Author: Ian Kydd Miller

🚢 Steel, Stories, and Shutter Clicks: A Day at the National Waterways Museum

cameras, Lenses, opinons, thoughts, photography, Travel

Shot on the Canon EOS 10D

There’s something poetic about photographing history with history. On a quiet day in Ellesmere Port, I wandered the grounds of the National Waterways Museum with a Canon EOS 10D slung over my shoulder—a camera that, like the boats it documented, once defined a turning point in its field.

🏛️ The Museum: Where Britain’s Canal Life Comes Alive

Nestled at the northern end of the Shropshire Union Canal, the National Waterways Museum is a living archive of Britain’s inland navigation history. The site itself is a story—designed by civil engineer Thomas Telford, the docks were active well into the 1950s.

Walking through the museum feels like stepping into a working time capsule:

  • Grade II listed Victorian buildings house exhibits on canal life, engineering, and trade.
  • Historic locks and docks stretch across the site, still echoing with the rhythm of industrial labour.
  • Restored narrowboats and barges sit moored, their hulls weathered but proud.
  • The Waterside Café offers a quiet view of the canal, perfect for reflecting on the day’s images.

It’s a place where rust meets reverence, and where every bolt and beam tells a story.

📷 The Camera: Canon EOS 10D—Digital’s Early Workhorse

Released in 2003, the Canon EOS 10D was a landmark in DSLR evolution. It offered:

  • 6.3 megapixel APS-C CMOS sensor—modest by today’s standards, but rich in tonal character
  • ISO range of 100–1600 (expandable to 3200)—surprisingly capable in low light
  • 7-point autofocus system—responsive enough for dockside detail and candid moments
  • CompactFlash storage—a reminder of digital’s early days

The 10D doesn’t rush. It invites you to compose. To wait. To feel the frame before you click. And paired with a prime lens or a classic zoom, it renders scenes with a softness and sincerity that suits the museum’s mood.

🖼 What I Saw, What I Felt

I photographed:

  • The curve of a tiller against brickwork
  • A rusted chain coiled like memory
  • Reflections of narrowboats in still water
  • A volunteer’s hands restoring a wooden rudder

The files weren’t perfect. But they were honest. And when printed, they carried the weight of both the subject and the tool.

🧭 Final Thought: Documenting History with a Camera That Has Its Own

A day at the National Waterways Museum is a reminder of what endures—craft, care, and the quiet dignity of labor. Shooting it with the Canon EOS 10D added another layer: the joy of using a camera that, like the museum, still has stories to tell.

Because sometimes, the best way to honour history is to slow down and see it through something that remembers.

📷 The Fujinon XF 18mm f/2 R: A Lens That Listens

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A Rundown of the Good and the Quirky

The Fujifilm XF 18mm f/2 isn’t perfect. But it’s present. It’s compact, fast, and quietly capable. It doesn’t demand attention—it invites it. And for street photographers, documentarians, and those who value rhythm over resolution, it’s a lens worth knowing.

I’ve used it in clinics, on the street, and in quiet corners of care. It’s not a showstopper. It’s a companion. And that’s what makes it special.

✅ The Good: Why It Still Matters

🧠 1. Classic Focal Length

  • 18mm on Fuji’s APS-C sensor gives you a 27mm equivalent—ideal for street photography, environmental portraits, and storytelling in context.
  • Wide enough to breathe, tight enough to feel.

🪶 2. Compact and Featherlight

  • This lens disappears in your hand. It makes the camera feel invisible.
  • Perfect for moving quietly, staying present, and photographing without spectacle.

⚡ 3. Fast f/2 Aperture

  • Responsive in low light. Lets you isolate gestures and moments without losing the scene.
  • Great for dusk, clinics, and shadow play.

🎞️ 4. Film-Like Rendering

  • Slight softness at the edges. Gentle contrast. A character that feels felt, not forced.
  • Prints beautifully—especially in black-and-white.

