A much overblown philosophy, by the way.
I know of one very good large format photographer who has stuck with hp5 for decades - in the same camera with the same lens - in 8x10. His results are amazing.
Master of one, instead of jack of all?
In addition, film/development really isn't where most of the control is. The control is under the enlarger (or in whatever digital editor). That is where most of the craft is
Doesn't apply. A commonly parroted myth in photography is that there is a lot involved in "mastering" a film/developer. It's ridiculous.
Good negatives are definitely good, for contact printing or enlarging. There just isn't that much involved in making them.
I can think of examples of superb workers of both types - those who swear by a particular film/developer, and those who don't.
We tend to gravitate to the methods of people who's work we admire. There is nothing wrong with that.
I'm not trying to say one shouldn't choose one thing and stick with it. This is a perfectly valid way of working, and can also keep things simple. There is certainly no need to jump around for no particular reason. However people tend to be dogmatic about these things, which is fine, but that does not mean there is any relationship between a particular worker's print quality and the choice to use one film.
When it comes to control over the negative, people aren't always getting what they think they are getting.
To choose the developer, let me post something for the first time.
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