Geez, Pathdoc, where do you live, Northern Canada? Fairbanks, Alaska? Oslo, Norway? Please consider blowing some of your -20C weather down in my general direction. We're already running A/C down here in West Cairo -- aka Houston, Texas.
After reading murrelet's very modern way of dealing with the results of his exposed film, and kb244's treatise on current B&W emulsions, I thought I'd add just a bit that Lazmarr may find useful, being brand new to film and all.
Lazmarr, gone are the days of being able to drop your film off at Wal-Mart or Walgreens or CVS and expect such basics as having your negatives returned to you -- and none of these places offer in-house processing anymore. No, you have to find a Pro Lab for that sort of thing now, and you'll be paying Pro Lab prices for the service too. Places like Walgreens will still take your film in for developing, but they send it off, and it takes about a week before you get it back. But instead of negatives, you'll get a CD with scans of your photos. Last time I checked, the scans on the CDs were only about 5 megapixel scans, which is gonna limit your print size to about 4x6 -- maybe 8x10 if you don't look too close.
But as murrelet mentioned, when you're first starting out, you probably shouldn't be too worried about prints anyway. Now, if it just so happens that one of your first photos is brilliant, well too bad for you because the labs places like Walgreens use don't return the negatives. No, if you want to use a lab that might be more economical than a Pro Lab that returns negs, you're looking at using a mail-order service, like Dwayne's -- there are lots of others, but Dwayne's is the only one I'm familiar with and is probably the best known. Dwayne's will also do whatever you want, including making prints, but they'll also return your negatives.
Now, just a brief word about all those B&W films that kb244 mentioned -- in case you might be wondering where to find them, go to freestylephoto.biz for all your film needs, whether color or B&W:
Home | Freestyle Photographic Supplies
Oh, and one final comment about the film you chose. After a hiatus of not shooting any film for several years, when I started getting back into shooting film again back in 2009, I discovered a vastly changed landscape and, on impulse, bought a few rolls of Fuji Superia 400. I'll be honest. I hated the stuff. I thought it was too grainy -- mushy even -- with uninspired colors. But then I'd been used to shooting with very saturated, very sharp, slow slide film emulsions, so perhaps that was some of it. It wasn't until I'd been using the stuff for a while and began to remember some of the tricks with respect to negative film emulsions that one uses to bring out colors and reduce the apparent size of grain that things finally began to improve. Unfortunately, your P30 supports DX coding only, from what I understand. I just scanned a page on the Internet about it -- it seems to be a very basic camera with a Program mode. And it doesn't seem to have Exposure Compensation. But it does have metered manual, so you can still perform the same thing that EC does, albeit manually. When shooting with your camera, try deliberately overexposing by from 1/3 to 2/3 stops, and keep track of which you're doing. But whatever you do, don't underexpose your film. See, the important thing to remember about negative film is it hates to be underexposed. Things just go *bluh*. Some emulsions don't even look very good at box speed. But dial in 1/3 to 2/3 stop of overexposure, and suddenly you've transformed your film from dull to full of life and color and dynamism. Negative film can handle overexposure much better than underexposure, and often it can handle an incredible amount of overexposure. So anyway, give a bit of overexposure a try, see if I'm not right.