I will definitely agree that whatever works is the way to go. Sorry if my last post was a little harsh.

The reason I have been hammering a little on split grade in this thread (not that it isn't a potentially valuable technique) is that the original post seemed like a case where a more "traditional" approach might have been a little easier for a less experienced worker. Here we had a case of a straight print that was too soft at grade 2. Assuming no local adjustments were needed, all I'm saying is perhaps the simplest approach would have been to try a higher number, instead of moving to a split exposure approach. I'm saying this because once Christopher went with split grade, that seems to have been when he started to have trouble figuring out what step to take next when the contrast still wasn't quite right. That signalled to me perhaps he needed to take a step backward to better understand how the paper "sees" through the filters.

Didn't mean to derail the thread though (hopefully I didn't totally wreck it!).