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Your favorite B&W film/Developer combo.

Sideshooting off of AllenG's thread, what your favorite B&W films are as well as the developer you prefer with them?

Example photos and developing info are an extra bonus!!!

So far I've only shot a few rolls of film getting back into analog. My favorites so far are Tmax 400 in 120 developed in ID-11 1+1 for 8:45@20C. I like Acros 100 in Rodinal 1:50 for 11m as well. I have a box of Tmax100 I haven't used yet.

In 35mm I've only shot Arista Premium 400 (tri-X) and developed with ID-11 1+1 for either 8m (Ei200) or 9:45(EI400).

Hopefully these photos show up or I'm gonna have to find out what's going on with my website links.

Here's Tmax 400:
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And here's is Acros 100:

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Here's Arista at EI200:

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Here's Arista at EI400:

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HP5 and DDX

And I am also fond of PanF souped Rodinol. It can keep the contrast from going through the roof.
 
I've been really liking TMax 400 in HC-110 in the 120 format:

This is shot on an RB67 and is a scan of a silver gelatin print.
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Busy having breakfast at the moment, but I will try to dig up some samples in a little while.

Favourite films- Tri-X, PX (I only have a couple of rolls left), HP5+, FP4+ I use HC-110 as a developer and am quite satisfied with the results
 
I would say, Acros in Fuji Microfine. Pity it's not easy to find outside of Japan.
Neopan 400 in Xtol or Fuji Super Prodol.
Trix in HC110 or Xtol.
Tmax in Xtol.
 
These are really good. B/W photography gives me that flavor of nostalgia and they are always good to see. HC-110 is the deal that I would like to make someday.
 
Blooze - I use the Light Meter app on my iPhone. So far it works really well for me. The meter is equivalent to about a 15 degree spot meter give or take. For my personal use, its proven well. Most people on APUG say the app meters spot on with their expensive spot meters as well.

For B&W, I usually meter for the shadows, then meter the highlights to determine how overexposed they will be, and if I deem that acceptable. I'll bracket a shot if I need to with difficult lighting. For this shot, the windows ended up a little over exposed which required burning in during the printing stage. To burn in, I took one of my straight prints, cut out the windows that were overexposed and used that as a mask that I held under the enlarger lens so the edges were out of focus/blurry to burn in the windows.
 
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