The best advice I can give is to stop trying to do it in the camera. Prints happen in the darkroom. We have an old saying: " you can't print what isn't there" and it is very true. You can on the other hand choose not to print what is there by controlling your contrast and exposure during printing. Add dodging and burning to that and you are on your way. Prints that look like the one you referenced usually start out with the photographer striving to make the most expansive negative he can, and then printing it a little hard. When you have a negative that goes to ten you can do that, have your hard blacks, and still hold the highlights. If you printed the negative I've attached straight up it would look like mud, because in order to get the latitude to handle the contrast that's the way I made it. You could use this negative for welding goggles. If it hasn't been made that way there wouldn't have been a hope in hell for the stuff in the middle and on down. I chose where to have black fall, something I wouldn't have been able to do with a negative that had been truncated by under exposure. I hope that makes some sense.