Fun fact about flare and shadow compression. Ever wonder why Tri-X professional, with it's long toe, is considered a "studio" film? There's less flare with interiors and the ability to control lighting. In theory, regular Tri-X shot in daylight would have similar tonal distribution in the toe as Tri-X Pro shot in the studio.
A friend of mine pointed out something interesting that is practical application of this. Normally shooting portraits using Tri-X and HC-110, and switching to TMax 400 and Xtol, all of a sudden shadows were problematic due to flare. Solution? Expose TMax 400 at 1,000 to 1,200 and Xtol is still efficient enough in the shadows to get enough shadow detail - all while burying most of the flare. In fact, it looks a whole hell of a lot like Tri-X this way, and the advantage is of course that it gets easier to shoot medium format or large format with almost two extra stops of light. Just an aside, but it's a practical example of what you're saying.
"Often moments come looking for us". - Robert Frank
"Make good art!" - Neil Gaiman
"...the heart and mind are the true lens of the camera". - Yousuf Karsh