Of course. But having done a lot of darkroom printing as well as having seen a lot of things that simply couldn't be post-corrected ala scan, etc, there is a commonality to the issue, the same problem involved. Unless you are going to "paint" or "dub" or "fake" texture, color, and detail where it's not actually there on the film, you can't reproduce it. I've seen people spend a lot of money and time trying. A center filter is good insurance and a lot simpler solution. I was simply offering an illustration. A direct print tells the story in a more straightforward manner than jumping through a bunch of digital hoops, but the underlying issue is exactly the same, and it comes with the territory when people use superwides and ultrawides. The last time I toted the combination of a SW and CF, I was shooting in a dark tunnel toward the light with probably a 14-stop lighting ratio. That's a hard enough cat to bag by itself without factoring in significant additional falloff. And doing a whole lot of minus this and that dev simply flattens the mid and upper tonal separation, so I wanted to keep that loss to a minimum. I've shot numerous analogous situations like cave entrances and deep narrow canyons, and with color film the issue is way worse.