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Cancel faculty quota, demand IIT directors

Top Council To Take On HRD

Hemali Chhapia | TNN

Mumbai: IIT directors are doing a Venugopal. The seven IIT heads have expressed their dissent against implementing reservations for faculty appointments and have decided to wrestle with the Union HRD ministry over the issue, just like the former AIIMS boss who took on health minister Anbumani Ramadoss.
At a meeting of the Standing Committee of the IIT Council (SCIC) in New Delhi on Friday, the directors took a tough stand against the HRD ministry’s recent order that there should be reservations for teaching posts in the IITs. ‘‘We are all against reservations for faculty appointments. The IIT council is now going to take up the matter with the ministry. We have demanded that IITs be considered on a par with other institutes of national importance where there are no such reservations,’’ said a director on condition of anonymity.
Another IIT director who did not want to be identified said they had a ‘‘lengthy discussion on the issue of faculty reservations and the result was rather positive’’.
Most directors vetoed faculty reservations and stated that the government should revoke the decision. Institutes of national importance include the Tata Institute of Fundamental Research (TIFR), Bhabha Atomic Research Centre (BARC) and the Allahabad-based Harish-Chandra Research Institute, which conducts advanced research in physics.
The June 9 government order sent to all IITs says that 15%, 7.5% and 27% teaching positions be reserved for SC, ST and OBC categories respectively. At present, IITs have reservations for backward category candidates only in administrative posts, from attendants to the level of deputy registrar. According to the order, posts must be reserved for lecturers and assistant professors in all subjects of science and technology. In other areas, like management, social sciences and humanities, reservations should be applied up to the professor level, the seniormost position.
M Anandakrishnan, chairman of the board of governors at IIT-Kanpur and also on the council, said he was not comfortable discussing the ‘‘internal matter’’ at this stage, as the issue was ‘‘extremely sensitive’’.
Sources said the issue of faculty reservations was not taken up earlier by the IIT council and the order was thrust upon the directors by the ministry. Besides the seven directors and Anandakrishnan, SCIC also has C N R Rao, principal scientific adviser to the PM. Rao is chairman of the council. V S Ramamurthy, chairman of the board of governors at IIT-Delhi, is also on the council.

Photography

Photography (IPA: [fә'tɒgrәfi] or IPA: [fә'tɑːgrәfi]^[1]) is the process of recording pictures by means of capturing light on a light-sensitive medium, such as a film or electronic sensor. Light patterns reflected or emitted from objects expose a sensitive silver halide based chemical or electronic medium during a timed exposure, usually through a photographic lens in a device known as a camera that also stores the resulting information chemically or electronically. Photography has many uses for both business and pleasure. It is often the basis of advertising and in fashion print. Photography can also be viewed as a commercial and artistic endeavor.

Lens and mounting of a large-format camera

A handheld digital camera.

A modern DSLR camera, the Canon EOS 40D

The word “photography” comes from the French photographie which is based on the Greek φώς (phos) “light” + γραφίς (graphis) “stylus”, “paintbrush” or γραφή (graphê) “representation by means of lines” or “drawing”, together meaning “drawing with light.” Traditionally, the product of photography has been called a photograph, commonly shortened to photo.

Contents [hide] 1 Photographic cameras 2 Controlling the photographic exposure and rendering 3 Uses of photography 4 History of photography 5 Photography types 5.1 Black-and-white photography 5.2 Color photography 5.3 Digital photography 6 Photography styles 6.1 Commercial photography 6.2 Photography as an art form 7 Technical photography 7.1 Automatic Registration of Instruments by Photography 8 Other photographic image forming techniques 9 References and additional reading 9.1 Cited references 9.2 General references 10 See also 10.1 Concepts and principles 10.2 Photography forms 10.3 Photography techniques 10.4 Photographers and photographs 10.5 Historical 10.6 Camera and photography equipment 10.7 Basic Concepts 11 External links

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[edit] Photographic cameras

The camera or camera obscura is the image-forming device, and photographic film or a silicon electronic image sensor is the sensing medium. The respective recording medium can be the film itself, or a digital electronic or magnetic memory.

Photographers control the camera and lens to “expose” the light recording material (such as film) to the required amount of light to form a “latent image” (on film) or “raw file” (in digital cameras) which, after appropriate processing, is converted to a usable image. Modern digital cameras replace film with an electronic image sensor based on light-sensitive electronics such as charge-coupled device (CCD) or complementary metal-oxide-semiconductor (CMOS) technology. The resulting digital image is stored electronically, but can be reproduced on paper or film.

