cambodia

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

cambodia, cameras, Fujichrome, fujifilm, Lenses, opinons, thoughts, photography

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.

Peace in Motion: Monks Lead a Nation Toward Healing

angkor, cambodia, conflict, opinons, thoughts, photography, street, war

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

cambodia, cameras, Lenses, Lowepro, opinons, thoughts, photography, street, Travel

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.

Tuned, Not Trendy: Why Function Matters More Than Features

cambodia, cameras, Lenses, Lowepro, opinons, thoughts, photography, street, Travel

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

cambodia, cameras, Lenses, Lowepro, opinons, thoughts, photography, street, Travel

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 Khmer New Year

angkor, cambodia, opinons, thoughts, photography, pictures, sihanouk, street, Travel

The Khmer New Year, or Choul Chnam Thmey, is Cambodia’s most significant holiday, celebrated from April 14 to 16 each year. It marks the end of the harvest season and the beginning of a new year according to the traditional Buddhist lunisolar calendar2.

The celebration lasts three days, each with its own traditions:

  1. Moha Sangkran – The first day, when families clean their homes, visit temples, and make offerings.
  2. Vanabot – The second day, dedicated to charity and honoring ancestors.
  3. Leung Sakk – The third day, when people wash Buddha statues and elders with perfumed water as a sign of respect and renewal.

During this time, Cambodia comes alive with festivals, traditional games, and water fights, similar to Thailand’s Songkran. If you’re planning to experience it, Phnom Penh, Siem Reap, and Battambang are great places to join the celebrations

Srei Crieat. Day 1 to Finish.

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This story started about 7 weeks ago when a friend of mine mentioned an old lady (Srey Crieat), who lives in the same village as she and had recently been bitten by a snake. What snake was not known but it certainly did some major damage.

She showed me some pictures on her telephone and I was very shocked about the state of her hand and arm. She looked to be in a lot of distress.

I asked her how long ago this had happened and she informed me that it was about two weeks earlier and that Srey Crieat had been seen at the local village hospital who had suggested she be sent to Phnom Penh for the arm to be amputated. She did not want this and was after about a week was sent home, little or nothing was done about the arm, she was given some antibiotics.

At the invite of my friend it was decided that I would go out and see Srey Crieat as soon as possible, initially to assess the damage that could not be seen in the phone pictures and to see if there was more that could be done.

This is what we found the next day. The hand and arm were in a pretty terrible state and to all intents and purposes looked like it had never been cleaned and hand been left exposed since she had left hospital. It was quite badly infected and showed lots of necrosis on both the hand and arm, the primary bite site looked to be the hand although extensive damage up to the elbow could be seen.

As can be seen in the picture above the upper hand was extremely damaged and with a full thickness skin necrosis. The fingers were extremely swollen and tender but had good pulse showing blood flow present. This certainly was going to take time and commitment if anything was going to be done to improve the situation for this lady. It did not help that it would be a 70Km trip just to get there each time and 70Km back.

There was no way I could leave anyone in this state, the hand was badly infected and damage extended to the elbow. I had to accept that there were risks of further systemic infection and this was discussed with Srey Crieat. She just was so sad and wanted somebody to help and accepted the process may be long and maybe painful. She wanted to go ahead.

First things first I had to get the area clean and with the limited supplies I had with me I began that process.

Using a mixture of Povidone and Hydrogen Peroxide I soaked the hand and removed most of the dirt, that I could see and also many insect eggs. The upper arm I decided to leave until I visited the next day, with the correct equipment to complete the cleaning process. The hand and arm would need more than just cleaning though it was in need of extensive debridement, but I did not have the gear with me to start that process.

A temporary covering was applied to the hand and arm and arrangement made to return the next day giving me time to gather and buy the gear I would need to begin this job. She did not appear to be in much pain, probably due to the damage done by the venom and she was not needing, at this point and analgesia.

Day Two

On returning the next day another extensive clean of the whole arm, fingertip to axilla was completed, using the same solution. The hand was in need of a sharp debridement but the necrosis was hard and very difficult to work with so I decided to dress the hand and lower arm in ”fresh wild honey” and dress it with ”cling film” (yes ordinary kitchen film) to soften and clean the areas of necrosis so that they could be more easily dealt with. I arranged to return in three days to begin the debridement.

Day Five

On my return the bandages and cling film were removed (as seen above) and the hand was much more manageable and ready for the necrotic tissue to be removed. It was quite extensive and not going to be a simple job, and care was need not to damage the underlying structures. I was prepared to use local anaesthetic but she said she did not have any real pain and so we went ahead without (slowly).