🧭 5. Teaches Restraint

  • No zoom. No overcorrection. Just you, the scene, and the moment.
  • Ideal for students learning to compose with care.

❗ The Quirks: What to Know

🧊 1. Not the Sharpest Tool

  • Wide open, it’s soft at the edges. Corner sharpness improves by f/4–f/5.6.
  • If you’re chasing clinical perfection, this isn’t your lens.

🔊 2. Noisy Autofocus

  • The AF motor isn’t silent. In quiet settings, you’ll hear it.
  • Not a dealbreaker, but worth noting for documentary work.

🧱 3. Older Design

  • No weather sealing. No linear motor. No aperture lock.
  • It’s part of Fuji’s original lens lineup—quirky, charming, and a little dated.

🧪 4. Chromatic Aberration

  • You may see some fringing in high-contrast scenes. Easily corrected in post, but present.

🖼 How It Prints

This lens isn’t about technical brilliance. It’s about emotional clarity. The files print with softness, nuance, and tonal depth. Especially in monochrome, the 18mm f/2 feels like a whisper—gentle, grounded, and true.

🕊 Final Thought: Character Over Perfection

The Fujinon XF 18mm f/2 isn’t for everyone. But for those who value presence over pixels, it’s a quiet gem. It teaches you to move slowly, see clearly, and photograph with care.

Because sometimes, the best lens isn’t the sharpest. It’s the one that listens.

🖤 The Nikon D3S: Why It’s Still Relevant

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In a world chasing megapixels, mirrorless speed, and AI-driven autofocus, the Nikon D3S stands quietly in the corner—unbothered, unbroken, and still deeply capable. Released in 2009, it was Nikon’s first full-frame DSLR to truly master low-light performance. Today, it’s more than a relic. It’s a reminder: that restraint, reliability, and character still matter.

I’ve used the D3S in clinics, on the street, and in moments of care. It’s never asked for attention. It’s just done the work.

🧠 What Made the D3S Special

  • 12.1MP Full-Frame Sensor Not flashy by today’s standards, but beautifully tuned. Files are clean, balanced, and emotionally honest. The lower resolution encourages intentional framing and thoughtful printing.
  • ISO Performance That Changed the Game At the time, ISO 12,800 was revolutionary. Even today, the D3S holds its own in low light—especially in documentary work where grain isn’t a flaw, but a feeling.
  • Tank-Like Build Magnesium alloy body. Weather sealing. Shutter rated to 300,000 actuations. This camera was built for war zones, operating rooms, and long nights in the rain.
  • Dual CF Slots Redundancy and reliability. For those who print, archive, and teach, this matters more than speed.
  • No-Nonsense Ergonomics Everything falls to hand. No touchscreens. No distractions. Just tactile control and muscle memory.

🪞 Why It Still Matters

1. It Slows You Down—in a Good Way

The D3S isn’t about rapid-fire bursts or eye-detection AF. It’s about presence. You compose with care. You anticipate. You listen to the scene.

2. It Honors the Print

The files from the D3S print beautifully. Tonal transitions are smooth. Highlights roll off gently. Blacks hold depth. For those who see printing as completion, the D3S delivers.

3. It’s a Teaching Tool

For students learning restraint, the D3S is ideal. It forces intentionality. It rewards patience. It teaches that gear doesn’t make the image—vision does.

4. It Carries Legacy

This camera has seen things. It’s been in the hands of photojournalists, volunteers, and quiet documentarians. Using it feels like joining a lineage—not chasing a trend.

🧭 Who Is It For Today?

  • Documentarians who value reliability over novelty
  • Educators who want to teach presence, not presets
  • Street photographers who prefer quiet strength to flashy specs
  • Archivists and printers who care about tonal integrity
  • Anyone who believes that interesting pictures come from how you see, not what you shoot with

🕊 Final Thought: Enoughness in a Shutter Click

The Nikon D3S isn’t just relevant—it’s resonant. It reminds us that photography isn’t about chasing perfection. It’s about showing up. Seeing clearly. Printing with care.

