I have been working as time allows on my new workflow, which I plan to discuss in more detail in 2013. I really love the look I've been getting with Arista Premium 400 at E.I. 200 in D-76. I'm still getting more dust on my scans than I would like, but it is improving. I just got in 10 rolls of "real" Tri-X and a bottle of Ilford Rapid Fixer to replace the odorless Arista Rapid Fixer that takes 9 minutes to clear film. I will be pouring the rest of the Arista down the drain.
I have been using the only film camera I still own - a Nikon N2000. It isn't very attractive but it works well. I don't like the noisy film advance though and have a FE coming from KEH. I bought it on their Ebay store and it is, according them, between 78% and 82% of its original condition. There is lots of brassing at the corners. Awesome, I say! It looks like I've owned and used it for years. I plan to put my 50mm f1.8 lens on it when it arrives.
And I have been working on my new workflow for making prints too! Along with the Ilford Fixer I have received a box of 8.5" x 11" Epson Hot Press Natural paper and have been working on getting a good print on it using 100% carbon Eboni ink from Inksupply and Quadtone RIP software using black only printing. Above is a scan of the resulting picture, with some curve adjustment to make it look more like the print. The off-white color of the paper and the natural hue of carbon pigment gives the picture a definite warmth (though it isn't quite as warm as the scan), and the matte surface definitely can't equal the dynamic range of the original film scan on a computer monitor. But taken on its own, the print looks very good, with subtle tonality reminiscent of platinum/palladium prints (the delicate tones in the cloudsare much better in the print than I could get them in this scan). The graininess in the mid-tones from using black only ink matches well the look of the Arista Premium 400 film on which the image was captured. And I especially like the look of highlights from this method, as they are created by dithering the ink. The paper surface that comes through adds a glow. All in all, it is probably too grainy for pictures shot digitally or with medium format film, but for printing 35mm Tri-X, it works beautifully (IMHO) and is easy to set up.
It took 4 test prints to get to this point, but in the end I used the software's curve for PremierArt Smooth paper and made a 30 adjustment to the ink limit to increase shadow density and a 5 adjustment to gamma to darken the midtones slightly in the "Advanced Adjustments." A more dedicated printer would make their own curve from scratch.