I jsut got back form a workshop where the was discussed and it seems that one would be better off just placing the shadows higher up on the scale. Why? because even a Zone 2 pre=exposure doesn't get you up off the toe of the curve enough to provide the separation need.
I have found that using a piece of white acrylic (as opposed to a grey card which muddies the color) in front of the lens gives me nice shadow detail on chrome at zone I without desaturatinbg the color and leaving the highlights where they are normally. I also use this when shooting black and white emulsions. This pre-exposure works well when coupled with preflashing the paper as well. Normal film exposure and processing together are useful tools in anyones toolkit. Each tool has it's place and value. I suggest learning them all. I find with color positive materials that pre-exposure works great when exposing near dark in the morning and evening twilight. Instead of just getting the color in the sky you can also get some shadow detail in the foreground as at Mono Lake.
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