In a time of constant upgrades, the D3S whispers: You already have enough. Now go make something that matters.

D700 vs D810 — Resolution in Practice

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As someone who carries both the Nikon D700 (12MP) and D810 (36MP) in the same bag, I’ve had the rare privilege of comparing resolution not in theory, but in lived experience. Here’s how they differ—and where they converge.

🧠 Resolution vs Resilience

  • D810 (36MP): Offers incredible detail and cropping flexibility. Ideal for large prints, archival work, and scenes where texture and nuance matter—like surgical documentation or architectural studies.
  • D700 (12MP): Delivers robust files with beautiful tonality and low-light performance. Perfect for street work, portraits, and moments where speed and emotional clarity take precedence over pixel count.

🖼️ Print Reality

  • Both cameras produce exhibition-worthy prints up to A3 with ease. Beyond that, the D810 holds up better under scrutiny—but the D700’s files often feel more “finished” straight out of camera.

🧘 Teaching Moment

  • I use the D700 to model restraint and intentional framing. With fewer pixels to “fix” later, students learn to trust their eye and commit to the moment.
  • The D810 becomes a lesson in creative flexibility—how resolution can serve story, not ego.

🧳 Archival Insight

  • Revisiting old D700 files reminds me: emotion trumps resolution. Some of my most resonant images were shot at 12MP, yet they carry more weight than any technical upgrade ever could.

Peace in Motion: Monks Lead a Nation Toward Healing

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Phnom Penh, August 10, 2025 — By Ian Kydd Miller

In a powerful display of unity and spiritual resolve, 2,569 Buddhist monks from across Cambodia took to the streets of Phnom Penh on Sunday afternoon, leading a solemn Walk for Peace that stretched from Wat Phnom to the Independence Monument. Clad in saffron robes and carrying banners that read “Cambodia does not need war” and “Peace brings development,” the monks were joined by nuns, laypeople, and curious onlookers who lined the route in quiet reverence.

The march, organized in response to recent border clashes between Cambodian and Thai forces, aimed to reinforce the fragile ceasefire agreement signed on July 28 and to call for the release of 18 detained Cambodian soldiers still held by Thai authorities. The monks’ message was clear: peace is not merely a political negotiation—it is a moral imperative rooted in shared faith and humanity.

“The peace-loving hearts of Cambodian leaders and people, as well as those of the international community, are a strong foundation for sustaining the effective implementation of the Ceasefire Agreement,” said H.E. Pen Bona, Head of the Royal Government Spokesperson Unit.

The procession paused briefly at the U.S. Embassy, where monks offered prayers of gratitude to President Donald Trump, whose diplomatic efforts were credited with initiating the ceasefire. The gesture underscored Cambodia’s appeal to global powers to act not as arbiters of conflict, but as stewards of peace.

Among the crowd were young novices, elderly monks from both the Maha Nikaya and Dhammayuttika Nikaya sects, and residents displaced by the recent fighting. Some prostrated as the monks passed, others offered alms or simply stood in silent solidarity. The atmosphere was one of solemn hope—a collective yearning for stability, dignity, and healing.

Inside nearby temples, photographs of fallen soldiers were displayed as monks chanted prayers for their souls. The walk was not only a call for peace, but a ritual of mourning and remembrance.

As Cambodia continues to navigate the aftermath of conflict, the Walk for Peace stands as a reminder that the path forward must be walked together—with compassion, conviction, and the courage to choose reconciliation over retaliation.

Ten Years with the Canon 1D Mark IV

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A Farewell to a Workhorse That Never Asked for Praise

For a decade, the Canon 1D Mark IV was my companion. Not my tool. Not my gear. My companion.

It didn’t flatter. It didn’t fail. It simply showed up—day after day, shoot after shoot—with a kind of quiet reliability that modern cameras often forget in their race for relevance.

