This point struck home to me and perhaps I'm trying to grab a big chunk of the market instead of defining myself and picking out a work-able niche for me.One of the reasons Jose Villa uses film is that the workflow is efficient. It moves a lot of work off his shoulders and onto the lab's shoulders.
Other successful shooters use strobes, even studio strobes, to light an entire ballroom if that's what it takes.
The point I'm trying to make here is that all the highly successful shooters have all designed products for the markets they wanted to serve and found films/tools/methods that fit that are very reliable and repeatable and well defined to fit that very specific market, they did not design their products around the afternoon sun; their market was probably already having weddings there.
I really like the way Jeff Ascough takes images, and I find I like a lot of B&W. And much like London, Vancouver gets a lot of grey days and rain... hence the necessity for higher speed ISOs. I could probably get away with TMAX 400 underexposed at 800, then Ilford Delta 3200 for further... color... well, I'll have to figure that part out.
Still a work in progress!
Yar. I think even my digital gets confused by this lighting. May be best to just stick to B&W for indoors for the most part, or color-corrected digital.If you were getting green, that's most likely not from tungsten lighting but from fluorescents. Not that that fixes your problem...
Btw, I did have a chance to shoot 800Z and it's some great film. I shot an expired roll (2006!!) at 400 ISO and got great results! However, ASA 400 is pretty difficult for natural light in some of the darker areas I shoot.