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Low light...it can be a photographer's nightmare. But here are some basic techniques that I use daily to overcome this obstacle. Some of this may sound mundane, but I am surprised constantly by how many photographers do not understand these basic principles.

First, let's talk about lenses.

For those of you who do not already know this, we refer to lenses in terms of how "fast" they are. This is kind of a misnomer, but what it really means is his: how big is the aperture? The larger the aperture, the more speed you can get out of the camera...hence...how fast it is. The absolute minimum aperture for exposing images in low light should be f2.8. If you have a lens that has a smaller aperture opening than this, your ability to capture sharp images will be drastically reduced. Most "kit lenses" are f3.5 to f5.6, and most of them lose aperture as you zoom in (the closer you zoom, the smaller the aperture becomes). This can spell certain doom in low light. So the first, and most important tip is to invest in quality lenses. Invest in lenses that are f2.8 or faster...f1.8 or 1.4 is even more preferred.

Second, let's talk about film speed (ASA) or CCD speed (ISO).

In a nutshell, the larger the ASA or ISO 3, the "faster" that medium is at exposure. This becomes very important in low light situations. The downside is that the higher the speed, the more "noise" one can expect. As a rule of thumb, I typically use ASA/ISO 200 for sunny days outside, ASA/ISO 400 for indoors with good lighting, ASA/ISO 640 for indoors with medium light, and ASA/ISO 800 for indoors with low light conditions. I have found that anything higher than a speed of 800 produces too much noise for what I do.

Third, let's talk about Shutter Speed.

In low light conditions, even with a professional flash mounted, I have found that anything slower than 1/30 produces blurry images. Human movement in that time frame (both the camera operator and the subject) is just enough that the image will be blurry at 1/20, so I try to never step below 1/30. The only exceptions are when I mount the camera on a tripod and I am shooting a stationary object, not humans, unless you are trying deliberately to capture their movement, but that's another discussion.

Fourth, let;s talk about Flash.

Rules of thumb for flash photography in low light conditions. If the ceiling of the room is low and light in color, I set the flash to TTL (through the lens), point the flash head at the ceiling and I use the diffuser. This "bounces" the light around the room and produces a really nice effect for evenly distributed lighting. In rooms where the ceiling is low, and a darker color, I do the same thing, but remove the diffuser. In high ceiling, lightly colored rooms, I set the flash to it's full power manual setting, point the flash head at the ceiling, and use the diffuser. The down side of this is that it will take longer to recharge the flash unit, but the payoff exceeds that I think. In the same room with darker colors, I use the manual flash, point the flash at the subject, and if the subject is close, I use the diffuser...if the subject is more than about 10 feet away, I remove it.

Now let's put that all together.

In low light situations, we want our lens open to it's "fastest" aperture...preferably f2.8 or faster. The reason for this may surprise you, but, the main reason is that so you can expose the background correctly. Did you hear that? It's right...the background. Why do we want to do that you ask? I'll tell you why. Anyone can get a picture of a person in a dark environment with the background completely black. That takes no skill at all. But show me the photographer that can light up the background in a dark room, and expose the subject correctly, and that is the professional. Next, we want to make sure that we are using the right film speed (ASA 800) or CCD speed (ISO 800). Lastly, we want to make sure that our shutter is set to the right speed (1/30). Anything slower will blur. Use the flash as described above, and you will be on your way to taking better images in low light conditions. Of course these tips are not set in stone, but they do offer us a starting point that should help the user make progress. And as always, practice makes perfect!

About the author: Randy Stewart is a professional wedding photographer with offices in Newport Beach, CA and Honolulu, HI. His work has been seen all over the world in numerous wedding photography editorials and magazines, and he remains one of the industry's leading professionals. To see his website, please visit http://exposureperfect.com.

The Erotic Films History of Turkey -- the First All Turkish Pornographic Film

Movie-making Turks haven't been shy about including earthy subjects or fleshy cinematic scenes in their films since as far back as the 1950's. That's when street-walking prostitutes, drug-dependent harem girls, topless damsels in distress, soapy half-naked bathers, sexually provocative belly dancers, and uninvited-lovemaking first began appearing in conventional Turkish moving-pictures.

