Originally posted by tuco And yet I get good shadow, more highlight detail and finer grain ( more dynamic range) when I over expose by 2 or 3 stops and under develop. It is taking Adam's zone system of N-1, N-2 development to the extreme. I have examples. I can see the results. My negatives look good. But you are saying I'm not seeing that, right? Perhaps you should show us some of your highlight compression work and how it has failed to produce as good of results as box speed developing. Cubic grain films that I have tested don't compress as well as tabular grain. But I haven't looked at them all.
The toe and shoulder of film is not reproduced on BW paper very well at all. Look at the characteristic curve of typical BW paper and that of your film/developer combo. You should see the representation of low and high values are compressed when you create this second generation image and the mid tones are pretty much represent what's on the negative. When I scan I believe I do not have this problem. My biggest problem with low values is my scanner's ability to reach into the blacks. A drum scanner would do a much better job than what I have.
The 'toe' speed of the film does vary a bit with development time, but the fog level can also rise.
Decreasing the exposure and increasing development means that wet printing is rather more difficult and you lose toe graduation.
Yes if you scan and play with sliders you can recover some shadow graduation the degree is dependent on the film toe and developer.
But two stops is a lot.
Please see 2nd page of link.
http://www.foma.cz/en/fomapan-400
If you scan you will have dmax problems, Foma 400 tends to go contrasty quick.
I'd try wet printing you don't need a wet darkroom you can use a processing tube, an under stair cupboard and free enlarger if you are patient...
I typically overexpose a stop ie set ISO/EI to half box speed and meter for zone 1 using a Weston up close to a zone 1 tone. So similar to you. It makes wet printing easier for me. I develop stand in Rodinal and may have too much contrast in some circumstances, with 36 frames on a film you are stuck...
This is very close to Ansels scheme, and simple to do.
But you are correct in a high contrast scene only mid tones will be 'representative' and wet printing requires VC paper masking template burning and dodging and two filter settings.
But you don't need under exposed shadows 'burnt' high lights are way easier to deal with.
Wet printing is slow slow.