Action, Emotion, Memories

The Black & White Manual

Agfa Products for creative Black & White Photography
Film I Paper I Chemicals

qwer
Silvia Pecota/Canada
Creativity and technology

Even today, black & white still represents pro- certain paper – or our total range: Agfa offers
fessional photography. The image without all components in modern technologies. For a
colour is cult, art and nostalgia together. perfect black & white system.
Documents contemporary events in journalism,
industry and technology and captures the
moment in the report.

Limiting oneself to black & white uncovers the

greatest variety of expression and design.
Every photographer stands here under the cur-
rent of classic technology and modern materi-
als. Whoever truly wants to be creative must
know his tools and instruments well. Only
then can creative or technical accents be for-
med – can the photographer develop his own
style. And black & white photography opens
up more scope for design than many other
areas.

The results can be influenced by many factors.

From the choice of the film material and its
processing or from the conception on photo
paper and the consequent “forming”. And each
method of after-treatment increases the scope
once more. The challenge for the photographer
therefore lies in composing the various factors
and leading them to his ideal result.

This handbook is intended as a help and

incentive for this technological-creative chal-
lenge. The various products, their use and pro-
cessing are described, all technical specificati-
ons are listed. Whether it is a single film or a

3
 The Black & White The Black & White
Films Photo Papers

 Variety –  Variability –
the attraction of the BW system 7 analogue and digital 15

 The Agfa BW film range 8  The products 15

 The products 8  Technical data 18

Density curves
 Technical Data 10 Maximum blacks
Density curves Spectral sensitivity
Sharpness Speed
Spectral sensitivity Reciprocity
Reciprocity Paper design
Layer structure Emulsion
Exposure and contrast grading
 General instructions 12 in variable graded papers
Filters Useful exposure range
Flash exposure Changes in image tone
Storage
Processing Agfapan films  General instructions 28
Darkroom safelights
Processing
Drying the papers
Stabilization and improvement in dura-
bility of black and white prints
Marking and retouching
Mounting of prints
Packaging and storage

4
The Black & White
Chemicals

 The products 35  General information 74

Environmental protection
 The Agfa film developers 36 and disposal
Storage, safety at work,
 General instructions 37 handling photochemicals
Storage
Processing temperatures
Utilization of speed
Contrast
Lengthening time for
multiple batches

 The Agfa paper developers 53

 General instructions 53
Short product descriptions
Technical Data and
processing instructions
Print tone

 Technical Data and instructions

for posttreatment of
films and papers 64
Stop bath (interrupter)
The use of fixers
Correct fixing times
Fixer monitoring
Silver recovery
Fixer recycling
The final wash
Stabilizing with SISTAN
Toning with VIRADON

5
Silvia Pecota/Canada
The Agfa Black & White Films
Classic effect, modern technology

The progress in film technology is outstanding. Variety –

The standard of quality has been considerably the attraction of the BW system
improved, particularly during the past decade. In contrast to colour films, BW films may be
Today, for example, an ISO 100 material achie- modified in several parameters simply and
ves the fine grain of previous ISO 25 film effectively. Within certain limits, these films
generations. This progress is also naturally to can be adapted very well to the specific
be found in films of other speeds. In addition, demands of the photographic conditions as
these innovations have created a boost in pro- well as the desired result. Not only is the
cessing techniques, enabling 35 mm photogra- effectively usable film speed a part of this, but
phers to achieve the quality of previous medi- also such parameters as sharpness, fine grain
um size technology. and contrast behaviour.

One thing, however, has not changed: the uni-

versal film, which holds first place in all sphe-
res, remains a dream. Technically speaking,
the demand for highest sharpness and speed
together with finest grain faces clear limitati-
ons: this material is not available at present
nor will this be the case in the near future.
The laws of physical chemistry apply here.
The final image quality is a result of the
combination of the parameters sharpness and
fine grain. This still stands at an inverse ratio
to speed. The photographer, however, can
reach a very good compromise with the
modern materials. The mere combination of
single products is decisive for good or excel-
lent results, according to the requirements of
the photograph.