The 'intensity' of erotic action in conventional Turkish films escalated in the 1960's when 'lite' erotic opposite-sex scenes began to heat up. And in Atif Yilmaz's otherwise conventional Iki Gemi Yanyana (Two Ships Side by Side), the first lesbian Turkish movie scene -- a scorcher for its day, in which Suzan Avci and Sevda Nur french-kissed on camera -- gave Turkish movie goers a shock when it was first shown in 1963.

Female cinematic sex-symbols during the 'Age of the Turkish Vamp' (1950s - 1960s) included Neriman Köksal (who made 177 films between 1950 to 1995), Funda Yanar [pictured on our website as a topless dancer in Büyük Sehrin Kanunu (Big City Law, 1965] and Leyla Sayar -- who, in 1960, performed a memorably bold (we are told) strip-tease act in Atif Yilmaz's Ölüm Perdesi (Death Curtain)...

But Leyla Hanim drew the line in 1972, when she realized the direction in which the seks filmleri furyasi (erotic films boom) would lead her. And after a short stint as a night club dancer, she quit the entertainment business altogether... opting instead for a simple, pious life.

In 1972, action-man Behçet Nacar's Parcali Behçet (a movie made in a desperate attempt by film-makers to woo audiences away from their newly acquired home TVs and back to near-empty movie theaters seats) became the first Turkish film to be produced exclusively for purposes of eroticism.

And when Parcali Behçet attracted an overflow opening-day crowd of 7,000 to its initial showing in Konya (Mevlana's 'hometown', in the heart of Turkish religious conservatism) Turkish film-makers took notice (and heart). Subsequently, when the film enjoyed a 6-month run, in two side-by-side theaters smack in middle of that fair city, well, film-makers believed they'd found the holy grail. And from that time through to 1979, the production of erotik Turkish films mushroomed.

The three most popular genres for legally produced Turkish erotik films between 1972 and 1978 were Comedy, Adventure, and Murder Mystery. And they all had a not-very-well-kept secret about them in common. The secret was that Turkish actors and actresses didn't perform the sex-act for real. They only simulated it... Men wore underwear (briefs) and camera angles were chosen to cover up the fact -- sometimes without much success. There are lots of flashes of men's white briefs in the Turkish erotik films made between 1972 and 1978!

Any for-real sex that appeared in these films was performed by foreigners in parcalar (movie film clips) that were inserted at predictable intervals of the Turkish film. Sometimes these parcalar were made specifically for the Turkish film in which they appeared, but in most cases they were just crude cuts of foreign films -- often entirely inappropriate (in focus or coloring) to the Turkish film.

That sort of erotik film-making subterfuge came to a screeching halt in 1979, when the first all-Turkish cast was filmed in the first-ever legally produced and distributed gloves-off pornographic Turkish film, Öyle Bir Kadin Ki (A Woman Like That) -- directed by Naki Yurter, starring Zerrin Dogan and Levent Günsel in the leading female and male roles.

Öyle Bir Kadin Ki set the Turkish cinematic industry on fire -- having even greater influence on immediate Turkish movie-making directions than Deep Throat had on American movie-making in 1972. 'Kadin' knocked the financial stuffing out of its soft-core erotik (and conventional) rivals, and it had a profound effect (for a while) on the production of almost every Turkish film (erotic or conventional) that followed -- opening a new chapter in the 'History of the Turkish Cinema'...

[Click following to access a picture-laden HTML-version of The First All-Turkish No-Holds-Barred 'Erotik' Film -- A Woman Like That.]

About the Author

Jim and (co-author) Perihan Masters are a husband and wife team,
living on the Aegean Coast of Turkey just 50 miles south of Izmir. Settled now in the heart of what was once the ancient
Ionian Empire -- the couple sponsor the MSNBC
award-winning Learning Practical
Turkish Website which has built an enthusiastic international
following of devoted Turkophiles and inquisitive language students of
all ages.

What speed film should I use to take photographs at a concert, indoors, at night, without using flash?

Is ISO 800 enough? Not enough? Too much?

since it's not going to be well lighted (esp without that flash) you will definitely need a high speed film. AT LEAST ISO 800. you could try fiddling around with different shutter speeds and aperature (which controls how much light you're letting into the film) to see which one gives you the best exposure in that specific condition.

30 reasons this summer will be wonderful
Counting down the Top 30 film, music, art and culture events of summer 2010

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