I believe that the same loss occurs at very high shutter speeds, since the basic problem is the low light level (due either to very low levels of ambient light OR due to a very short exposure). A film's data sheet should state the compensation for very high shutter speeds just as it does for low levels of ambient light. Tri-x, for example, requires 1/2 a stop more exposure and 15% more development at 1/10,000, according to the data sheet.
I believe that the same loss occurs at very high shutter speeds, since the basic problem is the low light level (due either to very low levels of ambient light OR due to a very short exposure). A film's data sheet should state the compensation for very high shutter speeds just as it does for low levels of ambient light. Tri-x, for example, requires 1/2 a stop more exposure and 15% more development at 1/10,000, according to the data sheet.
When I worked a Kodak I talked to one of their top film chemists about this and why it was so. Basically he said at shutter speeds shorter than 1/10,000 second the short exposure caused reciprocity failures similar to the ones at long exposures for each film because the emulsion molecules were in a state of equilibrium at and shortly after the exposure and with very short exposures the electrons lost during exposure were recaptured by some molecules thus reversing the exposure.
When I worked a Kodak I talked to one of their top film chemists about this and why it was so. Basically he said at shutter speeds shorter than 1/10,000 second the short exposure caused reciprocity failures similar to the ones at long exposures for each film because the emulsion molecules were in a state of equilibrium at and shortly after the exposure and with very short exposures the electrons lost during exposure were recaptured by some molecules thus reversing the exposure.
Speeds decrease, but in the opposite way to low illumination levels. At low levels of illumination it is the shadows that suffer.
At high illumination it is the highlights that suffer first. ...
Reciprocity failure in low light/long exposure situations is referred to as LIRF, or low intensity reciprocity failure. Reciprocity failure at short exposures is referred to as HIRF, or high intensity reciprocity failure. I believe that HIRF first became a practical issue with Edgerton's experiments with short duration electronic flash and strobe photography, especially with attempts to photographically freeze the motion of high speed objects like bullets.
Typical camera shutters and most uses of electronic flash don't get into HIRF territory.
I don't think even small strobes at close distance get into this territory. However, I can think of at least one situation where it might become a problem - Plus-X wit a big studio strobe set to a very low power. For Plus-X it starts at 1/1000 second. The recommendation is to only increase development time by 10% for exposures this brief. at 1/10,000 second the recommendation is to allow an extra 1/2 stop and increase development time by 15%. It's all on page 2 of tech pub f4018. Just another reason you gotta love Kodak. The documentation is thoroughly comprehensive and accurate.