The controls usually include but are not limited to the following:

• Focus of the lens
• Aperture of the lens – adjustment of the iris, measured as f-number, which controls the amount of light entering the lens. Aperture also has an effect on focus and depth of field, namely, the smaller the opening [aperture], the less light but the greater the depth of field–that is, the greater the range within which objects appear to be sharply focused.
• Shutter speed – adjustment of the speed (often expressed either as fractions of seconds or as an angle, with mechanical shutters) of the shutter to control the amount of time during which the imaging medium is exposed to light for each exposure. Shutter speed may be used to control the amount of light striking the image plane; ‘faster’ shutter speeds (that is, those of shorter duration) decrease both the amount of light and the amount of image blurring from subject motion or camera motion.
• White balance – on digital cameras, electronic compensation for the color temperature associated with a given set of lighting conditions, ensuring that white light is registered as such on the imaging chip and therefore that the colors in the frame will appear natural. On mechanical, film-based cameras, this function is served by the operator’s choice of film stock. In addition to using white balance to register natural coloration of the image, photographers may employ white balance to aesthetic end, for example white balancing to a blue object in order to obtain a warm color temperature.
• Metering – measurement of exposure at a midtone so that highlights and shadows are exposed according to the photographer’s wishes. Many modern cameras feature this ability, though it is traditionally accomplished with the use of a separate light metering device.
• ISO speed – traditionally used to set the film speed of the selected film on film cameras, ISO speeds are employed on modern digital cameras as an indication of the system’s gain from light to numerical output and to control the automatic exposure system. A correct combination of ISO speed, aperture, and shutter speed leads to an image that is neither too dark nor too light.
• Auto-focus point – on some cameras, the selection of a point in the imaging frame upon which the auto-focus system will attempt to focus. Many Single-lens reflex cameras (SLR) feature multiple auto-focus points in the viewfinder.

Many other elements of the imaging device itself may have a pronounced effect on the quality and/or aesthetic effect of a given photograph; among them are:

• Focal length and type of lens (telephoto or “long” lens, macro, wide angle, fisheye, or zoom)
• Filters or scrims placed between the subject and the light recording material, either in front of or behind the lens
• Inherent sensitivity of the medium to light intensity and color/wavelengths.
• The nature of the light recording material, for example its resolution as measured in pixels or grains of silver halide.

[edit] Controlling the photographic exposure and rendering

Camera controls are inter-related. The total amount of light reaching the film plane (the “exposure”) changes with the duration of exposure, aperture of the lens, and focal length of the lens (which changes as the lens is zoomed). Changing any of these controls alters the exposure. Many cameras may be set to adjust most or all of these controls automatically. This automatic functionality is useful in many situations, and in most situations to occasional photographers.

The duration of an exposure is referred to as shutter speed, often even in cameras that don’t have a physical shutter, and is typically measured in fractions of a second. Aperture is expressed by an f-number or f-stop (derived from focal ratio), which is proportional to the ratio of the focal length to the diameter of the aperture. If the f-number is decreased by a factor of , the aperture diameter is increased by the same factor, and its area is increased by a factor of 2. The f-stops that might be found on a typical lens include 2.8, 4, 5.6, 8, 11, 16, 22, 32, where going up “one stop” (using lower f-stop numbers) doubles the amount of light reaching the film, and stopping down one stop halves the amount of light.

Exposures can be achieved through various combinations of shutter speed and aperture. For example, f/8 at 8 ms (=1/125th of a second) and f/5.6 at 4 ms (=1/250th of a second) yield the same amount of light. The chosen combination has an impact on the final result. In addition to the subject or camera movement that might vary depending on the shutter speed, the aperture (and focal length of the lens) determine the depth of field, which refers to the range of distances from the lens that will be in focus. For example, using a long lens and a large aperture (f/2.8, for example), a subject’s eyes might be in sharp focus, but not the tip of the nose. With a smaller aperture (f/22), or a shorter lens, both the subject’s eyes and nose can be in focus. With very small apertures, such as pinholes, a wide range of distance can be brought into focus.

Image capture is only part of the image forming process. Regardless of material, some process must be employed to render the latent image captured by the camera into the final photographic work. This process consists of two steps, development, and printing.

