Please keep in mind I'm borderline insane and should not be used as any sort of sensible example.
I'm the kinda guy who'd push Tri-X three stops for everyday shooting. I like Tri-X. The grain's a bit more obvious than more modern films, but it's nice grain. I dev it in D-76, which is a match made in heaven as far as I'm concerned. Tri-X in D-76 at stock speed:
At 1600:
Remember the beautiful thing about a "chunky" cube-grain film like Tri-X is that it's got a stop of latitude either way. You can underexpose by a stop and develop normally - Tri-X don't blink. You'd probably need a densitometer to tell...because I've done it with about every roll of Tri-X I've shot and I can't tell the bleedin' difference.
My favourite modern (ie, T-grain) film is definitely the Fuji Neopan series. The 1600 is fine-grained, with fantastic contrast:
The 400 is breathtaking. Very sharp in resolution. But the term "crisp". Fine, starched white linen comes to mind, for some reason:
The 100 (Neopan Acros) is very tight-grained, but a little less contrasty than the 400, which I'm not too fond of. But it's very tightly grained, when developed in Perceptol, and very sharp, even if developed in Perceptol, as here:
I don't
mind Ilford's Delta films...it's just that they're kind of middle of the road for me. There's nothing that makes them jump out at me, but here's some Delta 400 pushed two stops to 1600:
Ilford's HP5+'s not
entirely awful, it's just that it's I've yet to take a good picture on it. Ok, well, when I developed it, I used HC-110, maybe that had something to do with it, and that I think I pushed it a stop or two. But it's rather like a more expensive Tri-X: