I just got the digest after my earlier mail to you. Congratulations on your
good fortune. Italy is my favorite destination. Here is my advice, based on
a total of about five or six weeks there, all north of Rome. There will be
some people who will have serious disagreements with some of what I advise,
but this is what works for me. I just read Dante's advice cited on the RF
list, and in general agree with him. Most important point? It's a vacation.
Enjoy it, and don't ruin others enjoyment as well.
As a general rule, I limit my film choices to three: Fuji Superia 400 and
1600, and Tri-x. I put the Tri-x in the XA, which never leaves my pants
pocket. I use the Fuji films, one for day and one for night street photos,
because the four layer emulsion deals with mixed light better than any other
film. Since I expect a variety of situations, I want to be prepared. I have
always used negative film, as my ultimate goal is prints. I firmly believe
that getting a good print out of a chrome is next to impossible barring
great expense. Moreover, there are more types of paper for prints from
negatives from one manufacturer than all reversal paper types total. Also, I
don't want to spend my vacation worrying about exposure latitude, I wnat to
get the shot! (that reminds me, shoot a lot!)
With the latest steps in airport security, there is another reason. While I
previously agreed with Dante about processing at home, I no longer do. As of
my November trip, I am buying film and having it processed locally. I was
fortunate to find a good camera store/lab in Florence, and film is available
everywhere. The E6 process is a delicate one, and has to be rigidly
controlled. The C41 process is bulletproof, designed for operation by barely
trained convenience store clerks. Better safe than sorry. I got mine
processed only, and printed at home.
"1. I want to be able to take photos inside of the museums,
cathedrals, ect. What I need to know is how fast a film and lens I will
need inside these buildings. How good (or bad) in general is the
lighting."
When photography is allowed (see below), there is nothing fast enough in a
cathedral. Use the 1600 at f2 and, while you're there, pray.
"2. Will I be allowed to use a tripod or monopod in most of these
places? I am assuming flashes are usually not permitted."
Here's where some listees will probably part company. Leave them at home.
You might get by with the monopod, but when allowed (rarely), show some
consideration for others. there will be hordes of tourists. Some will be
considerate and step around you, but others will be looking at smoething
else, and you stand a good chance of being kicked over. whatever the
situation, you will present a serious roadblock.
Flashes are generally not permitted.
"3. What kinds of lighting are used for the artwork, particularly
paintings and frescoes. Should I bring some tungsten films, or will
daylight films suffice. I will be shooting slide film (specific films to
yet be determined after I complete some testing) and B&W."
First, re:film, see above. Second, rare is the museum that allows
photography. VERY rare, and there are guards everywhere.
"4. Any other tips, advice or issues related to photography in Italy
that anyone has?"
Take a very wide lens, at least 28, 21 or 24 better. I would suggest with
the OM, 21/24, 50, and 85 as a good kit. I would leave the strobes at home,
as there will be little use for them. Unlike Dante, I have used a LowePro
waist pack. also, follow Dante's advice about shorts.
A word about dress: the Europeans dress better that you do. Generally, I
wear dockers and real shirts or good polo shirts, no jogging shoes. This
helps to make one less obvious, and is to your benefit. There are "gipsies"
there, and you do stand a chance of being a victim. I find it better to
learn from our amimal cousins, and use natural camolflage. Ther are always
plenty of ripe victims. They are your protection.
Questions? let me know. Let the flaming begin.
Bill Pearce
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