During the printing process, modifications can be made to the print by several controls. Many of these controls are similar to controls during image capture, while some are exclusive to the printing process. Most controls have equivalent digital concepts, but some create different effects. For example, dodging and burning controls are different between digital and film processes. Other printing modifications include:

• Chemicals and process used during film development
• Duration of exposure — equivalent to shutter speed
• Printing aperture — equivalent to aperture, but has no effect on depth of field
• Contrast
• Dodging — reduces exposure of certain print areas, resulting in lighter areas
• Burning — increases exposure of certain areas, resulting in darker areas
• Paper quality — glossy, matte, etc
• Paper size

[edit] Uses of photography

Photography gained the interest of many scientists and artists from its inception. Scientists have used photography to record and study movements, such as Eadweard Muybridge’s study of human and animal locomotion in 1887. Artists are equally interested by these aspects but also try to explore avenues other than the photo-mechanical representation of reality, such as the pictorialist movement. Military, police, and security forces use photography for surveillance, recognition and data storage. Photography is used to preserve memories of favorite times, to capture special moments, to tell stories, to send messages, and as a source of entertainment.

Commercial advertising relies heavily on photography and has contributed greatly to its development.

[edit] History of photography

Main article: History of photography

Nicéphore Niépce’s earliest surviving photograph, c. 1826. This image required an eight-hour exposure, which resulted in sunlight being visible on both sides of the buildings.

Photography is the result of combining several technical discoveries. Long before the first photographs were made, Ibn al-Haytham (Alhazen) (965–1040) invented the camera obscura and pinhole camera,^[2] Albertus Magnus (1193–1280) discovered silver nitrate, and Georges Fabricius (1516–1571) discovered silver chloride. Daniel Barbaro described a diaphragm in 1568. Wilhelm Homberg described how light darkened some chemicals (photochemical effect) in 1694. The fiction book Giphantie, by French author Tiphaigne de la Roche, described what can be interpreted as photography.

Photography as a usable process goes back to the 1820s with the development of chemical photography. The first permanent photograph was an image produced in 1826 by the French inventor Nicéphore Niépce. However, the picture took eight hours to expose, so he went about trying to find a new process. Working in conjunction with Louis Daguerre, they experimented with silver compounds based on a Johann Heinrich Schultz discovery in 1724 that a silver and chalk mixture darkens when exposed to light. Niépce died in 1833, but Daguerre continued the work, eventually culminating with the development of the daguerreotype in 1837. Eventually, France agreed to pay Daguerre a pension for his formula, in exchange for his promise to announce his discovery to the world as the gift of France, which he did in 1839.

Meanwhile, Hercules Florence had already created a very similar process in 1832, naming it Photographie, and William Fox Talbot had earlier discovered another means to fix a silver process image but had kept it secret. After reading about Daguerre’s invention, Talbot refined his process so that it might be fast enough to take photographs of people. By 1840, Talbot had invented the calotype process, which creates negative images. John Herschel made many contributions to the new methods. He invented the cyanotype process, now familiar as the “blueprint”. He was the first to use the terms “photography”, “negative” and “positive”. He discovered sodium thiosulphate solution to be a solvent of silver halides in 1819, and informed Talbot and Daguerre of his discovery in 1839 that it could be used to “fix” pictures and make them permanent. He made the first glass negative in late 1839.

In March of 1851, Frederick Scott Archer published his findings in “The Chemist” on the wet plate collodion process. This became the most widely used process between 1852 and the late 1880s when the dry plate was introduced. There are three subsets to the Collodion process; the Ambrotype (positive image on glass), the Ferrotype or Tintype (positive image on metal) and the negative which was printed on Albumen or Salt paper.

Many advances in photographic glass plates and printing were made in through the nineteenth century. In 1884, George Eastman developed the technology of film to replace photographic plates, leading to the technology used by film cameras today.

[edit] Photography types

(wratten #25) to enhance or diminish the rendering of certain light wavelengths.

[edit] Black-and-white photography

See also: Monochrome Photography

All photography was originally monochrome, or black-and-white. Even after color film was readily available, black-and-white photography continued to dominate for decades, due to its lower cost and its “classic” photographic look. It is important to note that some monochromatic pictures are not always pure blacks and whites, but also contain other hues depending on the process. The Cyanotype process produces an image of blue and white for example.

Many photographers continue to produce some monochrome images. Some full color digital images are processed using a variety of techniques to create black and whites, and some cameras have even been produced to exclusively shoot monochrome.

[edit] Color photography

Main article: Color photography

Color photography was explored beginning in the mid 1800s. Early experiments in color could not fix the photograph and prevent the color from fading. The first permanent color photo was taken in 1861 by the physicist James Clerk Maxwell.

Early color photograph taken by Prokudin-Gorskii (1915)

One of the early methods of taking color photos was to use three cameras. Each camera would have a color filter in front of the lens. This technique provides the photographer with the three basic channels required to recreate a color image in a darkroom or processing plant. Russian photographer Sergei Mikhailovich Prokudin-Gorskii developed another technique, with three color plates taken in quick succession.

Practical application of the technique was held back by the very limited color response of early film; however, in the early 1900s, following the work of photo-chemists such as H. W. Vogel, emulsions with adequate sensitivity to green and red light at last became available.

The first color plate, Autochrome, invented by the French Lumière brothers, reached the market in 1907. It was based on a ’screen-plate’ filter made of dyed dots of potato starch, and was the only color film on the market until German Agfa introduced the similar Agfacolor in 1932. In 1935, American Kodak introduced the first modern (‘integrated tri-pack’) color film, Kodachrome, based on three colored emulsions. This was followed in 1936 by Agfa’s Agfacolor Neue. Unlike the Kodachrome tri-pack process, the color couplers in Agfacolor Neue were integral with the emulsion layers, which greatly simplified the film processing. Most modern color films, except Kodachrome, are based on the Agfacolor Neue technology. Instant color film was introduced by Polaroid in 1963.

Color photography may form images as a positive transparency, intended for use in a slide projector or as color negatives, intended for use in creating positive color enlargements on specially coated paper. The latter is now the most common form of film (non-digital) color photography owing to the introduction of automated photoprinting equipment.

[edit] Digital photography

Main article: Digital photography

See also: Digital versus film photography

Nikon dSLR and scanner, which converts film images to digital

Traditional photography burdened photographers working at remote locations without easy access to processing facilities, and competition from television pressured photographers to deliver images to newspapers with greater speed. Photo journalists at remote locations often carried miniature photo labs and a means of transmitting images through telephone lines. In 1981, Sony unveiled the first consumer camera to use a charge-coupled device for imaging, eliminating the need for film: the Sony Mavica. While the Mavica saved images to disk, the images were displayed on television, and the camera was not fully digital. In 1990, Kodak unveiled the DCS 100, the first commercially available digital camera. Although its high cost precluded uses other than photojournalism and professional photography, commercial digital photography was born.

Digital imaging uses an electronic image sensor to record the image as a set of electronic data rather than as chemical changes on film. The primary difference between digital and chemical photography is that chemical photography resists manipulation because it involves film and photographic paper, while digital imaging is a highly manipulative medium. This difference allows for a degree of image post-processing that is comparatively difficult in film-based photography and permits different communicative potentials and applications.

Digital point-and-shoot cameras have become widespread consumer products, outselling film cameras, and including new features such as video and audio recording. Kodak announced in January 2004 that it would no longer sell reloadable 35 mm cameras in western Europe, Canada and the United States after the end of that year. Kodak was at that time a minor player in the reloadable film cameras market. In January 2006, Nikon followed suit and announced that they will stop the production of all but two models of their film cameras: the low-end Nikon FM10, and the high-end Nikon F6. On May 25, 2006, Canon announced they will stop developing new film SLR cameras.^[3]

According to a survey made by Kodak in 2007, 75 percent of professional photographers say they will continue to use film, even though some embrace digital.^[4]

According to the U.S. survey results, more than two-thirds (68 percent) of professional photographers prefer the results of film to those of digital for certain applications including:

• film’s superiority in capturing more information on medium and large format films (48 percent);
• creating a traditional photographic look (48 percent);
• capturing shadow and highlighting details (45 percent);
• the wide exposure latitude of film (42 percent); and
• archival storage (38 percent)

Because photography is popularly synonymous with truth (“The camera doesn’t lie.”), digital imaging has raised many ethical concerns. Many photojournalists have declared they will not crop their pictures, or are forbidden from combining elements of multiple photos to make “illustrations,” passing them as real photographs. Many courts will not accept digital images as evidence because of their inherently manipulative nature. Today’s technology has made picture editing relatively simple for even the novice photographer.

[edit] Photography styles

[edit] Commercial photography

Manual shutter control and exposure settings can achieve unusual results

Commercial photography is probably best defined as any photography to which money exchanges hands. In this light money could be paid for the subject of the photograph or the photograph itself. Wholesale, retail, and professional uses of photography would fall under this definition. The commercial photographic world could include:

• Advertising photography: photographs made to illustrate and usually sell a service or product. These images are generally done with an advertising agency, design firm or with an in-house corporate design team.
• Fashion and glamour photography: This type of photography usually incorporates models. Fashion photography emphasizes the clothes or product, glamour emphasizes the model. Glamour photography is popular in advertising and in men’s magazines. Models in glamour photography may be nude, but this is not always the case.
• Crime Scene Photography: This type of photography consists of photographing scenes of crime such as robberies and murders. A black and white camera or an infrared camera may be used to capture specific details.
• Still life photography usually depicts inanimate subject matter, typically commonplace objects which may be either natural or man-made.
• Food photography can be used for editorial, packaging or advertising use. Food photography is similar to still life photography, but requires some special skills.
• Editorial photography: photographs made to illustrate a story or idea within the context of a magazine. These are usually assigned by the magazine.
• Photojournalism: this can be considered a subset of editorial photography. Photographs made in this context are accepted as a documentation of a news story.
• Portrait and wedding photography: photographs made and sold directly to the end user of the images.
• Fine art photography: photographs made to fulfill a vision, and reproduced to be sold directly to the customer.
• Landscape photography: photographs of different locations made to be sold to tourists as postcards
• Conceptual photography: Photography that turns a concept or idea into a photograph. Even though what is depicted in the photographs are real objects, the subject is strictly abstract.
• Wildlife photography that demonstrates life of the animals.
• Pornography: explicit depiction of sexual subject matter, especially with the sole intention of sexually exciting the viewer using a variety of media including photography. See History of erotic photography.
• Photo sharing: publishing or transfer of a user’s digital photos online.

The market for photographic services demonstrates the aphorism “one picture is worth a thousand words,” which has an interesting basis in the history of photography. Magazines and newspapers, companies putting up Web sites, advertising agencies and other groups pay for photography.

Many people take photographs for self-fulfillment or for commercial purposes. Organizations with a budget and a need for photography have several options: they can employ a photographer directly, organize a public competition, or obtain rights to stock photographs. Photo stock can be procured through traditional stock giants, such as Getty Images or Corbis; smaller microstock agencies, such as Fotolia; or web marketplaces, such as Cutcaster.

[edit] Photography as an art form

Classic Alfred Stieglitz photograph, The Steerage shows unique aesthetic of black and white photos.

During the twentieth century, both fine art photography and documentary photography became accepted by the English-speaking art world and the gallery system. In the United States, a handful of photographers, including Alfred Stieglitz, Edward Steichen, John Szarkowski, and Edward Weston, spent their lives advocating for photography as a fine art. At first, fine art photographers tried to imitate painting styles. This movement is called Pictorialism, often using soft focus for a dreamy, ‘romantic’ look. In reaction to that, Weston, Ansel Adams, and others formed the f/64 Group to advocate ’straight photography’, the photograph as a (sharply focused) thing in itself and not an imitation of something else.

The aesthetics of photography is a matter that continues to be discussed regularly, especially in artistic circles. Many artists argued that photography was the mechanical reproduction of an image. If photography is authentically art, then photography in the context of art would need redefinition, such as determining what component of a photograph makes it beautiful to the viewer. The controversy began with the earliest images “written with light”; Nicéphore Niépce, Louis Daguerre, and others among the very earliest photographers were met with acclaim, but some questioned if their work met the definitions and purposes of art.

Clive Bell in his classic essay Art states that only “significant form” can distinguish art from what is not art.

“

There must be some one quality without which a work of art cannot exist; possessing which, in the least degree, no work is altogether worthless. What is this quality? What quality is shared by all objects that provoke our aesthetic emotions? What quality is common to Sta. Sophia and the windows at Chartres, Mexican sculpture, a Persian bowl, Chinese carpets, Giotto’s frescoes at Padua, and the masterpieces of Poussin, Piero della Francesca, and Cezanne? Only one answer seems possible – significant form. In each, lines and colors combined in a particular way, certain forms and relations of forms, stir our aesthetic emotions.

”

On February 14th 2006 Sotheby’s London sold the 2001 photograph “99 Cent II Diptychon” for an unprecedented $3,346,456 to an anonymous bidder making it the most expensive of all time.

