Toke, when you've got it, which you obviously have, format doesn't matter. You adapt to the 'beast' in hand every time, as you have often proved.
I would suggest one thing: try shooting some Ektachrome and scan it. If you have a good lab, they are consistent and you learn what to expect from your film.
I say this despite loving b/w and the reason is that processing b/w film yourself is great if there's a good throughput, but not so charming if there is a gap between goes. I used to do everything in D76+1; it worked like a dream, but when I gave up doing it professionally I rapidly ran into problems: the conc. solution goes off quite soon and consistent results become hit and miss, and you can't afford that if you take it seriously. That stuff has to be made, used and dumped as quickly as possible. I then tried to use those tiny Neofin containers and I could never get it together with the look I got - it just didn't work for me at all, so in my case, the reliability that one should get from those secure little doses wasn't really helpful. Ektachrome can give you the best of both worlds; I used to say that about Kodachrome on 35mm (I never used it, but I'm informed that 120 Kodachrome sucked, depending on batch.)
There is much nonsense spoken and written about the difficulty of 'seeing' in either colour or b/w and how different these disciplines are; well true, but it's all a matter of understanding what a tone is: once you realise that you have to differentiate planes/objects via simple strength of tonality and not with the ease of colour itself, the 'problem' vanishes. Or it damned well should!