7
 Adjustable Parameters Areas of Use

1. Film Speed 1. Light conditions/Subject movement

2. Gradation/Contrast behaviour 2. Subject contrast/Lighting contrast

3. Sharpness 3. Reproduction of detail/

Large print formats
4. Fine grain
4. Homogeneous areas/
Large print formats

Specially formulated developing variations mittal of the richness in the tonal quality of
(see Processing section) are available for indi- the print. A finely differentiated scale in grey
vidual adjustment. tones, the clean tracing of both highlight and
shadow lead to an authentic print transmittal.

The Agfa BW film range

The instant hardening technology during pro-
The assortment and selection of the Agfa film
duction ensures a high constancy of the sensi-
range is defined by its clear aim: no complexi-
tometric characteristics speed, gradation and
ty in the sense of innumerable products, but
latent image behaviour. Agfa provides an
rather absolute concentration on a compact,
excellent anti-halo protection in the particu-
concise range. A demand from photographic
larly effective AHU layer (Anti Halo Casting
practice is carried out that greatly simplifies
Layer). Blurredness and light diffusion in the
the use of the products and their combination.
emulsion can hereby be effectively
suppressed. Added to this we have the reliabi-
The products lity of the production, based on long experien-
All Agfapan Professional films are pan- ce. Only in this way can the preconditions be
chromatic BW negative films. Their quality created to meet the demands of professional
characteristics have been geared to the requi- photography for absolutely even emulsions.
rements of professional use. Each single pro-
duct possesses an excellent performance ratio
between image quality (sharpness/fine grain)
and speed. The straight, long drawn out
gradation curves guarantee an abundant trans-

8
Agfapan APX 100 Agfa Scala 200x
Professional Professional
This universal film combines excellent image The BW film for the direct way from photo to
quality with speed for universal application. It positive image. The transparency can be pro-
is suitable for a very wide photographic spec- jected without prints, it serves directly as a
trum, including, for example, portrait, landsca- printing or scanner original for digital posttre-
pe as well as abstract photography. Push atment (posttreatment of prints, layout).
processing makes its use up to ISO 200/24° Exceptional image quality data (sharpness, fine
possible. grain) in combination with a basic speed of
ISO 200/24° make this film exceedingly inte-
Agfapan APX 400 resting for many areas of application. The gra-
dation has been adjusted to meet that of the
Professional
Agfachrome RSX II 100 Professional. Professio-
The APX 400 is considered as an absolutely
nals need not change when assessing the con-
reliable partner for changing light conditions,
trast of a subject. The speed can be increased
where speed reserves are necessary. It is not
further by pushing:
limited to its basis of ISO 400/27°, but can be
used, by means of a speed-increasing proces- Push 1: ISO 400/27°
sing (pushing), up to ISO 800/30°. The APX Push 2: ISO 800/30°
400, thereby, offers a wide sphere of applicati- Push 3: ISO 1600/33°
ons. It may be used both as an all-round film
as well as providing help in fringe areas, such Push processing causes a slight reduction of
as available-light photography with low light the maximum density and a steepening of gra-
intensity. If fast movement or tele shots with- dation. This effect can be used to improve the
out tripod are planned, this film achieves image (increase in image contrasts), as the
exceptional results. Despite its high speed, the film produces balanced contrasts when not
APX 400 permits high quality enlargements pushed. Pull processing reduces speed to ISO
with fine grain distribution and good reproduc- 100/21° with a simultaneous increase of the
tion of detail. maximum density and a flattening of
gradation. The latter effect makes the use of
the Scala 200x possible to surmount extremely
high subject contrasts. In addition, the pulled
film may be used as copy material for

9
 APX 100
Density curve
3,0

→ Density
2,0

1,0

duplicating BW transparencies or negatives.