[edit] Technical photography

The camera has a long and distinguished history as a means of recording phenomena from the first use by Daguerre and Fox-Talbot, such as astronomical events (eclipses for example) and small creatures when the camera was attached to the eyepiece of microscopes (in photomicroscopy). The camera also proved useful in recording crime scenes and the scenes of accidents, one of the first uses being at the scene of the Tay Rail Bridge disaster of 1879. The set of accident photographs was used in the subsequent court of inquiry so that witnesses could identify pieces of the wreckage, and the technique is now commonplace in courts of law.

[edit] Automatic Registration of Instruments by Photography

Between 1846 and1852 Charles Brooke^[6][7][8] invented a series of self-recording instruments which used photography for the automatic registration of their measurements by using a coal gas light-source, a mirror and optics to amplify readings and a clockwork drum covered in photographic paper to record the results. These instruments included barometers, thermometers, psychrometers, and magnetometers, which registered their variations by means of photography. Charles Brooke’s inventions obtained the premium offered by the British Government, as well as a council medal from the jurors of the Great Exhibition. The account of the perfecting of these apparatus will be found detailed in the British Association Reports from 1846 to 1849, and in the Philosophical Transactions of the Royal Society of 1847, 1850, and 1852. These self-recording instruments were adopted at the Royal Observatories of Kew and Greenwich, Paris, and other meteorological stations around the world. In 1859 a self-recording magnetometer^[9] of United States manufacture, based on the designed of Charles Brooke, was built by the Coast Survey and the Smithsonian Institution at a magnetic observatory on the grounds of the Smithsonian Institution in Washington DC. The Smithsonian report also noted that the Toronto Magnetic and Meteorological Observatory had a self-registering magnetograph in 1850, which was described by General John Henry Lefroy, in Silliman’s Journal, May, 1850. While several observatories had these devices, none were in continuous operation until January 1858, when the self-recording magnetographs^[10] at the Kew Observatory became fully operational. The instrument at Kew was a set of three separate devices comprising a Declination Magnetograph, a Horizontal-force Magnetograph and a Vertical-force Magnetograph.

On August 28, 1859 and again on September 2, 1859 the self-recording magnetometers at the Kew Observatory in London, supervised by Balfour Stewart, recorded two of the largest terrestrial magnetic storms known to Science. These events are now know as the Stewart Super Flare and the Carrington Super Flare^[11], the latter in honor of Richard Christopher Carrington who had the good fortune to observe the solar flare which occurred on September 1, 1859, with the magnetic storm reaching the Earth on September 2, 1859.

[edit] Other photographic image forming techniques

Besides the camera, other methods of forming images with light are available. For instance, a photocopy or xerography machine forms permanent images but uses the transfer of static electrical charges rather than photographic film, hence the term electrophotography. Photograms are images produced by the shadows of objects cast on the photographic paper, without the use of a camera. Objects can also be placed directly on the glass of an image scanner to produce digital pictures.

Here’s what women want

It’s the untold story.

Feminism has made us want more. We’re greedy like never before. No compromises, please! Rouge did a random poll, here’s what we found out about what women want!

Women want to find true love!

Lusty women, passionate women, one-man women, sigh! Women want the same thing — they want fairytale. They want to feel like Cinderella. Love still makes the world go round. Model Amanpreet Wahi says, “One thing, that I want the most is a person who loves me unconditionally. Believe me, if you get that one person, your life is perfect. I know many people who want money but what’s life without that someone special who loves you. My life is beautiful because of my boyfriend Raghav. A lot of people envy me for that.” Agrees actor Mona Singh, “I want everything but if I am asked to choose, it would be love.”

Women want to be a tigeress at work!

When you see a woman pitching fresh ideas in every meeting and also cancelling dinner dates with her partner or friends for attending an official gathering, she’s a woman who chooses career, hands down. Sarah Jane Dias, model says, “For me, work is my passion. This definitely doesn’t mean that I wouldn’t love to have that special someone but being good at work gives me a high.” Sanya Kapoor, a college student says, “If you have a good career, you get good money with which you can shop, socialise, have nice people around and also get a successful man as your partner.”

Women still want a good marriage!

We’re still traditional. You got it right. We want to be wooed, and then finally get married happily. At least, that’s what a majority of the women dream about. Is it easy? TV actor Shilpa Saklani says, “For me, there’s nothing more important than a good marriage. Making my married life work is an ambition.”

