diff --git a/README.md b/README.md
index fdc9d5a..280160c 100644
--- a/README.md
+++ b/README.md
@@ -48,8 +48,8 @@
 * Much less fussy about agitation than PMK Pyro
 * Produces negatives that work well for both traditional silver and alternative printing processes
 
-This monograph is *not* about Pyrocat-HD, although all the testing was
-done with it.  Pyrocat-HD turned out to be a gateway drug to my
+This monograph is *not* about Pyrocat-HD, although much of the testing
+was done with it.  Pyrocat-HD turned out to be a gateway drug to my
 learning about "stand" or "still" development.  This is an an old
 technique used by some of the masters like Atget.  Today's modern
 masters like Sandy King and Steve Sherman are making use of variations
@@ -684,6 +684,61 @@
 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 "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
+dilute Rodinol.
+
+**WARNING**:  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.
+
+Using highly dilute D-23 without the lye might also be a way
+to handle situations where extreme contraction is called for -
+i.e., Scenes with huge SBRs.
+
+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 the culprit may be the Hydroquinone in DK-50, 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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