Quote Originally Posted by Regular Rod View Post
Surely that is easier to do if all the information has been preserved in the negative instead of being overdeveloped and lost through blocking?

Those compensating developers and the semi-stand regime for the agitation make it more likely, well they do for me...
You misunderstand. I can usually make negatives that print very well with very little darkroom gymnastics. But if I'm presented with having a compressed negative, then I'm tasked with stretching those tones back out to feature good contrast again, which means I'd have to somehow apply a higher contrast in those parts. That, to me, is more difficult than to have a negative of high density highlights, but with normal contrast, and burn in that area.

That, to me is very basic darkroom printing. Compressed highlights are, to me, more difficult to deal with than a full range of tones with normal contrast, even if they don't immediately fit on the paper tone curve. Compressed highlights carry with them the burden of needing contrast adjustment at the printing stage, while a normal contrast with dense highlights just require burning, which is super easy to do. See what I mean?