Women want good friends

We all need a shoulder to cry on. The TV soap Friends has given us great lessons in love and frienships. When we’re down, the ‘dial-a-friend’ therapy works wonders. Every woman needs friends. Why isn’t Sex and the City all about great friendships. “If you have good friends around you, nothing can bother you. They guard you like pillars all the time,” says HR consultant Deepti Kalra. Isn’t that what friends are for!

Women want to be high maintainence girls

Show me the money, honey! Yes, that’s what some women love to sing. Gucci bags, Chanel glasses, solitaires, high heels, Armani clothes and a penthouse. Aaah! Now, that’s what women dream of. It’s not only a happy distraction but a reality. “I would like to embark on a shopping spree every now and then, without bothering about my dipping bank balance. This will make me the object of envy for every other woman. Money can buy anything – even a nice guy,” says team leader Smita Kullu.

Women want good sex!

We’ve glamourised sex too much! While men are bragging about the amazing sex they are enjoying, women are left asking for more. Women as you know, don’t need much time to rev up when it comes to sex. Bad sex is a dampener! So, we were not surprised when 70% women voted for good sex. Actor Sherlyn Chopra says, “Sex is very important for me. There’s no greater pleasure than a good sex session. I even use sex toys as I think no man can satisfy me completely.”

Women want to be intellectuals!

Actor Tisca Chopra says, “For me, time is the most desirable thing in this world. There are so many places to visit, so many people to meet. I always feel that if I am not living 60 seconds of a minute, I am not doing justice to my life.”

15 and ignorant about sex!

Indians enjoy a fulfilling sex life but get their first formal sex education only around 15 years of age as compared to the West where such lessons start from 12, says a new study.

Though Indians know how to protect themselves from sexually transmitted infections and HIV/AIDS, awareness on how to avoid pregnancy is very low. These are the findings of the “Face of Global Sex 2008 – The path to sexual confidence” survey conducted among 26,000 people in 26 countries to explore the effectiveness of sex education.

“India starts sex education for children a little after 15 years, though in Western countries it starts from 12 onwards,” the report said. This could be one of the reasons why Indians had little knowledge of how to avoid pregnancy. Indians scored a mere 70 per cent, even less than Japan at 70.9 per cent. The highest was scored by South Africa (86.5 per cent) and Spain (86 per cent).

“These results highlight the need for good school-based education. Unfortunately, in many countries high quality school-based sexual education is lacking,” the report said.

The study also found that most Asian countries are well behind Western countries when it came to being confident about protecting themselves against sexually transmitted infections (STIs) and HIV/AIDS. It pointed out that in Mexico, a child receives formal sex education at the age of 12 – perhaps the reason why its people scored one of the highest (81.6 per cent) on overall confidence about sex.

“Comprehensive and inclusive sex education between the ages of 11 and 16 is vital for people to develop sexual confidence in later life. Also, those who have more confidence are better equipped to protect themselves against STIs and unwanted pregnancies,” it said.

In Asia, India and China are the two countries that start sex education in school when children are 15 years and above. Other countries in the region start education either a little before or a little after a child turns 14. Indians, however, seemed to fare better as far as other Asian countries were concerned on knowing where to go for help and guidance on sex.

While India scored 68.8 per cent, Malaysia stood at 67.6 per cent and China scored 66.1 when it came to knowing where to go for help on sex. The other countries were Singapore (66.1 per cent), Hong Kong (63.2 per cent) and Thailand (61.7 per cent).

The survey showed that Japan scored less in terms of most criteria – not only in Asia but globally too. Despite Japan starting sex education at 12 years, they are the least confident about sex (58.8 per cent), have no idea whom to turn to for guidance (42.4 per cent) and how to avoid pregnancy (70.9 per cent).

No wonder people in Japan do not lead a happy and fulfilling sex life. They scored 54.3 per cent, the lowest in the world with the highest scored by Brazil (79.6 per cent), Mexicans (78.4 per cent) and Nigerians (78.2 per cent).

India scored 72.4 per cent as far as having a good sex life was concerned. As compared to other Asian countries, it scored a little less than Malaysia that got 73.5 per cent. In this aspect, India was also better off than Germany, France, Australia, Poland, Russia, Singapore and Thailand, the report said.

The report also found that although parents and guardians were the most successful confidence boosters, they were only listed as the eighth most likely source to be approached for sex education – falling well behind friends, the internet and TV.

There were also distinct gender differences in terms of where people go for information on sexual issues. Males were more likely to use the media – magazines, the internet, TV and radio or institutional sources. Females, on the other hand, preferred more interpersonal sources, such as parents, partners, family and doctors.

