I will break this down in three basic steps, skipping all the little steps that fall in between.
A) Film Development
A Jobo processor is used for the development of the negatives. I am currently using D76H (similar to Kodak's D76) for the development of all my negatives.
A note on darkroom chemicals. Due to the increased widespread interest in digital photography and decrease in traditional photography, I started mixing all of my own soups from raw chemicals many years ago. In an effort to keep from having to re-test film speeds, development times, etc., should a premixed product be discontinued due to lack of demand
B) To Mask or Not
After development of the negative, I then determine if any masks will be beneficial for the finished print. Several masks may be used for one print.
Most often an unsharp mask is utilized to enhance the sharpness and detail of the image. Ilford's FP4 film is used for the unsharp mask, which is then developed in the Jobo.
A "sharp" mask may be employed. Some of these masks are used solely to affect certain tonal values in the print. These include Highlight masks, Shadow increase or decrease masks, and Fog masks. All of these sharp masks are made from Ultrafine Ortho Lith film and developed in trays. The benefit of using ortho films is that the safe light stays on during the mask making process. As of lately, orthochromatic films are becoming a bit harder to find. I have an ample supply put away in the deep freeze fortunately so for the time being I can continue with this type of masking.
One other mask is the Dodge/Burn Mask. This is a translucent sheet of drafting film that can be penciled on to "dodge" or cut out to "burn" specified areas on the print. This is quite a useful tool for exacting areas that can't be manipulated with the standard dodge/burn tools.
C) The Print
My paper of choice is Ilford Multigrade IV fiber base. I develop the majority of prints in Ansco 130. My enlarger for the 4 X 5 negatives, a Saunders 4550 VCCE, is a real treat due to the contrast control capabilities. The 8 X 10 negatives are printed on an old 8 X 10 Elwood stripped down to the chassis then re-fitted with an Aristo V-54 Cold Light. Ilford Multigrade Filters (12" X 12") are used directly below the cold light and above the negative for contrast control.
I have modified my enlargers somewhat, in order to register the negative and masks. For example, the negative and let's say an unsharp mask are registered on the negative carrier. Then, the entire negative carrier is registered in the enlarger. This allows me to remove the negative carrier from the enlarger after exposing the paper. I can then remove the negative, replace with a sharp mask, re-install the carrier in the enlarger and continue with additional exposure through the sharp mask. (This allows for perfect registration unless I bump the easel.)
I use a seven tray (seems excessive) method of processing the print. The line up includes developer, stop bath, water rinse, alkaline rapid fix, second alkaline rapid fix, hypo clear, and lastly selenium toner. The print is washed, and then dried on a screen.
That's the process in a long-winded nutshell. If you have any questions just drop me a line and I will be happy to talk shop.