After watching Michael Smith print one of my negatives on Azo and develop it in amidol, a negative which is in my opinion incapable of yielding a fine print, I threw out my supply of Agfa Neutol WA working solution. I still have a bottle of stock solution (unopened) in the closet somewhere which is yours if you want to come by the house to pick it up.

After the early 1920's Edward Weston developed all of his negatives by inspection in pyro and developed the contact prints he made from them in amidol. He was dirt poor for much of those last 25 years of his working photographic life. Don't you think there must have been a reason why he would use such an expensive developer for the rest of his productive years (and have his sons use it to print his negatives for ten more years)?

Michael Smith and Paula Chamlee make the finest photographic prints being produced by any living photographer, and they make an awful lot of dead ones look pretty bad. The only prints that I've seen to even equal theirs are some Westons (both Edward and Brett) and a few Wynn Bullock prints. Also a very select few of Steiglitz's prints. They are driven to produce absolutely the finest prints possible and will take no shortcuts, make no compromise and will use only the materials across the board which will result in the finest possible print no matter what the cost or inconvenience. They use every conceivable advantage they can get in the pursuit of perfection. They print only on Azo paper and develop the prints in amidol. Don't you think there might be a good reason?