That brings me to a point where I can blend in Michael's thoughts.
In a tightly controlled system the value of latitude is diminished, even non-existent.
I would be truly surprised if Hurrell or Karsh designed into their production lines the use of pre-flashing their paper. Similarly I would be surprised if they reinterpreted a significant number of their shots.
So far in my photographic pursuits I've found little inspiration in reinterpreting a negative, I'd much rather shoot a fresh frame with different lighting or whatever.
Henri Cartier-Bresson though had a very different approach to shooting and probably benefitted greatly from the latitude/flexibility inherent in negatives. His printer may very well have added flashing and various other tricks of the trade to deal with the variances in scene lighting and subject matter.
As to the comments on grain and slow shutter speed, Michael those are real issues and I don't know if what I'm proposing can work well, or which film/developer combo might support this but as I refine my systems it seems a worthwhile path to play with and my interests aren't strictly related to B&W. Color negatives don't have the same grain issues.
I want to be clear here too, I'm a big fan of shooting normally and metering normally for a lot of my work and normally recommend normal shooting to others.