editor but as a broader post-production hub.
With DaVinci Resolve 21 still in public beta, the Photo page remains a work in progress. The emphasis on bug fixes and usability improvements in Beta 2 reflects both the challenges of introducing a new workflow into an established platform and the company’s willingness to iterate quickly in response to feedback.
If the current update cadence continues, Resolve 21’s photo capabilities are likely to evolve rapidly in the coming months. For now, Beta 2 serves as an early indication that Blackmagic Design is treating photography not as an add-on, but as a core part of the platform’s future.
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