Of the three pilgrimages, at a mere length of 100 km, the Chichibu 34 Kannon pilgrimage is best suited for the tourist who can only dedicate a limited amount of time and would like to walk the pilgrimage. And as Chichibu is, undeservedly, still largely undiscovered by the majority of the tourists, you have a chance to enjoy a lovely area of Japan that is less than an hour from Tokyo by train.
See also here.
Over the last few years I have had long discussions about the use of Fomapan film on several occasions with different people as I do use a fair few rolls of Fomapan film. These discussion typically start of with specific questions about developer dilutions and times and sometimes agitation. Often the problem is that people have excessive grain and want to make sure to avoid that in the future.
I don’t claim to be a specialist but I know from experience that when exposed correctly and developed via the standard methods, Fomapan 100, 200 and 400 does not have excessive grain at all. I think the problem is in the first part of that statement; indeed when you expose Fomapan film incorrectly, the latitude of the film is not very great and this will result in heaps of grain no matter how you develop it. I’m surprised how little attention many people pay to correct exposure, blindly following rules of thumb or their TTL light meters. If you are using the ‘sunny 16 rule’ or similar as one of the people asking me was using, you are better off using Fuji Neopan Acros 100 in my opinion as its latitude is impressive and this rule of thumb is not very accurate. But even if you are using the TTL meter of your camera you must be aware at all times how the light meter works and when it can get fooled in either over- or underexposing the photo. And it does get it wrong! I recommend to use your camera’s spot meter function and exposure locking feature or use an external spot meter and the manual mode of your camera for best possible results on Fomapan.