diff --git a/README.md b/README.md
index c46df87..fdc9d5a 100644
--- a/README.md
+++ b/README.md
@@ -1,11 +1,16 @@
 # A Breathless And Brief Introduction To Stand Development
 
 
-**WARNING**:  *What follows is for the advanced darkroom practitioner.
-              It is not for beginners and people should be well
-              acquainted with safety and good darkroom practices.
-              If you do not already have a least one film/developer
-              combination "dialed in", don't bother with any of this.*
+**WARNING**: What follows is for the *advanced darkroom practitioner*.
+             It is not for beginners and people should be well
+             acquainted with safety and good darkroom practices.
+             Pyro, in it's various forms, is TOXIC and should be
+             handled with the utmost care and protection of eyes,
+             hands, clothing, in well ventilated settings.  You
+             should be using a good lab apron or coat, nitrile
+             gloves, eye protection, and a lab grade respirator mask.
+             If you do not already have a least one film/developer
+             combination "dialed in", don't bother with any of this.
 
 **NOTE**:  Please note that I periodically update this document with
            new findings.  If you've already read it in the past,
@@ -441,7 +446,7 @@
 ## When Should You NOT Use These Techniques?
 
 With over a year's experience under my belt at this point, and having
-tested many film/developer cominations across a variety of subjects,
+tested many film/developer combinations across a variety of subjects,
 I've concluded that Semistand/EMA is a superior development
 strategy for many things.  It yields full box ASA, protects the
 highlights from blowing out, and gives you snappy midtone local
@@ -463,8 +468,8 @@
 edge effects far more so than does the 1 midpoint agitation of
 Seminstand.  Given a subject with a lot of midtone texture and local
 contrast, you might prefer Semistand with a film like Shanghai GP3 or
-Tri-X.  Of course, conventional development is always a thought if the
-dynamic range of the scene can be properly managed.
+Agfapan APX 100.  Of course, conventional development is always a
+thought if the dynamic range of the scene can be properly managed.
 
 
 ## Updates
@@ -538,7 +543,7 @@
 minutes then placed in the developer.  It was initially agitated
 continuously for 2 minutes and then left to stand.  At 31 minutes,
 another 15 seconds of agitation was applied.   The film was removed
-from developer at 60 () minutes and fixed/washed as usual.
+from developer at 60 minutes and fixed/washed as usual.
 
 Findings:
 
@@ -557,7 +562,7 @@
 
   One of the test scenes has deep shadows in a building directly
   illuminated by late afternoon sun.  There was probably something
-  like a 13-15 stop subject brighness range.  Pycocat-HD would have
+  like a 13-15 stop subject brighness range.  Pyrocat-HD would have
   handled those highlights just fine, but the super-dilute HC-110
   yielded a thick, dense negative.  It WAS printable and there WAS
   detail in the highlights, so the highlight exhaustion inherent in
@@ -681,7 +686,7 @@
 
 ## Copyright And Use
 
-All content here is Copyright (c) 2021-2022 TundraWare Inc., Des Plaines, IL USA
+All content here is Copyright (c) 2021-2023 TundraWare Inc., Des Plaines, IL USA
 
 Permission is hereby granted for non-commercial redistribution by any
 means so long as you agree to these conditions: