A question for all you photo buffs out there .. what will work best in Europe for taking low light photos, in museums or at night?

Fast film--or a sandbag to hold the camera.

Many (actually most) museums will not allow monopods or tripods. Just rely on fast film - no flash allowed inside most.<BR><BR>I occasionally use a minature tripod that I can brace against my chest. It works for my large 35mm (but not with the big lenses) and my point & shoot.<BR><BR>But in museums and galleries - just fast film and hold 'er steady

I found the digital camera to be the best for low light situations.

I use a Hama Flexible Tabletop Tripod--it is VERY small (five inches long, folds to the size of a thick pen) and cheap. Of course it also is only five inches tall, but I find it better than a bean bag. It can hold a Contax G-2 and flash, so probably up to 25 ounces.<BR><BR>Also the digital cameras tend to be good at emulating only up to ASA100, (with quality comparable to ASA800 film), so I don't find them to be good choices if I'm doing low-light photography.

"Also the digital cameras tend to be good at emulating only up to ASA100, (with quality comparable to ASA800 film), so I don't find them to be good choices if I'm doing low-light photography."<BR><BR>I do not understand this at all. Would you clarify?<BR>

My husband has all three for his digital camera and has found the monopod to work best and be easier to carry around.

Try bracing your camera against a pew or wall, and possibly using a cable release to trip the shutter. I've never bothered with the cable release, but I have successfully taken very low light photos in dark churches, the Pantheon (exposing for the coffered ceiling, then including the oculus in the photo--turned out great even w/ my P&S). In Paris I reached above my head and braced the camera against the wall to shoot Napoleon's tomb. I've even laid the camera on the floor of a church and shot straight upward to photograph ornate ceilings. It's very easy to do and you get very creative, looking for camera perches everywhere you go. Best part: nothing extra to pack. Good luck.

P.S. I've always done this with ASA 100.

Gretchen, conventional cameras can use film of many different speeds--ASA 100 is a slow, general purpose film that produces good results (minimal grain, good color rendition). ASA800 is a "fast" film--great for low light (it records light 8x more than ASA100), although there are often issues of graininess with this speed.<BR><BR>Digital cameras allow you to emulate the film speed, although the reality is that they rarely work well above ASA100, as the quality is just too poor to produce a good picture. Therefor you have to use the ASA100 setting almost all the time, instead of having the luxury of changing to a "faster" film setting (which would allow faster shutter speeds).<BR><BR>Not a good explanation of a complex subject!

I agree with Mr. Miller's condensed and clear explanation of the differences among film speeds and how they apply to traditional vs digital cameras. So, another suggestion would be to use a very fast film. There's a super fast film available in most cameras stores, TMAX 3200 (Black and white film) which is extremely fast, and of course very grainy. Processing the film in a fast-film developer helps to reduce the inherent graininess. Major graininess (especially in black and white film)can be creative--depends on the subject matter. Another suggestion is to bring a small flash for the traditional camera, for some of the night shooting. Or,like others have said, steady the camera against something solid and hold very still.(Never works when I want it to) Most newer digital cameras have an internal flash as well as the ability to turn the flash off manually, so these too are desirable and versatile.