Quote Originally Posted by Michael R 1974 View Post
I don't think it works that way with subject flare, where the high lumincances affect the lower ones. I think the characteristic curve under those conditions is basically a "given" (ie we cannot control the flare), and increasing or reducing exposure simply moves the subject range up and down that curve. So reducing the exposure would result in more compression because more of the subject values fall on the flattened portion of the curve.
Keep in mind that flare doesn't change the film's toe... it only affects the light falling on the film plane.

This is an example situation where you can see "more clearly" what's happening because you separated your flare tests from your film tests.

So the flare light provides enough light to lift you off the toe. There is compression, but it's compression of the light bringing you shadow tones to the film. Nothing you can do about that (except maybe a compendium hood) but try to keep the lowest of the shadow tones on the straight line portion of the film.

But since flare lifted you up off the toe, you can still reduce your exposure and remain above the toe.