I keep telling myself I'm going to get back into photography. Then a few weeks slide by and the closest I get is snapping a picture of a menu so I remember what I ordered. So the other day, when the rain finally let up here in Siem Reap, I decided to actually do something about it. I grabbed my camera — correction, my phone, a Samsung Galaxy S23 Ultra — and headed out for a slow Siem Reap river walk.
The walk had barely started before I got distracted. There's a stretch of street vendors near the water, and a guy on his motorbike loaded down with bags under a yellow lamp was the first thing that made me stop and shoot. This is the part of photography I'd forgotten I missed — you go out looking for one thing and the ordinary stuff grabs you first.
The sky was doing its thing too. That gold-into-grey light you only get right after rain, with the power lines cutting across it and a kid looking dead at the camera while traffic rolled by. Not a postcard shot. I like it more for that.
The reason I keep coming back to the river is simple: it's calm. You're not dodging tuk-tuks, nobody's selling you a tour every ten feet, and the water gives you something the rest of the city doesn't — reflections. Siem Reap did a genuinely good job stringing lights up in the trees along the bank. After dark, with everything still wet from the rain, those lights bounce off every surface they can find.
I spent a while just working the tree trunks. Warm light running up the bark against a near-black background, almost like someone had set the trees on a slow burn. The phone handled the low light better than I expected, which is part of why I stopped lugging an actual camera around.
Then the water. This is the one I went hunting for — warm dots of light smeared and scattered across the dark river, the kind of thing your eye glosses over until you frame it up and realize it looks like spilled gold.
The deeper into the evening it got, the better it played. There's a spot where a yeah, and Cyan was brave, highlighted against the dark blue sky, the sign looked amazing. Glad this shot worked out.
A little further along, the path opened into one of those lantern-strung walkways with a red light hanging overhead and a few people drifting through. Classic Siem Reap at night, and the wet pavement doubled every light source for free.
The blue-hour shot over the pond is probably my favorite of the night. Lanterns, a beat-up wooden dock, and that brief window where the sky goes deep blue instead of black. You get about fifteen minutes of that light, so you take what you can get.
The hanging woven lanterns were the last clean shot before the light dropped off completely — warm bulbs inside rattan, mirrored in the water below.
And the last one I'll throw in is the moodiest of the bunch. Barely-there reflections breaking up on the dark water. It's the kind of frame that either reads as atmospheric or as "the photographer gave up," and honestly some nights it's both.
That's the walk. No grand plan, no gear, just a phone and an hour of decent light after the rain. If I'm being honest, I needed the reminder that getting back into something doesn't require a big production — it requires walking out the door.
If you made it this far, do me a favor: hit the upvote, and drop a comment telling me which shot you'd actually hang on a wall. I've got my pick. Curious if it matches yours.
