Ah, one of my favorite topics because it's like exchanging recipes for chicken enchiladas!

All my work is in 35mm and 120 so the "recipes" apply to either...

Tri-X at EI 1200-1250 in Diafine has quickly become one of my favorites for candid, casual photography. With an SLR having a maximum shutter speed of 1/2000 or 1/4000 this combo is even useful for reasonably selective DOF in bright daylight. Unique tonal qualities unlike anything else.

Also, Tri-X at various EIs in many other soups: HC-110 or ID-11/D-76 below the nominal speed for fine grain and excellent tonality; Rodinal at or slightly above 400 for a classic grainy look; Rodinal at around EI 100 for nighttime photography and stand processing in very dilute developer.

FP4+ at EI 250 in Diafine for nighttime photography when I want finer grain than Tri-X is capable of.

FP4+ at EI 64 in ID-11, 1:1. Fine grain, good apparent sharpness, lovely tonality. Excellent for portraiture, landscapes, fine art work of all kinds.

TMY at EI 1000-1600 in straight Microphen for available dark handheld photography, especially live theatre. Finer grain and more normal contrast characteristics than Tri-X in Diafine.

Delta 3200 at EI 1600 in Diafine. Lovely tonality. Better shadow detail than TMY or Tri-X at this speed. Chunky grain limits enlargements to around 8x10, tho'. I get finer grain from TMY in Microphen at this speed.

APX 100 at or near the nominal speed in Ilfosol-S. Beautiful tonality and apparent sharpness. The mid to upper tones can do wonderful things with certain textures like bones, tree bark, etc. This is one I'd choose for portraiture.

TMX at or near its nominal speed in ID-11, 1:1 for architecture. Because this subject matter has definite lines I'm not concerned with the alleged lack of apparent sharpness (it's actually a very high resolution film but somewhat lacking in acutance in some developers including ID-11). But because my architectural photography often includes large expanses of sky I want grainless sky. This combo delivers that. However due to the rather odd tonal qualities I wouldn't choose this film for portraiture.

And a "new favorite," Efke R100 in Tetenal Neofin Blau. Lovely film, very much like APX 100 in tonality. I'll probably try it in other developers and reserve the Neofin for TMX or Pan F+ to evaluate the effect of an acutance developer on those films.