After about 30 minutes of work, with very little bleeding, we were able to remove the necrosis down to nice pink tissue with good blood flow.

This was enough for her for one day but she showed no pain. The other areas on the arm also need to be removed but there was no rush, the main area of potential infection on the hand was off and I was please to return to the other areas in a few days. The hand and arm were again redressed with Honey (lots of it) and cling film and I would return in three days to continue giving the hand and the lady time to recover.

Day Eight

On returning I set to work removing the other necrotic areas on her forearm. After this we continued for another week (twice weekly visits) with honey and cling film dressings. She was given another course of antibiotics as a precaution and because of the difficult conditions she lives in. After this no more antibiotics were needed.

The improvements began to come quite quickly once the area was fully cleaned of necrosis and other detritus. I used plain white sugar mixed with Vitamin D ointment on the hand for the next week and continued the honey application to the forearm. This seemed a good combination and worked well.

This was the back of her hand after four weeks, showing pretty good healing and no infection present. I continued with sugar and vitamin ointment.

After another three days even more improvement noted.

Day 11

We continued with the same treatment for the next week, the wounds continued to get smaller until the point came over the last two weeks that some of the areas were ready to begin the process of scabbing. For the next week we dressed all areas with no stick dressings brought in by a friend from Bangkok, until such a point than we only needed dry protective dressings.

As can be seen on the last pictures there is certainly some scar tissue but much less than I expected. She has a reasonable amount of movement in her hand and her fingers will become less swollen as her hand movement increases.

Simple dry dressings now until the remaining areas scab over. One very happy and feisty lady now, such a pleasure to see. Just over seven weeks total to get to this point. Such a brave lady, well done …..

BIG THANKS GO OUT TO BILL FOR HIS GETTING ME SAFELY THERE WHEN NEEDED AND HIS SUPPORT IN GENERAL. TO ALL THOSE WHO MADE THIS POSSIBLE (YOU KNOW WHO YOU ARE) I APPRECIATE IT AND SO DO THOSE IN NEED

#firstaid #asia #medical #sick #charity #snakebite

Legality of STREET PHOTOGRAPHY

cambodia, conflict, copyrights, homelessness, Lenses, photography, pictures, street

Street photography can be a fascinating way to capture candid moments of everyday life, but it’s important to be aware of the legal considerations involved. Here are some key points to keep in mind:

  1. Public Spaces: Generally, you can take photos in public spaces without needing permission. This includes streets, parks, and other public areas where people do not have a reasonable expectation of privacy.
  2. Privacy Concerns: While you can photograph people in public, you should avoid taking photos in situations where individuals have a reasonable expectation of privacy, such as inside their homes or in private spaces visible from public areas.
  3. Commercial Use: If you plan to use your photos commercially, you may need to obtain a model release from the individuals in your photos. This is especially important if the images will be used in advertising or sold as stock photos.
  4. Respect and Ethics: Always be respectful and considerate. If someone asks you not to photograph them, it’s best to honour their request to avoid potential conflicts.
  5. Country-Specific Laws: Laws can vary significantly from one country to another. For example, some countries have stricter privacy laws that may require consent for street photography, while others are more lenient.

In the UK, street photography is generally allowed in public spaces, but it’s always good practice to be mindful of people’s privacy and to use common sense when photographing strangers.

My thoughts on Street Photography.

cambodia, cameras, film, Fujichrome, fujifilm, homelessness, Lenses, Lowepro, opinons, thoughts, photography, pictures, processing

Street photography is a genre of photography that captures everyday life and human activity in public places. It often focuses on candid moments, spontaneous interactions, and the essence of urban environments. Here are some key aspects of street photography:

  1. Candid Moments: Street photographers aim to capture unposed, natural moments that reflect the true essence of life in public spaces.
  2. Urban Environments: This genre typically takes place in cities and towns, highlighting the architecture, streets, and the hustle and bustle of urban life.
  3. Human Element: People are often the main subjects in street photography, showcasing their emotions, interactions, and daily routines.
  4. Storytelling: Street photography tells stories through images, offering a glimpse into the lives of strangers and the dynamics of public spaces.
  5. Spontaneity: The best street photographs are often those that capture unexpected or fleeting moments, requiring the photographer to be quick and observant.

Street photography can be a powerful way to document the world around us and share unique perspectives on everyday life. If you’re interested in exploring this genre, it’s all about being observant, patient, and respectful of your subjects.