Efke 25 has to remain my favorite film of all time. I know it is out of production but I was fortunate enough to be able to lay in a large stockpile when it was discontinued. I have yet to find a replacement so I continue to use it sparingly. I will be very sad when it runs out.
My search for a replacement to Efke 25 did introduce me to Adox and their wonderful films, and especially CMS 20, now CMS 20 II. It is not a replacement for Efke but this is an absolutely amazing film in its own right; a real gem. If you need detail, or if you really want to see what your lenses are capable of doing, or if you just want to get as close to large format detail as you can with 35mm, this is the right film for you. I absolutely love working with it. Unfortunately it is expensive so I can only use it occasionally but if I were a rich man...(I think I have heard that somewhere before)... I would use it every time I headed out to do landscape photography. It does curl quite a bit once developed which can make it a challenge to keep under control if you are scanning or printing in the darkroom. Great stuff and everyone should have some of this in their cupboard. It is available in 35mm, 120 roll film, and in 4x5 sheet film so just about everyone should be able to put it to use somewhere. Did I say it was amazing?? I do have to give a shout out to Adox as this little company is doing some pretty amazing things with film and with paper. Silvermax, CHS 50 and 100 (though I guess the 50 may be out of production now), Scala 160 (makes awesome black and white slides), and the aforementioned CMS 20 II.
Now, back to my own reality. I use more Kodak TMAX than any other film by about 3 to 1. This includes all flavors from 100 thru 3200 depending on my needs at the time. I am very glad that Kodak revived the 3200 flavor though Delta 3200 was a reasonable substitute and I still do use a bit of that. Kodak's TMAX films have great tonality and are capable of capturing amazing detail. This film, next to Efke, is probably my favorite film to print in the darkroom. So far I am able to continue finding it at prices I can live with if I pay attention to sales. However, as the price continues to increase I have been forced to consider more economical alternatives. I would hope that Kodak will keep the lid on prices with this film because the loss of these films would be a great loss to the film community, but they may not be able to.
Arista EDU Ultra is another favorite of mine. I tend to use the 400 flavor more frequently than the others but I do like and use the ISO100 flavor as well. When exposed and developed carefully it provides excellent tones and decent detail. Another real benefit in my mind is that it dries very flat with minimum curl in the long axis and no curl across the film. This allows for easy scanning with pretty decent results. This has been a pretty economical alternative and though there was a period of time where QC seemed to fall off, my recent stocks have been very nice to work with.
I have recently started working with Ultrafine Extreme which is another discount film in the same vein as Arista EDU. My use so far has been mostly exploratory as I haven't really sorted out the best combination of exposure and development for my likes and needs. The other problem I have is the lack of large format sheet film since I continue to shoot quite a bit of sheet film in various formats. I suspect I will eventually discontinue my use of this film for this reason. Having said that though I find that I still go back and buy a bit every time I run out so who knows.
I did have a love affair with JCH Streetpan 400 for awhile, and I still really love this film. When it is developed right I get some negatives that are absurdly easy to enlarge and print. Unfortunately it does not seem to be quite as flexible as some of my other 400 films so I only use it occasionally at this point. Like Ultrafine Extreme though, I end up buying a bit more every time I run out. If you like to print in the darkroom, and you don't need to push or pull your film, this is a wonderful film that will produce some pretty terrific prints. It may take a bit of experimenting to get your developing techniques down. If you don't mind mixing up your own developer I have had great success with Beutler 1+1+8 for 11 minutes with minimal agitation of 30 seconds at the start and one inversion every 30 seconds after.
On some other day I will try to sort out which color films I like and why, but this has gone on quite long enough already. I will say that I have become quite fond of Portra 800 because of its color palette and its flexibility, though most of the Portra films are pretty flexible. The new Kodak Ektachrome film is another recent favorite as well. But it is probably pretty obvious that I don't use near as much color as I use black and white. Actually I recently thought that my use of color would taper off to nothing at all because of the expense of chemicals and especially shipping. Fortunately several good people here helped me get a new supply of developing chemicals at reasonable prices so I will still be able to use color film for quite awhile yet.
These inherent and immutable qualities in any film can be a bit worrying but provide me with a lot of remote social contact now that I need to remain in the house for hours at a time and insist on keeping to the govt's rule of staying 2 metres away from the wife. She refuses to conform to that rule, insisting that as we are husband and wife and have been for many years, 4 metres is the minimum she will countenance 
And I miss it.