🧱 Built Like a Promise

The 1D Mark IV was never sleek. It was solid. Magnesium alloy, weather-sealed, unapologetically heavy. It felt like commitment in the hand.

  • 16MP APS-H sensor with a 1.3x crop—perfect for reach without sacrificing tone
  • Dual DIGIC 4 processors that never blinked, even at 10fps
  • Autofocus that tracked motion like instinct, not algorithm

I shot with one AF point. The center. Always. Because the camera didn’t need tricks—it needed trust.

📷 What It Gave Me

  • Color rendering that felt like memory, not measurement
  • Files that breathed—not just pixels, but presence
  • Low-light performance that surprised me, even in candlelit homes and monsoon dusk
  • Battery life that outlasted the day, and sometimes the doubt

It wasn’t perfect. But it was predictable. And in documentary work, that’s gold.

🧘 Why I Stayed So Long

Because it never asked me to rush. Because it never distracted me with features I didn’t need. Because it taught me to anticipate, to listen, to wait.

I shot weddings, markets, protests, and quiet portraits with it. I traveled with it across borders and into stories that didn’t need spectacle—just presence.

✍️ The Shift to Nikon

Eventually, I moved to Nikon. Not because the 1D failed me, but because my rhythm changed. I wanted different tonal nuance. Different ergonomics. A different conversation with the frame.

But I didn’t leave the 1D behind. I graduated from it. And like any good teacher, it still echoes in my practice.

🖼️ Closing Thought

The Canon 1D Mark IV wasn’t just a camera. It was a decade of trust. And in a world of constant upgrades, trust is the rarest feature of all.

GAS Management for the Ethically Curious Photographer

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GAS is practically a rite of passage in photography circles. And let’s be honest: when your work is built on rhythm, presence, and storytelling, it’s easy to convince yourself that just one more lens might unlock a new way of seeing.

But here’s the twist: GAS isn’t always about greed—it’s often about curiosity, possibility, and the thrill of rediscovery. Especially in your case, where older gear like the D300S and legacy primes aren’t just tools—they’re collaborators.

Still, if you’re feeling the gravitational pull of that next “must-have,” here are a few gentle antidotes:

🧠 GAS Management for the Ethically Curious Photographer

  • Walk with one lens for a week: Let limitation sharpen your vision.
  • Revisit your archive: You might find that your best work came from your “least impressive” gear.
  • Write before you buy: Draft a post about why you think you need it. If the story feels thin, maybe the gear isn’t the missing piece.
  • Shoot with intent, not inventory: The camera doesn’t see—you do.

And hey, if you do cave and pick up something new, just promise me you’ll walk with it slowly, listen to what it says, and let it earn its place in your rhythm.

Tuned, Not Trendy: Why Function Matters More Than Features

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In a world obsessed with specs, upgrades, and the latest releases, there’s a quiet rebellion happening—one that values function over flash, intuition over innovation, and tools that serve the moment rather than dominate it.

I call it “Tuned, Not Trendy.”

It’s the mindset that led me to pick up a Nikon D300S in Phnom Penh for $140—body, grip, and three batteries included. Not because it was new. Not because it was popular. But because it felt like it could do the job. And after a few walks with it, I realised: it’s not about what a camera can do. It’s about what it lets you do.

🛠️ Function Earns Trust

Modern gear is packed with features—eye-detect AF, 8K video, AI-driven exposure. But how many of those features actually serve the kind of photography I do? Street scenes, market rhythms, quiet gestures in harsh light. I don’t need a camera that thinks for me. I need one that responds to me.

The D300S doesn’t try to impress. It just works. Fast autofocus. Gritty rendering. Familiar controls. It’s tuned to the kind of shooting I do—not trendy, but trustworthy.

🎯 Features Don’t Make Meaning

Sharpness doesn’t equal story. Dynamic range doesn’t guarantee depth. I’ve seen images from $5,000 setups that feel sterile, and frames from a beat-up D2Hs that carry the weight of memory. The difference isn’t in the gear—it’s in the relationship between photographer and tool.

