In today's episode a measuring tape at the Miami Grand Prix, 12,000 photos from the Artemis II mission and a very rate Leica is up for auction.
Show Notes
Welcome back to the show everyone Liam here and you’re listening to Episode 505 of the Liam Photography Podcast for the week of May 7th, 2026. In today’s episode Photographer brings measuring tape to Miami Grand Prix, Unseen Artemis II photos, a rare Leica MP and more.
Last week, PetaPixel reported that the Formula 1 Miami Grand Prix has strict rules on what cameras are allowed in — so one photographer brought along a tape measure to prove that his gear was eligible for entry.
Roberto Baldea says on Instagram that a security guard on the gate told him his lenses — an 18-35mm and a 70-200mm — were too big. But he had a cunning plan.
“They didn’t want to let me in with my camera and my lens,” Baldea says. “I came prepared. This is a measuring tape from Ikea, and the guy was beefing with me. He was like, ‘It’s not six inches, this is too big for six inches’.”
The lens that Baldea brought with him, as he demonstrates in the video, is exactly six inches. “Be aware, photographers, bring a measuring tape if they say there’s a certain length limit. Don’t let them get to you,” he adds.
Baldea thanks professional motor sports photographer Jamey Price, who initially sent out a public service announcement about the strict rules at the race.
“I told you all,” Price responded to Baldea’s video. “These tracks want to create issues. Security isn’t hired by their high IQ levels. Well done for being prepared.”
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.”
Fortunately for Baldea, he was able to get his cameras in and captured photos of the action as well as race winner Kimi Antonelli. A few years ago, at the same event, one fan wasn’t so lucky after he was turned away from the gate for having a mirrorless camera with him. Undeterred, he returned the next day with a floppy disk camera.
Artemis II was a massive scientific success for NASA, but it was also a victory for photography, as the still images shot by the crew have inspired and awed people all over the world.
Now, NASA has released a tranche of 12,000 photos taken during the historic voyage that were shot on a combination of the Nikon D5 SLR, Nikon Z9 mirrorless, and iPhone 17 cameras that the Artemis crew took with them.
There have already been so many iconic photos from the historic Artemis II mission, which saw humans return to the vicinity of the Moon for the first time since the 1970s and set a record for traveling further away from Earth than any humans before them. The photos that wowed the world include a solar eclipse, close-up photos of the Moon, and beautiful “Earthset” photos.
As YouTuber Chris Pattison points out, some of the 12,000 images are nearly identical to each other or even the same file just in a different size. Some aren’t even that impressive; blurry or overexposed. But there are also some unseen gems in there. PetaPixel has picked out some of the best ones.
Pattison says that the Artemis II crew decided to forgo individual credits; instead, each photo is deliberately left unattributed. However, all would have been taken by either Commander Reid Wiseman, Pilot Victor Glover, Mission Specialist Christina Koch, or Mission Specialist Jeremy Hansen.
NASA’s system of publishing photos is haphazard, to say the least. But you can look through all of the photos on the space agency’s Gateway to Astronaut Photography of Earth website, here and here. The camera metadata is available on most of the files, so keen researchers can see which camera and lens combination was used.
A rare Leica MP owned by Tazio Secchiaroli, credited as being one of Italy’s first paparazzi, will go on sale at the Leitz Photographica Auction next month.
The piece of photographic history will be offered at an auction in Wetzlar, Germany. Described as Secchiaroli’s “personal camera,” the chrome Leica MP is numbered “368” and comes with a Summicron 2/5cm lens. “The outfit is preserved in good, used condition, showing honest signs of professional use consistent with its historical role,” the Leitz auction adds.
Included with the camera and lens is Secchiaroli’s book, The Original Paparazzo, which mentions the Leica MP and the specific serial number. “This rare and direct documentary reference firmly links the camera to the photographer and significantly enhances its historical relevance,” says Leica.
As Fstoppers notes, the original Leica MP series was only short-lived (the modern MP line started in 2003). Secchiaroli’s Leica has the Leicavit rapid advance base unit attached, which allowed photographers to shoot two photos per second — pretty fast for back in the day.
Secchiaroli was born in 1925 in a town not far from Rome. He founded Roma Press Photo in 1955 and essentially created a photographic style that hadn’t previously existed.
Before the arrival of the paparazzi, pictures of film stars and celebrities were carefully taken in studios and handed out to the public. But Secchiaroli began prowling the Via Veneto, one of Rome’s most exclusive streets, on his Vespa looking for scandals.
