Agfa paper characteristics

[ParkerSmithPhoto]

We have often heard of the wonderful papers made by Agfa, Portriga and Brovira, but some of us (ahem) never got a chance to experience them. While I am certain I have seen the work of other photographers printed on these papers, I really don't know much about the specific characteristics that made them so lovely.

Can some of the seasoned pros describe the characteristics of these papers, with specific attention to the print colors with and without toners?

Thank ye!

 

[Chrismat]

I loved Agfa Portriga Rapid for its rich blacks. I used to do a lot of night photography and I was very satisfied with the results. It was a warm toned paper but I remember a photo magazine in the mid 80s (Darkroom Techniques, I think) printed a recipe for a developer that changed the paper from a warm to a neutral tone. It involved adding chemicals to Dektol and since it's been so long I can't remember the ingredients. It did slow down the development time to a minimum of 4-5 minutes but it was worth it. After develop and fix, I sometimes would use selenium toner to give it a slightly cool tone.

 

[Helinophoto]

Why don't you buy a pack of Adoc Mcc 110 and try it out, emulsion-vise, it's the same as the AGFA-paper, but on a whiter base.

http://www.filmwasters.com/forum/index.php?topic=4202.0

I had some AGFA MCP 312 paper, which came with the enlarger I bought used and ADOX also created a remake of that (paper seems whiter than the AGFA paper, but the AGFA-box was rather old, so I cannot be sure)
(there was a url link here which no longer exists)

You could get hold of a small 10-15 sheet test-box and see how they work for you.

 

[Jojje]

Some quick memories:
Brovira didn't separate the shadows very well. Didn't like it at all in fact. Record Rapid had a wonderfully long tone scale and became greenish in Neutol WA. Portriga had a noticeable dry down effect if my memory serves ne right the other way around as usual: it became lighter.