When a camera is tuned to your rhythm, it disappears. You stop thinking about settings and start responding to light, movement, and emotion. That’s where meaning lives.

💡 The Freedom of Simplicity

There’s also a kind of freedom in using older gear. No pressure to pixel-peep. No temptation to chase firmware updates. Just you, the camera, and the moment. It’s a slower, more deliberate way of working—and for me, it’s more honest.

Why spend thousands on features I’ll never use, when I can spend a fraction on a tool that fits my hand, my eye, and my purpose?

Tuned, Not Trendy isn’t just about gear. It’s about philosophy. It’s about choosing tools that serve your vision, not distract from it. It’s about trusting your instincts more than marketing. And it’s about remembering that the best images aren’t made by specs—they’re made by presence.

Why I Still Use the Nikon D3 and D3S in 2025

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In an age of mirrorless marvels and AI-enhanced everything, I still reach for two cameras released over a decade ago: the Nikon D3 and D3S. Not out of nostalgia, but because they still deliver—quietly, reliably, and with a kind of tactile honesty that newer gear often lacks.

Built Like Tools, Not Toys

The D3 and D3S were Nikon’s first full-frame DSLRs, and they were built like they meant it. Magnesium alloy bodies, weather sealing, and a shutter rated for 300,000 actuations. These cameras were made for war zones, not weddings. And yet, they’ve handled both with grace.

I’ve used them in the heat of Phnom Penh’s markets, on the water at Tonlé Sap, and in quiet moments with people whose stories deserve dignity. They’ve never flinched.

The Files Still Sing

Yes, they’re “only” 12.1 megapixels. But those pixels are rich, clean, and full of tone. The D3S in particular still surprises me with its low-light performance—ISO 6400 feels like ISO 800 on some modern sensors. And the color rendering? It’s got soul. Not sterile perfection, but something closer to memory.

Speed and Simplicity

9 fps on the D3, 11 fps on the D3S. Autofocus that locks on like a bloodhound. No menus buried in submenus. No touchscreen distractions. Just a camera that lets me stay present, anticipate, and respond.

Why I Still Carry Them

Because they don’t get in the way. Because they’ve become extensions of how I see. Because they remind me that photography isn’t about megapixels or marketing—it’s about presence, patience, and purpose.

And maybe most of all, because they’ve earned my trust.

The Sigma 20mm f/1.8 EX DG

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The Sigma 20mm f/1.8 EX DG lens is a wide-angle prime lens designed for full-frame and APS-C digital SLRs. It was announced on December 1, 2000, and remains popular for its combination of good build quality, a fast aperture of f/1.8, and decent optics.

Here are some key features of the lens:

  • Focal Length: 20mm
  • Maximum Aperture: f/1.8
  • Minimum Aperture: f/22
  • Minimum Focus Distance: 20cm (7.87 inches)
  • Weight: 520g (1.15 lbs)
  • Length: 90mm (3.52 inches)
  • Lens Mounts: Canon EF, Nikon F (FX), Pentax KAF, Sigma SA Bayonet, Sony/Minolta Alpha.

The lens incorporates a Dual-Focus (DF) mechanism, which makes it easy to hold the lens since the focusing ring does not rotate during auto-focus. It also provides adequate focusing torque during manual focusing. The use of aspherical lens elements in both the front and rear lens groups effectively compensates for distortion, spherical aberration, and astigmatism.

However, the lens has some drawbacks. It is known for having strong vignetting, especially at f/1.8, and the corners can be quite soft at wider apertures. The lens is sharp in the center at f/4 and even sharper at f/5.6

Overall, the Sigma 20mm f/1.8 EX DG lens is a good option for those looking for a wide-angle prime lens with a fast aperture, but it may not be the best choice for those who require edge-to-edge sharpness at wider apertures.