Hello!

Does anyone have opinions about Agfa's Multi-contrast Classic double weight fiber based enlarging paper? I used to use Agfa Portriga-Rapid 118 paper, which was a very good item. I am wondering how this newer paper compares. ALSO, I am interested if anyone knows the proper mixing ratios of Spotone dyes for the Agfa MC Classic paper. Thanks so much!!!

-- Dan Stanley (speedstr@in.net), March 12, 2000

Answers

The paper, Agfa Multicontrast Classic 111, is superb! My favorite warm-tone paper of all.

-- Peter Hughes (leo948@yahoo.com), March 12, 2000.

I agree that it has the nicest tone of any multicontrast paper. However, I've had trouble with emulsion peeling from the edge. I've returned boxes to Agfa, asked for help from the dealer, and asked for suggestions on this forum a while back. I got several different suggestions as to the problem - from squeegee to water to fixer brand. The simple fact is, I've never had that problem with other brands. Try Ilford Warmtone; it's slightly warmer, but much more sturdy.

-- Henry Friedman (friedlew@worldnet.att.net), March 12, 2000.

Agfa multicontrast classic turns out great when developed with Agfa Neutol-WA. This combo gives a slightly warm tone to the print and tones extremely well.

-- Sriram (r_sriram@bigfoot.com), March 12, 2000.

The following is all related to FIBER paper and that I have printed literly hundreds and hundreds of b & w prints in my own darkroom and by professional labs, and on almost every fiber paper on the market over the last 10 years , so please keep that in mind as you read it: If you never used Agfa Portriga 118 before it was discontinued, you probably dont know what you are missing. It was the most beautiful warm toned papter in the world (my opinion). I HATE the new Agfa Classic 118, however, there is not too many alternatives since most of the good graded papers have been discontinued. I have found that the variable papers (papers that contrast is changed by using filters to change the contrast) are very inferior to the graded papers (papers that are made with a certain contrast and cannot be changed in the enlarger). All the paper companies have changed from graded to variabe papers to save them money. They state they did it for the enviornment; I say baloney. I do like a couple of papers that only have one contrast such as Lumonos Charcol R and Kodak Ektalure for my type of work (vintage looking handtinted photos) but unless you like a very warm tone, you may not like these. They also are very expensive. The lab I go to in Hollywood, Photo Impact, charges $50 for an 8x10 for these papers and other fiber papers and only $26 for the Agfa Classic. And yes, I have had troubles with the fiber paper peeling if its washed too long and have had it turn grey on me also if its stored too long; much faster than any other paper Ive used. Also, when this lab used agfa Portriga, all the prints I had done there were perfect. Now, with the Classic 118, they are usually too dark or overcompensated and too light for hand tinting. It is THE MOST FRUSTRATING aspect of my business and may be the straw that leads me to quit the business (black and white handtinted childrens portraits). Iford fiber papers are good, but just not good for me because they are hard to tint. Bottom line to me is no variable papers have the same tonal range and beauty that you can get from the old fashioned graded papers. Please let me know your opinions about the paper subject and let me know of any good fiber papers you have found. factors in me getting out of the business (Childrens Black and white handtinted portraits. Also, Im looking for a less expensive, good black and white lab (preferably in the LA area but any area would be considered). Thanks for lending me your ear. Connie

-- Connie Steidl (photoartc@prodigy.net), March 13, 2000.

I agree with Connie that we lost a great paper when Portriga was discontinued. I used to get split tone effects with Portriga without even trying. The closest thing to it was the Agfa Elite, but I can't even find that listed on Agfa's site now, so I suspect it has been quietly discontinued. The Multicontrast Classic has a wonderful color when toned, but just doesn't come up to the standards of the old Portriga. For warm prints I have been using Ilford Multigrade Warmtone and toning it in selenium toner mixed at 1:4. I have also had some very interesting results with Luminos Classic Warm (in both Glossy and Pearl finishes), but it is available only in a single grade (equivalent to about grade 2-1/2).

-- (edbuffaloe@unblinkingeye.com), March 14, 2000.

The problem with Connie's post is that she is not printing her own work. A darkroom worker who both makes and prints their negatives can suit photographs to any paper. I use Ilford MG quite a bit. I recently printed with Forte Poly warmtone. What a completely different world! Yet, I could easily tailor a negative to either paper, even with their great differences. I have used Classic recently, and now I wonder how it compares to Ilford warm tone?

-- Chris (cpwray@hotmail.com), March 16, 2000.

I have found Ilford's warm tone FB paper to be too sensitive to even extreme dilutions of toners, giving garish colors. I am using Agfa 118 in polytoner 100 to 1 and Ektalure (recently discontinued) in selenium 3 to 1, both in LPD developer which helps the Ektalure with contrast control. I have recently come to appreciate Ilford's cold tone FB when sepia toned. I'm getting worn out experimenting. I too miss Portriga... t

p.s. Connie, try Ilford MGFB in the matte surface... t

-- tom meyer (twm@mindspring.com), March 16, 2000.

tom, i just bought some ilford mgfb to try. Chris, i can only tell you you would have to have seen the 118 portriga to compare and see there is no comparison. I have printed many many prints and feel the variables just dont compare to the older graded papers. Ektalure is discontinued. Damn, another one bit the dust.

-- Connie Steidl (photoartc@prodigy.net), March 29, 2000.

If you want a real challenge, try printing a decent image on Agfa Classic matt from Kodak 400CN film. Now theres an assignment from hell.

Connie

-- Connie Steidl (photoartc@prodigy.net), April 15, 2000.