0
The Scala 200x emulsions have been so desi- –4,0 –3,0 –2,0 –1,0 0 +1,0 +2,0
→ lg Exposure (Lx · s)
gned that, linked with the original Scala
process, they lead to a particularly high stabi-
Sharpness
lity of the printed image.
150

→ Transfer factor (%)

100
Processing is carried out solely in the original
Agfa Scala process, which is only available in
authorized commercial laboratories. 50

30
Technical data
The following list makes a quick comparison of 20
technical data possible and also gives
assistance when choosing suitable material.
10
A comment on the definition of “sharpness”: 2 3 5 10 20 30 50 100

both resolution and MTF ratings are given. The → Lines (mm)

MTF (modular transfer function) rating incorpo-

Spectral sensitivity
rates contrast thereby making objective judge-
2,0
ment possible. Due to the diffusion of light
→ lg Sensitivity

within the emulsion layer, the contrast repro-

duction of the lines of a screen lineation expo-
sed onto the film is reduced when the space
1,0
between these lines decreases. The decrease
in contrast measured with a microdensitome-
ter is shown as a graph with the modular
transfer function.
0

–1,0
400 500 600 700
→ Wavelength (nm)

10
 APX 400 Scala 200
Density curve Density curve
3,0 3,0 Pull 1
Standard
→ Density

→ Density
Push 1
Push 2
2,0 2,0 Push 3

1,0 1,0

0 0
–4,0 –3,0 –2,0 –1,0 0 +1,0 +2,0 –3,0 –2,0 –1,0 0 +1,0 +2,0 +3,0
→ lg Exposure (Lx · s) → lg Exposure (Lx · s)

Sharpness Sharpness
150 150
→ Transfer factor (%)

→ Transfer factor (%)

100 100

50 50

30 30

20 20

10 10
2 3 5 10 20 30 50 100 2 3 5 10 20 30 50 100
→ Lines (mm) → Lines (mm)

Spectral sensitivity Spectral sensitivity

2,0 2,0
→ lg Sensitivity

→ lg Sensitivity

1,0 1,0

0 0

–1,0 –1,0
400 500 600 700 400 500 600 700
→ Wavelength (nm) → Wavelength (nm)

11
 APX 100 APX 400 Scala 200x

Speed ISO 100/21° ISO 400/27° ISO 200/24°

Granularity (RMS x 1000; Scala Proc.

Refinal 6 min, 20°C) 9.0 14.0 11.0

Resolving power
(Contrast 1000:1/lines per mm) 150 110 120
otherwise the corresponding compensating
factors must be included when setting time
Reciprocity and stop. The instructions of filter manufactu-
Corrections: Exposure (f-stops)/processing (%)
APX 100 APX 400 Scala 200x
rers contain detailed information on this sub-
ject.
1/10000-1/s 0/0 0/0 0

1s +1/– 10% +1/– 10% +1/2

10 s +2/– 25% +2/– 25% +1 Flash exposure

100 s +3/– 35% +3/– 35% +2 The high illumination contrast often created
by the use of direct flash can be compensated
by over-exposure and following under-develop-
ment (flatter gradation). Despite the exposure
latitude of negative materials, a precise
General instructions exposure reading is necessary for maximum
graded grey scale reproduction. If the camera
does not enable a TTL flashlight reading, or if
Filters
the equipment is placed independently, the
All those correction filters common to BW
necessary working aperture can be calculated
photography (e.g. UV blocking filters, polariza-
by means of the following formula:
tion filters) as well as contrast filters
(e.g. yellow, green, orange, red) may be used
guide number
for Agfapan films. f-stop =
distance flash to subject
(in m)
Examples
 Yellow filter for contrast-increasing repro-
duction of clouds The guide number is determined by the speed
 Orange filter for clear distant views used and the power of the flash unit (refer to
 Red filter for dramatizing image impact the specifications of the manufacturer).
The luminous efficacy of the flash unit
The wide range of creative filters may also be depends not only on the flash range but also
utilized. on the degree of reflection of the area surro-
unding the subject and on the subject itself.
The resulting loss in speed is taken into
account by the TTL reading in the camera,

