Quote Originally Posted by Stephen Benskin View Post

You seem to be jumping around a bit on what type of flare you're interested in. I have a feeling this isn't it, but I put together graphs of 3 examples of camera image flare to compare: no flare. one stop flare, two stops flare.
Well yeah.

So what, this is a creative/artistic/practical use question.

If can I look at a scene and put together a good idea of whether or not to use my lens hood, based on the subjects and lighting, and if I want those subjects closer or farther from each other on the curve that's huge.

I'm actually thinking that not having a hood on when I shot at Chimayo may actually have been a blessing. If the flare caused the the shadows, the people inside and the alter, to get off the toe and land on the film a zone closer to the highlight exposure, the people near the door and the building facade; that's actually better for me when I get to the enlarger.

Actually you bring up a great thought with regard to types of flare, I don't know what they all are/might be and I don't know what can be done to mimic flare either. That's shy in the op I suggested that the second pyro bath might mimic pre-exposure/flare, in essence reducing overall contrast.