“Secchiaroli sparked the development of a whole new aesthetic in photography,” art dealer James Hyman told The Times of London in 2009. “There were whole gangs of them speeding around Rome chasing celebrities on their Vespas.”
Secchiaroli would become the inspiration for the “Paparazzo” character, played by Walter Santesso, in the iconic 1960 Italian film, La Dolce Vita. The director, Federico Fellini, would buy dinner for Secchiaroli and his friends while listening to their exploits. The film literally invented the word “paparazzi” — it’s still used to describe celebrity-chasing photographers to this day.
But by the time La Dolce Vita came out, Secchiaroli had become more an insider of the Italian film industry, and had left the “attack photography” — as he called it — behind. Instead, photographing stars in more formal settings.
The Leitz Auction Number 48 will commence in Wetzlar on June 13. For further details, and to see all the lots, visit the Leitz Photographica Auction website.
Spring isn’t just bringing new gear cycles, it’s also delivering some of the most aggressive memory card discounts we’ve seen in a long time. Across Lexar’s CFexpress, SD, and microSD lineup, prices have dropped sharply, often paired with additional in-cart coupons that push savings even further. In some cases, these feel less like routine promotions and more like a temporary reset in the memory card market.
With storage prices generally climbing over the past few years, especially for high-capacity CFexpress 4.0 cards, these discounts stand out. Whether this is inventory clearing, product cycle transitions, or something else entirely, it creates a rare opportunity to pick up professional-grade storage at unusually low prices. If you’ve been holding off on upgrading your cards, this is one of those moments worth paying attention to.
PetaPixel has not been told why these coupons are making the cards so cheap, but we are not about to look a gift horse in the mouth. If an explanation is provided, this article will be updated.
We gathered up the best deals listed on Lexar’s lineup, organized by card type, from flagship CFexpress options to high-speed SD cards and compact microSD solutions.
This 4TB card sits at the top of Lexar’s lineup, offering extreme capacity paired with next-generation CFexpress 4.0 speeds. It is built for demanding workflows such as high-resolution cinema recording and extended burst photography. For professionals working with large file sizes, it dramatically reduces the need for card swaps in the field. Now priced at $1,950, there is a huge $950 coupon applied at checkout that brings the price down to $1,000.
This dual-pack is designed for high-volume production environments, offering both speed and redundancy across two large-capacity cards. It is especially useful for long-form video and continuous high-resolution capture. Having two cards in rotation adds flexibility during demanding shoots. Currently priced at $1,700, it reflects a strong reduction from its original pricing.
The single 2TB option offers a balance between maximum capacity and cost efficiency. It is well suited for hybrid shooters who need extended recording times without committing to the absolute top-tier pricing. The large capacity helps minimize interruptions during long sessions. At $1,150, there is a $550 coupon applied in cart that drops it to $600.
This 1TB model offers a practical entry point into CFexpress 4.0 performance, delivering fast write speeds for both stills and video. It is ideal for photographers upgrading from SD-based systems. The capacity and performance balance make it a versatile everyday professional card. Now priced at $1,050 with a $750 coupon applied.
This two-pack provides flexibility for shooters who prefer rotating cards during production. It offers strong performance in a mid-range capacity format that works well for most modern workflows. The bundled format also improves value per card. Currently priced at $690, it reflects a significant discount.
The standalone 512GB card delivers reliable CFexpress performance in a more compact capacity. It is well suited for shorter shoots or as a secondary backup card in a professional kit. Its balance of speed and size keeps it highly versatile. Now priced at $400, it reflects a steep reduction from its original listing.
This 256GB card provides an accessible entry into CFexpress performance while maintaining strong read and write speeds. It is a practical option for photographers testing the format or working with lighter workloads. The lower capacity keeps costs manageable without sacrificing performance. At $280, it reflects a notable price drop.
The 128GB version is the most affordable entry point into CFexpress Type B. It is best suited for shorter shoots, backup use, or secondary camera bodies. While compact in capacity, it still delivers full CFexpress performance. Currently priced at $150, it drops from $200.
The Diamond series represents Lexar’s highest-performance tier, built for sustained high-speed workloads such as RAW video capture and high-bitrate recording. It is designed for professionals who require consistent peak performance under pressure. This makes it one of the most capable cards in the lineup. Now priced at $1,550 with a $750 coupon applied.
This 512GB Diamond card delivers flagship-level performance in a smaller capacity. It is ideal for high-speed burst shooting and professional video work where speed is prioritized over storage volume. The format also allows for easier multi-card workflows. Currently priced at $1,050, there is a $750 coupon that drops it to just $300.
