Joanna, We seem to have have smaller pinheads and angels with tinier feet to dance on them. We also have silver pins and silicon pins to worry about. You raise an important but parallel point about retouching. AA was showing the majesty of the natural world and the graffito disturbed that view. We can imagine (eg) Martin Parr taking care to include it. He is concerned with the peculiarities of human behaviour. Mr Parr is not a large format photographer of course. You will also have read AA's account of waiting for the horse to turn into the last available sunbeam. Was he really blessed by extraordinary luck or was he so prolific that he was bound to have serendipity's hand on his shoulder from time to time? If he declares it then there's no deception. A small point of curiosity here. The offending letters must have been darker on the neg, so do did he ferri them out? Risky process on film. Lemon-squeezy on screen.* I submit that we are not arguing, in the sense of aggresive disagreement, but rather that we are exploring a subject that interests us. This kindly forum is providing a rare opportunity to get away from Exif data and zoom ratios. To me is seems worthwhile to lift our eyes from the minutiae of (ahem...) miracle developers** and look at a bigger picture. *Today, perhaps: drum scan neg; retouch letters; dodge and burn; output new neg; print perfect print in darkroom? Append note to back of subsequent prints? **No reason to avoid discussing developers, but there is more to photography.