It occurs to me some dont realize the full potential of the Semi-Stand process, like most photogs, myself included we get caught up in the mechanics and technical side and loose sight of the creative possibilities. The Semi-Stand process and its ability to completely alter, then control and ultimately predict the final micro contrast of a negative opens up possibilities in our own personal work never before possible. Think about this for a minute, you have a process, which effectively gives maximum film speed (shadow detail) yet at the same time gives maximum contrast compression by nature. True, not all scenes require compression, but when the process allows for complete control of the micro contrast you have effectively produced a negative otherwise which until now was not possible, do you see the creative possiblities? A good friend says, you are just pushing tones around. That maybe but let me see you what youre doing to effect to own vision. Take for instance a photograph on this page in my web site, http://www.steve-sherman.com/southwest_main.htm photo is titled Jack, Mystery Arch. For those who have been to Mystery Arch near Monument Valley you know the rock or arch is deep dark red sandstone with little areas which reflect any secularity. The negative was generously exposed with the dark tones of the rock exposed near Zone 7 or 8, naturally this pushed the background (late afternoon sunlight) probably up to Zone 14. I used the HC110 dilute developer method and then printed on a high contrast paper preserving the impression of light emanating from the arch, add in my good friend Jack Holowitz and I created an impression of believability which just doesnt exist. I had to use some darkroom gymnastics to print this negative on a # 4 paper but nevertheless I was able to pull it off. With the Semi-Stand or Extreme Minimal Agitation process there would be no need to use a hard contrast paper, which would make the darkroom process so much more enjoyable. My original attraction to Semi-Stand was a result of using Azo for by 7x17 work. Made all the sense in the world to use a contact printing paper when shooting film that large. Problem was Azo and its considerably longer gray scale. I was not willing to shoot in more contrasty light, above expample not withstanding. The Semi-Stand process when throughly researched and perfected through trial and error can produce the exact micro contrast which is unique to each photogrpahers likes. Bruce Barnbaum is the photograher who turn me onto the Slot Canyons of the southwest. The major difference I think between my work and almost everyone elses renditions of the slot canyons are how the film was exposed. I never saw anyones technical data reveal exposures of more than 3 minutes. Typically, my film was exposed for one hour and in the case of one shot on my web site for two hours. There were just parts of the slots that were never going to reflect light regardless of exposure time. Therefore, I placed the highlights as high on the Zone System scale as I felt comfortable in controlling through development and final printing methods. Again, had I known of the Semi-Stand process then it would have made the printing process infinitely more enjoyable. The difference between my photos of the slots and most others Id seen, the gradation of tone, it was not harsh but more subtle, and more in keeping I thought with the incredible flowing lines of these incredible wonders of the world. When I turned to contact printing Azo was an easy choice, I just didnt care for the micro contrast of the Platinum / Palladium process, enjoyed looking at others work but it was not for me. Thanks to Sandy King and the Semi-Stand technique new possibilities are presenting themselves regularly. Immediately following the View Camera Conference this past May in Springfield Michael Mutmansky gave a Palladium printing demo at Jack Holowitz's darkroom. He used one of my Semi-Stand negatives for a test print, not only was the micro contrast more than sufficient (at least for me) the color and feel of the process was quite mesmerizing. I now own a Pt / Pd printing light source and look forward to new possibilities in my personal work, another learning curve, its very exciting. I realize that this post has gotten long winded, but I would conclude that the Semi-Stand process is much more than a technique, it allows creative possiblities never before possible. Isnt it the creative opportunities why we do this thing called photography?