Fashion skills

FASHION KILLS

Did you know that most of your high-fashion garments are hidden health threats? If not, then dressing to kill acquires a whole new meaning for you!

Some years ago, when low-waist jeans were high-fashion, Tanya would slip into her tapered temptation almost everyday. The jeans were her second skin until the day an excruciating pain gripped her waist, followed by major discomfort in the tummy. And not the indigestion kind! Clueless about what was causing the pain, she gingerly changed her office chair, improved her posture and resorted to the rambaan to all ailments—yoga! But the pain refused to let up. Guess what her doc told her? Her tight jeans were to blame! “Wearing body hugging jeans can cause nerve depression around your waist, leading to a condition called ‘paresthetica’. It can also lead to severe pain and numbness outside the thigh,” says orthopaedic surgeon Dr Naveen Talwar. Tanya learnt it the hard way that while it’s nice to get dressed to
kill, it’s an entirely different thing to get killed because of the way you dress! Here’s a checklist of how NOT to dress up…
COVER UP
‘Got it? Flaunt it!’ It sure sounds sexy but too much of skin show, especially the upper part of your back, can lead to fibromyalgia. It’s a condition that leads to pain in muscles, ligaments and tendons. And you can get rid of it only through medication and physiotherapy. So, cover up. If it’s body hugging clothes you prefer, beware that they may also lead to skin infections as sweat tends to accumulate more in various folds. Avoid wearing thick polyester fabrics for they don’t let sweat evaporate, and thus give way to many infections.
THE DEAL
WITH HEELS
Who doesn’t want to stand tall? But if you rely on high heels for it, chances are you may develop serious pain in your foot arches. Even with new research results on how heels can boost your sex life—well, they do exercise those pelvic muscles!—wearing high heels is a walking talking orthopaedic disaster. It can cause your feet to turn inwards leading to a condition called Jones Fracture, an injury to the fifth metatarsal bone, at the base of the small toe. When selecting your shoes, make sure you get those that fit you just right. Wearing very tight and pointed shoes can lead to overriding of toes giving way to hallux valgus or bunions, which are extremely painful. If you already have back or knee problems, you must keep away from high heels.
EYES EYES BABY
Wearing chic sunglasses certainly gives you oomph but you must check whether they provide you with UV protection. So, double check the label before you glare the glare!
TATTOO TALES
With every celeb getting inked or pierced, body art is finally here. So, getting your lips, eyebrows, tongue and what not pierced may sound hip but is a ticket to various health problems. Ready for the implications that come along with being in vogue? The most common fallouts of tattoos and piercing are keloids. If you have a keloid tendency, then anywhere you get injected or tattooed may develop into a keloid, which is a type of scar that results in an overgrowth of tissue at the site of skin injury. Even black mehndi, seemingly harmless, can cause some skin reactions or, worse, permanent scars. To stay cool is great but to be a fool isn’t!
KNOW MORE HAIR HORROR: Apply colouring agents like dyes and bleaches judiciously. They irritate your scalp, and may cause skin eruptions. Opt for natural agents, like henna! EAR ME OUT: Agreed nothing looks more ‘look-at-me’ than sexy danglers but your nice, big earrings can even tear your earlobes and necessitate surgery! PREGNANT PAUSE: Expecting? Make sure you wear stretchable clothes. Tight clothes can lead to abdominal distention and breathlessness. Being pregnant makes you prone to fungal infections, and wearing tight clothes leads to excessive sweating, which only encourages these infections. Also, don’t wear high heels! During pregnancy, your body shape and centre of gravity change. A slip or a fall will hurt not only you but your unborn baby as well. Take care! THONG SONG
Avoid thongs. They may look hot but you can get skin rash from any synthetic outer clothing, because it’s in direct contact with your butt. Also, wearing tight knee-high stockings can impede blood circulation to the legs. SOAPY SAGA
Remember the punch line” Dikhawon pe mat jao, apni akal lagao? There may be many soaps fighting for your attention but opt for the ones that are neutral, in a pH range of 5–6, because the higher the pH, the harsher the soap. Harsh soaps remove the protective layer of your skin and also cause dryness.
— ABHIRUCHI CHAND
Experts: Dr Naveen Talwar, orthopaedic surgeon; Dr S C Bharija, dermatologist; Dr Tripat Choudhary, gynaecologist

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