12
Storage Assortment
Formats APX 100 APX 400 Scala 200x
Unexposed films should be stored in the origi-
135-24
nal packaging in a cool, dry place (temperatu-
re below + 20°C). The photographic characteri- 135-36 MP5

stics can be kept stable over a longer period of 135-36 MP 50

time if the material is stored under deep-free- 120 MP5

ze conditions (below – 10°C). Refrigerated 35 mm x 17 m DP

films should be acclimatized to room tempera- 35 mm x 30.5 m DP
ture for approx. 2 hours and deep-frozen films 6.5 x 9 cm / 2 1/2 x 3 1/2 inch
for approx. 8 hours before opening the original
9 x 12 cm / 3 1/2 x 4 3/4 inch
packaging. Otherwise, condensation may form
10.2 x 12.7 cm / 4 x 5 inch
on the film. Exposed films should be processed
13 x 18 cm / 5 1/8 x 7 1/8 inch
as soon as possible. If films are stored for a
great length of time, a slight loss in sensitivity
may occur through the diminishing of the
latent image (in particular under the influence
of unfavourable climatic conditions).

Processing Agfapan Films

Processing data for all films are to be found
under the “Processing” section (Page 36–52
and 64–70).

13
Frank Wartenberg/Germany
The Black & White Photo Papers
A multitude of possibilities

The impact of a black & white photographic Scanners currently provide a higher density
print has lost none of its fascination even in of information from transparencies, negatives
present times. The trend of capturing images or prints than direct digital photography. The
in black & white still remains strong among amount of data attained by scanners (file size)
ambitious photography. Various surfaces, ima- makes even extra large formats in good quali-
ge tones and bases can be put into use. ty possible.

The BW papers with variable gradation are Image files can be evaluated on the compu-
today high technology products that achieve a ter’s monitor, corresponding programmes for
very high product and reproduction quality image processing make later alteration possi-
standard through their complex structure. The ble for both technical (contrasts, brightness,
multi-layer structure of the papers enables sharpness) and creative (effects, setting of
high-class quality print results. The contrast light, mounting) manipulation. Prints of such
reproduction can be adjusted in minute steps image files on original Agfa Multicontrast Pre-
to the requirements of the negative. mium resin-coated paper can be made on a
laser printer. Even giant formats are possible
when using a printer such as the Durst Lambda
Variability – as, due to the high precision, separate exposu-
analogue & digital res over two or more roll widths are possible.
Apart from the high degree of manipulation Large prints in small quantities thereby beco-
possible in BW film development, the wide me affordable and transmit the original feeling
range of modern BW papers fulfil all the requi- and quality of a photograph, despite the most
rements for the most individual creation of the modern technology.
print subject. Even difficult negative originals
can be mastered thanks to the infinitely varia-
ble contrast control, the specific exposure of The products
certain motif areas with different contrasts The extensive assortment of products is repre-
makes them individually “malleable”. sentative for the Agfa BW photo paper range.
A completely new world of manipulation alter- It includes all types of paper relevant for daily
natives and processes is opened by processing use in the corresponding format sizes. Agfa
digital image data or exposing this data in BW papers are available in all common sizes
laser printers on Agfa’s variable contrast (sheet and roll paper) and quantities. Comple-
RC/PE paper MULTICONTRAST PREMIUM. mentary to the RC/PE paper with fixed grada-

