Q: Many of my slides shot with existing indoor light (using Kodachrome or daylight Ektachrome) have a yellowish tint. Is there a filter or a different kind of film that can counteract this? And how do I determine in advance which indoor situation will require this special treatment? A: The reason your slides taken on outdoor color film with indoor light turn yellow is that the outdoor color film is balanced for daylight (which is bluish) and not for indoor light (which is yellow to reddish in color). Many photographers don't realize that not only the color of the subject but the color of the light itself registers on the film and that light during the day changes color and as a result gives different effects on the same outdoor scene.

We don't see this color change because our eyes adjust to it -- but the film emulsion doesn't. A good way to see this color difference is to turn on a lamp inside when it's daylight outside; you'll immediately see how the blue the daylight is in comparison with the lamplight.

There are different films as well as filters that will correct the color of the light. The Tungsten (Type B) color films, such as the Ektachrome Professional Type B ASA 160, are the ones to use with indoor tungsten bulb lighting, or you can use an 80-A (blue) filter to correct the indoor lighting for outdoor color film. The disadvantage to using an 80-A filter is that you'll lose two stops of lens openings. That is, if your indoor setting is f/8 without the 80-A filter, then with the filter it would f/4. You can adjust for this automatically with an SLR (through-the-lens) metering system. Since you don't need a filter with the Type B (tungsten) film, the speed of the film stays the same.

If your inside lighting is fluorescent, you can correct for color by using an FLD filter (which has a reddish color) with daylight-type color film, or an FLB with tungsten film.

You'll need to know beforehand the kind of lighting, so you can carry the right kind of film or correcting filters. The easiest solution is to carry an 80-A to correct daylight to indoor for indoor lighting and an FLD to balance fluorescent to daylight. Use high-speed film, such as High Speed Ektachrome ASA 400, with these filters so you'll still have a comfortably high-speed film for indoor shooting. Q: Can you expose one side of a negative more than the other to compensate for unequal or imbalanced lighting at the initial shooting? And, if not, can this be remedied any other way in the darkroom? A: I don't know of any way to correct for uneven lighting at the time of shooting, unless it is a time exposure such as at night. Then you can actually dodge out and burn in areas during a long exposure by holding black masks in front of the lens. This type of correction is done easily in the darkroom, by using dodgers (a thin wire with a loop at one and over which black tape has been stuck). This device will enable you to hold back the dark areas by holding the dodger between the enlarging lens and the projected image during exposure.

Burning in (most easily done by cupping your hands, so only the light from the light areas passes through) can correct for the too-light sections.

Actually, very few negatives are printed straight. Nearly all can be improved by both dodging out and burning in certain areas. Try these techniques and you'll be amazed at the difference. NEW PHOTO BOOK A beautiful new photo book: "Arabia Felix" by Pascal Marechaux, published by Barron's Educational Series Inc. of 113 Crossways Park Drive, Woodbury, New York 11797. Printed in Switzerland and bound in France, it has the Continental quality of reproduction and presentation.

French photographer Marechaux describes in words and pictures his trip through Yemen. The text is succinct and informative and the picture (81 color illustrations) are tastefully laid out.

This is a coffee-table volume you can proudly show and enjoy yourself; at $34.95, the price is high -- but so is the quality.