Quick Question

Not possible by any method I can think of. The only way is to take your bracketed exposures, process the film normally, then scan the results onto a PC where you could then combine the images using HDR software.
 
... this could be me talking out of my bum though haha :LOL:

LOL Well I wouldn't couch it in quite those terms, but it's obvious you've never done any photographic printing. :LOL:
 
Not possible by any method I can think of. The only way is to take your bracketed exposures, process the film normally, then scan the results onto a PC where you could then combine the images using HDR software.

Exactly what he said ;)
 
There's a trick old Ansel Adams used to do to reduce contrast and get the most detail out of a scene, he used to pre-expose the film to a grey card before taking a second exposure.

Haven't tried it myself as it sounds a right kerfuffle.
 
It's very feasable, but not in a 'HDR' sense. In fact I've done it myself. It was done, however, a little different.

It's a mixture of negatives exposed for different areas, one for the sky, one for the ground, etc. and exposing them on the same paper with an array of dodging, burning, contrast grades & patience.
 
There is a degree to which in my opinion the whole HDR style was developed in an attempt to compensate for some of the deficiencies of digital as compared to film in the first place, particularly with regard to the fact that analogue overexposure blows out in a far less offensive manner than digital and that film has a wider range anyway.

With black and white there are so many darkroom techniques to allow one to effectively increase the dynamic range of a negative at the printing stage that composite printing is hardly ever worth the considerable time and effort. For 35mm in particular the big issue for composite printing is keeping the images in register and for this the most effective technique involves making intermediate negatives by "printing" to the final size in reversal sheet film which can then be registered with a pin and punch system and a final print made by contact printing (ideally in a vacuum frame). As you may imagine dust becomes a serious issue here and one of the most time consuming parts of the process is the removal of the specks on the interneg with a practised flick of the tip of a scalpel blade.

These techniques derive from the now somewhat obsolete processes involved in offset litho platemaking and the very thought of it takes me back to my childhood days at my Grandfather's printing works with the smell of ozone in my nostrils and a huge spanner in my hand to whack the carbon arc lights when they didn't "strike".

For colour; Velvia, Cibachrome and a bit of skill make any sort of "HDR" completely pointless.
 
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