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@@ -684,6 +684,57 @@
 avoid bromide artifacts on the bottom edge of the film.
 
 
+### Update 8-5-2023: Super Dilute D-23
+
+D-23 is easy to make and is often used when you need to control a
+very long Subject Brightness Range.  That's because it's a so-called
+"compensating" developer that nicely reins in the highlights.
+
+ **NOTE**: Ignore rumors you may have heard that D-23 is a "low
+           contrast" developer.  It will deliver the contrast you want
+           based on how you work with it.
+
+I've gotten very good results with D-23 stock as well as 1:1 when doing
+semistand and EMA development.  But I wanted to push the dilution
+envelope a bit.  Why?  D-23 is a "solvent" developer made of only
+Metol and Sodium Sulfite.   The Metol is the development agent
+and the Sodium Sulfite acts as a preservative and produces the
+required alkalinity for the developer to work properly.
+
+In normal dilutions, the Metol in it "chews away" at the grain. That's
+the "solvent" effect.  This helps keep the grain under control, but it
+does so at the expense of absolute sharpness.
+
+By diluting beyond the recommended amount, we reduce the amount of
+Metol in the working developer so there is less of that solvent effect
+and the negative is rendered more sharply.
+
+Up to dilutions of about 1:4, I got consistently good results from
+semistand with D-23.  Beyond that, though, the reduction in the
+amount of Sodium Sulfite in solution reduces its alkalinity to the
+point that the developer stops working well.
+
+Someone on the UK Large Format forum suggested that I try D-23 at a
+1:9 dilution but add 0.5 grams/liter of lye (Sodium Hydroxide) to the
+mix to kick up the alkalinity.  This works just great - you get super
+sharp negatives with this scheme.  HOWEVER, you won't want to do this
+with smaller format/grainer films.  For example, 35mm Kodak Double-X
+done this way produced really grainy negatives reminiscent of highly
+dilut Rodinol
+
+**WARNINIG**:  Be careful handling lye.  It will burn skin, cause
+               damage to eyes, and so on.  As always, use sensible
+               lab techniques and wear protection in the darkroom.
+               Lye added to liquid is exothermic and can generate
+               a lot of heat, so be careful and take your time.
+
+For the record, I also tried this with DK-50 at 1:5 and got less
+wonderful results.  It certainly worked, but I didn't like how the
+tonal range got handled.  The negatives came out sharp but sort
+of harsh looking.  I think it may be that DK-50 has Hydroquinone
+in it, but I'm not sure.  I didn't test it as thoroughly as I did
+D-23 so it might just be a lack of understanding on my part.
+
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