The 256GB Diamond option maintains the same high-speed performance in a more compact capacity. It is best suited for shorter productions or as a dedicated high-performance backup card. Reliability and sustained speed remain its core strengths. Now priced at $550.
This entry-level Diamond card provides access to Lexar’s highest performance tier at a lower capacity. It is ideal for testing workflows or serving as a backup for critical shoots. Despite its size, it maintains the same speed profile as larger Diamond cards. Currently priced at $200.
This 2TB Type A card is designed for compact mirrorless systems, offering strong performance in a smaller physical format. It is well suited for hybrid shooters working across both stills and video. The large capacity supports extended recording sessions. Priced at $1,450, there is a huge $850 coupon that drops the price to $600.
The 1TB Type A card offers a strong balance between portability and performance. It is designed for everyday professional use across photo and video workflows. The capacity makes it versatile for a wide range of shooting scenarios. Now priced at $850, there is a $450 coupon that takes it down to $400.
This dual-pack provides added redundancy and workflow flexibility for professionals working in fast-paced environments. It allows for continuous shooting with card rotation. The bundled pricing improves overall value. Currently available for $600, after taking a $990 coupon to the original $1,590 asking price.
The 640GB option sits in the middle of the Type A lineup, offering a practical balance between capacity and cost. It is suitable for a wide range of hybrid shooting applications. Performance remains consistent across demanding workflows. Now priced at $380.
This 512GB card provides a more compact Type A solution while maintaining strong professional performance. It is ideal for shorter shoots or secondary camera bodies. The format remains efficient and reliable. Currently priced at $330.
This 1TB SD card offers high capacity with fast UHS-II performance for photographers who prefer the SD format. It is well suited for extended shooting sessions and hybrid workflows. The Gold series focuses on balancing speed and value. Now priced at $300, after taking a $270 coupon off the $570 starting price.
The 512GB version delivers similar performance in a more compact capacity. It is a practical everyday card for both photo and video work. The lower capacity helps maintain affordability. Currently priced at $300, but it drops to $180 thanks to a $120 coupon.
This two-pack offers flexibility and redundancy for working photographers. It is particularly useful for events and travel workflows. The bundled format adds convenience and value. Now available for $265.
This higher-speed SD card improves workflow efficiency by reducing buffer times during continuous shooting. It is ideal for high-resolution stills and demanding video work. Performance is noticeably faster in intensive scenarios. Currently priced at $400, after taking a $275 coupon to the $675 starting price.
The 256GB version provides similar speed in a more compact capacity. It is a versatile option for everyday professional use. The balance of price and performance makes it widely applicable. Now priced $150 after a $205 coupon.
This two-pack offers high-speed SD performance across multiple cards. It is well suited for backup workflows and event coverage. The bundled structure improves flexibility. Currently available for $250 thanks to a $110 coupon.
The 1667x series provides reliable UHS-II performance at a lower cost. It is suitable for general photography and everyday video use. The dual-pack format adds practical value. Now priced at $100 thanks to a $30 coupon.
This 1TB microSD card is designed for compact devices such as drones, action cameras, and handheld systems. It provides large capacity in a highly portable format. It is well suited for everyday capture needs. Currently priced at $170.
This microSD card offers reliable performance for compact devices, along with an SD adapter for broader compatibility. It is a flexible option for hybrid workflows. The capacity supports extended recording use. Now priced at $90 thanks to a $70 coupon.
A photographer who has driven Route 66 over 40 times has had eight of his photos printed on United States Postal Service (USPS) stamps.
David Schwartz’s photos capture significant parts of the iconic road, showing motels, roadside diners, and gas stations. The eight stamps represent the eight states the road traverses through: Illinois, Missouri, Kansas, Oklahoma, Texas, New Mexico, Arizona, and California.
The stamps commemorate 100 years of Route 66, which was established on November 11, 1926. The legendary highway originally stretched about 2,400 miles from Chicago to Los Angeles. It forever changed how Americans travel and became a symbol of freedom and adventure.
Art director for Postage Stamp Design at USPS, Greg Breeding, says the scope of the project was “daunting” at first, but finding Schwartz, a Route 66 photographer with over 20 years of photographing the road, the process became much smoother.
“Not only is David a seasoned expert of Route 66, but he also happens to be a very fine photographer,” Breeding says. “I personally liked what some call the ‘editorial’ feel of his work. That is, it does not appear commercial or slick but has almost a photojournalistic quality.”
Schwartz became interested in the road after hearing Depeche Mode’s cover of the song Route 66. He says he used to listen to it and dream of the adventures it held. He made his first trip in 2004 and has since driven it 40 more times.
“Only once did I make the full trip from Chicago to Los Angeles in one go,” Schwartz says. “As a photographer, I found it’s far more meaningful, rewarding, and enjoyable to focus on smaller sections — allowing for deeper dives into the towns, people, and landscapes along the way.”
“I pay close attention to light, especially at sunrise or sunset, because it can completely transform a scene,” he adds. “I’m drawn to how places change over time — what’s still standing, what’s faded, and what’s been brought back to life.”
As Route 66 celebrates its 100th anniversary, Schwartz notes it’s so much more than simply a road.
“Route 66 is a thread that weaves together American history, culture, and identity,” Schwartz says. “It tells the story of how people moved, adapted, and built communities. Driving it today connects you to that story in a real, tangible way.”
Having his work featured on stamps is a dream come true for Schwartz, and he hopes they will inspire others to seek their own adventures on the road. “The thought that someone might see one of these images and feel that same spark I felt years ago — that’s everything to me,” he adds.
Last year, the Federal Communications Commission added all foreign-made drones to what it calls the “Covered List,” effectively banning drones produced outside of the US — that includes DJI. DJI sued, of course, and now the FCC is hearing public appeals to its decision.
The FCC says it made this decision because it believes the move will “greatly enhance public safety and innovation.” The FCC added that “criminals, hostile foreign actors, and terrorists” can use unmanned aircraft systems — drones — to “present new and serious threats to our homeland.” As PetaPixel reported at the time, it was not strictly an FCC move, as it builds upon President Trump’s new Restoring American Airspace Sovereignty Executive Order issued last June.
“DJI is disappointed by the Federal Communications Commission’s action today to add foreign‑made drones to the Covered List. While DJI was not singled out, no information has been released regarding what information was used by the Executive Branch in reaching its determination,” DJI said at the time.
“The listing… causes great harm to DJI and its customers. It carelessly restricts DJI’s business in the U.S. and summarily denies U.S. customers access to its latest technology, while users elsewhere continue to benefit. Americans across industries—including small business owners, public safety officers, farmers, and creators—have been and will continue to be affected, losing access to the tools they rely on to make a living and save lives,” the company said after it sued in response.
It’s hard not to sympathize with DJI, which has done everything it can to abide by the rules. In late 2024, DJI was put on a list to undergo an audit of its products and security in order to remain able to legally operate in the U.S. That audit never happened, despite DJI pleading with the relevant agencies to start the audit multiple times throughout 2025.
“DJI takes the security of its products very seriously. The company has long advocated for independent, objective review of its products. As part of our commitment to the U.S. market and our customers across numerous industries, we will continue to engage constructively with the FCC and other stakeholders,” DJI said last year.
It seemed that rather than perform the congressionally mandated audit, the U.S. agencies decided to just let the clock run out — and run out it did.
While DJI is the biggest name affected by the FCC’s decision, it is not the only one.
“Most foreign manufacturers are impacted, including the two biggest drone manufacturers used by hobbyists, amateurs, and small businesses. This means that Americans will be locked out from the next generation of industry-leading drones and even things like cameras and microphones produced by those companies,” The Drone Advocacy Alliance writes.
“Think of what this means for American drone users: no new life-saving tools, no breakthrough agricultural technologies, and inspections and other tasks currently completed with drones could take longer, cost more, and even put people in harm’s way. Meanwhile, other countries across the globe – including our neighbors Canada and Mexico – will continue to have access to the latest and greatest technology, putting us at a disadvantage.”
The Drone Advocacy Alliance and DJI both urge consumers to share concerns over this move directly with the FCC, which is now soliciting feedback.
“We encourage all US-based drone users – from public safety agencies and small businesses to hobbyists – to share their experience on how DJI drones impact their work, business, community, and daily life,” DJI tells PetaPixel in an email.
“From now until May 11, a formal review process and review is accepting comments from people to share how restrictions will impact our safety operations, our businesses, and our communities,” the Drone Advocacy Alliance explains. “It is also important to note that you don’t have to be a drone expert to submit a comment to the FCC. You simply need to be able to share your story with drones. Sharing why you use the drones you use and how you, your family, your business, public safety, etc. will be impacted by the FCC’s decision is an easy way to get your point across.”
Those interested in submitting comments to the FCC can do so via fcc.gov/ecfs/filings/express and type in 26-22 when asked for a Proceeding Number. After that, click the name “In the Matter of SZ DJI Technology Co., Ltd” and fill in the requested details. Additional resources and information about filing a comment can be found on the Drone Advocacy Alliance website.
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