Alright! Now we're talkin' some interesting stuff! First, let me say Tmax 3200 has its place. It's a terrific film if you need some serious, serious speed. I've had good results pushing it all the way to iso 12800. Now That's speed! That's about the only thing you'll need it for though. My film of choice is Tri-x and I'll tell you why. Perhaps most importantly, tri-x will give you about 2 stops more latitude than tmax. That's quite significant when doing a wide range of tones. It helps to keep from having to blow out highlights and losing detail in those shadow areas. I've also gotten a lot better contrast out of tri-x than tmax, especially tmax 3200, simply because the general rule is the slower the film, the more contrast you get. But even when you use similar speeds of both films, you will find tri-x gives you more contrast. Tri-x used to be the "grainy film" but Kodak has since changed their formula so you don't have to worry about that anymore. The majority of photographers loved tri-x before the change and even more love it since the change. It is very popular and for good reason. If you want finer grain than that, I would recommend Ilford's Pan F iso 50. This is a great film but it is very slow. That may be what you want though. Keep in mind that unlike the previous two films, this is a "professional" film however, and it should be refridgerated. Don't throw out your Kodak B&W c-41 just yet! It definitely has it's place as well. Some of the absolute finest grain you can get in a B&W print, is from c-41 monochrome film. And that's surprising considering it is somewhat fast at up to iso 400. Even at that speed, you will get terrific grain even in huge enlargements. Don't forget how much less expensive it is to process. So what do you give up with this film? If you take to your everyday, 1-hour lab, your prints may come out a bit bluish. Some people like that. Some people don't even notice that. There is an alternative. You can get your prints done at a custom lab on black and white paper and not have to worry about the coloration at all. So this film definitely has it's place. I hope that's been helpful. I could go on for a long time about films like these, but I'll save everyone the torture! If you have any questions, feel free to ask me. I would love to help. For example, you may want me to explain that whole latitude thing and how you can meter to get detail out of everything in a high contrast situation. Wow, I just can't shut up! Anyway, I hope that helps... Andrew