Quote Originally Posted by Michael R 1974 View Post
Depending on the film/developer combination, the highlights should maintain full separations up to pretty high levels (at least ~Zone XII in ZS parlance) with good-to-useable separations thereafter up to ~Zone XV, provided normal or mildly contracted development is applied. Big time underdevelopment and/or compensating procedures significantly flatten highlight contrast (effectively blocking highlights but with lower densities) so they must be carefully used. This is why when dealing with very high contrast subjects I suggest considering printing techniques when making the exposure/development decision at the scene.
Yes, if you have enough oomph in your light source to actually shine through those dense highlights without going into reciprocity failure territory of the paper... I love my Leitz V35 enlarger, and it has taken a little while to get calibrated with my negatives such that I have enough contrast, but also able to stay under 2 minute exposure times one or two stops from wide open on the enlarger lens.

I like my Omega, and with a 250W bulb in the lamp I can use a fair bit denser negatives, but for 35mm it's a finicky enlarger to use, especially getting correct focus because of how much it wobbles.