Once corner hue shifts occur with color films, it implies a degree of crossover of the dye curves themselves, in some cases so inextricably that one simply can't post-correct the color per se in PS just via a contrast tweak, or even a simple color correction applied to the affected area. Think of concrete - once it's mixed and sets up, it's almost impossible to actually separate the sand, cement, and gravel ingredients, even with a Jackhammer. So whenever possible, it's best to do the correction at the time of the shot itself. I get awfully tired of hearing people state they can do "anything" in PS, and then when they can't, they're the very ones cursing Kodak or Fuji for incompetence and selling such a lousy film.
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Obviously no color crossover issues with black and white film, but the very real risk of losing all tonal gradation off in the nether corner regions. Might not bother anyone at all looking at a contact print or small enlargement of the image; but then, if they scale the same image up to a big enlargement, the emptiness might be quite annoying. All depends. There are no rules applicable to every situation. You decide.
But I like to take advantage of as much of the straight line of a film way down into the shadows as I can, especially in high contrast situations, because that often alleviates the need of "minus" or "pull" processing or otherwise compensating development which penalizes midtone tonality. That's all potentially usable real estate way down there, which I want present on the negative, and not preempted. More density can always be burned-in or over-developed during the printing step afterwards if desired. But if nothing is there in the neg at all, there's no recourse. You can't opt to print detail or shadow texture that's nonexistent on the neg itself.
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