This is an interesting question, and one that has been ongoing since I first entered the field 30 years ago. Here're my two cents:(posted 8459 days ago)I apprenticed with a fellow named Pete Turner. Pete is as devoted a 35mm proponent as you will ever find. His assertion for years has been, for commercial work, 35mm was just as good as a Hasselblad because he could shoot Kodachrome vs. Ektachrome in the Hassy (this was before Kodachrome was available in 120 and before Velvia and Provia, etc). (Incidentally, he did keep a Hassy in the safe, but it seldom saw daylight!)
Pete made a reasonable argument--Kodachrome was that much better than Ektachrome. But that was color. The only reason Pete had a Hassy was the very occassional client who wanted him to shoot b&w. On those rare occassions, he would relent and we'd drag out the Hassy. Meanwhile, the assistant staff would be looking at each other saying, "Do you know how to load this thing?"
All things being equal, a larger negative will always beat a smaller one. But IMHO I don't think the jump from 35mm to 2-1/4 is big enough. Yes, it is better, but not enough. I think if you want real control and quality in b&w, go all the way and use a view camera.
Is precise exposure important? In 35mm is it critical in order to maximize quality. Any errors in exposure, processing, handling and printing will be revealed by the degree of enlargement necessary. But with due attention to detail, 35mm can produce remarkably good images.
With that said, 4x5 is astounding better in resolving fine detail and in micro tonality. There is simply no comparison. And this is coming from one who loves the convenience of 35mm.
Do I love using a view camera? Not exactly. At least I don't like getting it to the places I shoot. However, I do it because when I pull a print from a 4x5 negative, I am so often stunned by the image quality.
A few of the reasons 4x5 blows away 35mm and 6x6: 1. Individual sheet EI and development 2. Switch films sheet to sheet 3. Big polaroid (mostly for commerial work, but it can be useful for personal work) 4. Exposure latitude: you can overexpose a 4x5 neg to bring a value up from Zone 2, say, to Zone 3 or even 4. You can do this with smaller formats, too, but you must compensate in processing. With 4x5 you don't *have* to compensate if you don't want to. Let's say you want to hold midtone separation, which would be compressed by compensation development. With 4x5 you can overexpose and burn the middle and high values down without fear of excesssive grain and loss of sharpness. 5. Lastly, the controls of a view camera are an incredibly useful tool. Yes, there are tilt-shift lenses for smaller formats, but they do not have the range of control a view camera offers.
In sum, if you want to go bigger than 35, go much bigger. Don't 1/2 step it.