I've shot more rolls of Ilford B&W films than I can count, mostly FP4 and PanF. (I was never a fan of HP5 - always preferred the tight and clear grain of Tri-X.) In my experience, PanF is THE most awesome black & white film I have ever used. Skin tones are gorgeous, landscapes are sharp, resolving power of this film is tremendous. I used it a lot in the studio (I haven't shot film for many years but I still have a freezer full of PanF.) T-Max 100 is a good smooth film, but for skin tones there's just something organic about a PanF image. And for detail, I have a 16x20 print of a close-up of a section of a barn I shot about 30 years ago and when I exhibited it in our local art show I had more than one person argue with me that the print couldn't have been made from a 35mm negative ... it's virtually grainless and the detail is amazing. FP4 is also a really good film but you have to play with developers to get the tonal range out of it. I shot thousands of feet of it in the 70s, 80s and 90s using ID-11 straight up – worked for me. I also had lots of luck back in the day using CroneC Additive (APUG post http://www.apug.org/forums/forum37/8...c-formula.html) added to D-76 - guess it was a bit of phenidone added to isopropyl alcohol. It boosted Tri-X to a nominal ISO of 640 and decreased the apparent size of the grain.
With the large frame size of the RZ, a PanF neg in the studio would, in my opinion, be awesome. To be honest, I would shoot a couple of test rolls (or do some snip tests) and check out Ilford's ID-11 developer at 1:1 ... it really seems to work well with PanF processed in a Jobo CPP-2. I've used Rodinal extensively and had little luck with consistency, although it showed a lot of possibilities for versatility ... I guess I just didn't have the patience.
So my vote is PanF in ID-11 1:1. Keep in mind that PanF appears to be a bit overrated at ISO 50 when used with ID-11 1:1; you may want to play with ISO 32 and 25, or just bracket your RB lens up in thirds twice. I haven't had problems with blocking up with moderate overexposure but, as with most films, an accurate meter reading (once you determine optimum ISO for your conditions) will obviously be the goal.