15
 tion BROVIRA-SPEED, a well-balanced range of Variable graded papers
papers with variable gradation is available. The AGFA MULTICONTRAST PREMIUM (MCP) is a
RC/PE paper MULTICONTRAST PREMIUM is universal black & white paper with variable
supplemented by a fibre base paper with gradation on a RC/PE base. The print quality of
variable contrast, the MULTICONTRAST CLAS- this paper corresponds to the quality of the
SIC. best papers with fixed gradation and even sur-
passes these in certain areas. MULTICONTRAST
All Agfa BW papers stand for detail reproduc- PREMIUM can be exposed in all enlargers and
tion close to the original, high richness in printers, just like traditional BW papers and
tonal quality with outstanding highlight and can be processed in trays or developing
shadow definition, together with pure whites machines.
and deep blacks. The wide range of contrast
(from extra soft to extra hard) found in the AGFA MULTICONTRAST CLASSIC (MCC) is the
papers with variable gradation is most suitable classic, variable graded black & white photo
for daily use. The RC/PE version of these paper on a fibre base. MULTICONTRAST CLAS-
papers is ideally suited even for ultrashort SIC combines the quality of fibre base papers
laser exposure times. The user achieves a very with fixed gradation with the advantages of
good overall flatness. A high image stability is variable contrast control. Processing is carried
achieved in the face of changes in the image out in trays, as with traditional fibre base
silver due to environmental factors. The very paper.
high constancy in production together with
very good stability as regards processing It is especially suitable for exhibition prints.
deviations may be considered as standards. This paper is also distinguished by its very
good retouching and post-print treatment fea-
The multi-layered structure of Agfa Multicon- tures. In addition, Multicontrast Classic offers
trast papers, in particular, reflect Agfa’s deca- a high archival stability. (1)

des of experience in the manufacture of photo-

graphic materials. The addition of a protective
layer guarantees the first-class quality of these Papers with fixed gradation
products. AGFA BROVIRA-SPEED is the fast, universal
RC/PE paper with neutral to cold black image
tone for all applications. The short trace time
and the fast image formation are characteristic

16
for this paper. The incorporated developer sub-
stances and the very short wash and drying
times make machine processing possible. (2)

The Range
(1) Variable graded Surface Product Grade
papers code code

MULTICONTRAST PREMIUM MCP V = variable

MULTICONTRAST PREMIUM 310 glossy

MULTICONTRAST PREMIUM 312 semi-matt

MULTICONTRAST CLASSIC MCC V = variable

MULTICONTRAST CLASSIC 1 single weight, glossy

MULTICONTRAST CLASSIC 111 double weight, glossy

MULTICONTRAST CLASSIC 118 double weight, fine-grain matt

(2) Papers with Surface Product Grade

fixed gradation code code

BROVIRA-SPEED

BROVIRA-SPEED 310 glossy BW 1

BS 2

BN 3

BH 4

BROVIRA-SPEED 312 semi-matt BS 2

BN 3

17
(3) MULTICONTRAST PREMIUM (MCP)

2,5
→ Density

2,0

1,5
Technical data
Filter 3 2 1 0 5 4

Density curves
1,0

MULTICONTRAST PREMIUM (MCP)

MULTICONTRAST CLASSIC (MCC)
0,5
Exposure: tungsten light 3000 K
time: 10 s
Filter: contrast control filter
0
0, 1, 2, 3, 4, 5 and
0 0,5 1,0 1,5 2,0
UV blocking filter
→ lg H (Lx · s)
Development: AGFA MULTICONTRAST
DEVELOPER
Densitometry: Reading with visual filter
(4) MULTICONTRAST CLASSIC (MCC)
(Vλ)
2,5
The given exposure in lux seconds refers to the
→ Density

MCC 1/MCC 111 combination of paper and filter. (3) (4)

2,0

1,5

Filter 3 2 1 0 54

1,0

0,5

0
0 0,5 1,0 1,5 2,0
→ lg H (Lx · s)

18
 (5) BROVIRA-SPEED

2,5

→ Density
2,0
Gradation 4 3 2 1

1,5
BROVIRA-SPEED
Exposure: tungsten light 3000 K
time: 4 s
Development: AGFA NEUTOL 1,0
LIQUID NE
Densitometry: Reading with visual filter
(Vλ) (5)
0,5

Maximum blacks
Depending on type of paper and surface –
0
assuming that exposure and development are 0 0,5 1,0 1,5
correct – the following maximum blacks can → lg H (Lx · s)

at the least be achieved:

Variable graded papers:

MCP 310 RC: Dmax = 2.25
MCP 312 RC: Dmax = 2.25
With laser exposure: Dmax = 2.20

MCC 1/MCC 111: Dmax = 2.30

MCC 118: Dmax = 1.60

Papers with fixed gradation:

Brovira Speed 310 RC: Dmax = 2.20
Brovira Speed 312 RC: Dmax = 2.10

19
(6) MULTICONTRAST PREMIUM
+1,0
→ lg rel. sensitivity

I
Spectral sensitivity
(related to equal energy spectrum)
II

– 1,0
III MULTICONTRAST PREMIUM
MULTICONTRAST CLASSIC
The values stated show the densities of 0.5 (I),
1.0 (II) and 1.5 (III) measured in reflection. The
– 2,0
400 500 600 700 sensitivity is the reciprocal of the exposure
→ Wavelength (nm) in (mJ/m2) needed to produce the relevant
densities. (6) (7)

(7) MULTICONTRAST CLASSIC (MCC)

+1,0
BROVIRA-SPEED
The values stated show the density of 1.0 in
→ lg. rel. sensitivity

reflection. The sensitivity is the reciprocal of

the exposure (in mJ/m2) needed to produce
0 the relevant density. (8)

II
III
– 1,0

– 2,0

–3,0
400 500 600 700
→ Wavelength (nm)

20
 (8) BROVIRA SPEED
+1

→ lg. rel. sensitivity

0
Speed
Parallel to the speed specification of films,
there also exists a speed rating standard for
black & white photo papers. This international -1
standard (ISO 6846) is an arithmetic indication
of the speed: doubling or halving the number
means that the speed is doubled or halved.
This corresponds to the pattern of ISO speeds -2
400 500 600 700
in camera films. In contrast to this, a shift of
→ Wavelength (nm)
1 f-stop represents an interval of 3 DIN in the
DIN standards.

During production of Agfa black & white

papers, great care is taken to ensure uniform
speed from emulsion number to emulsion
number and from grade to grade, within the
production tolerances which can be achieved.
It should however be noted that slight varia-
tions in speed, caused by ageing and storage,
are inevitable.

AGFA MULTICONTRAST PREMIUM and AGFA

MULTICONTRAST CLASSIC both have a speed
of ISO P 400 when exposed to white light
(without filter). The gradation thus achieved is
about equivalent to the gradation with filter
“2”.

21
 If contrast filters are used, the speed is: Reciprocity –
 for filters “0” to “31/2” = only for Multicontrast papers
ISO P 160 The reciprocity characteristics indicate the
 for filters “4” to “5” = ISO P 80 actual reduction in sensitivity during very long
or very short exposures. The former occur in
(9) MULTICONTRAST PREMIUM Speed
very dense negatives or large format sizes, the
latter in laser exposures. This effect is virtually
∆ lgER = 0,2

independent of filtering (adjustment of

contrast) in the AGFA MULTICONTRAST PREMI-
UM and CLASSIC. There is only a minimal
0,1 0,2 0,5 1 2 5 10 20 50 100 reduction in sensitivity for longer exposure
→ Exposure time (s)
times. The contrast remains almost constant.
Even ultrashort laser exposure times produce
(10) MULTICONTRAST PREMIUM Contrast range
rich image blacks (only MCP). (9) (10) (11) (12)
∆ lgER = 0,2

Paper design
In RC/PE papers, the raw paper is coated on

0,1 0,2 0,5 1 2 5 10 20 50 100

both sides with polyethylene. The light-sensiti-
→ Exposure time (s) ve emulsion is applied directly to the smooth
plastic layer, without an intercoat.
(11) MULTICONTRAST CLASSIC Speed
In fibre base papers, there is a layer of barium
∆ lgER = 0,2

sulphate (baryta) between base and emulsion.

The fibre base layer prevents the emulsion
from sinking into the paper fibres, and so

0,1 0,2 0,5 1 2 5 10 20 50 100

improves definition and print blacks. The fibre
→ Exposure time (s) base coating, depending of surface, is between
20 and 45 g/m2. (13)

(12) MULTICONTRAST CLASSIC Contrast range

∆ lgER = 0,2

0,1 0,2 0,5 1 2 5 10 20 50 100

→ Exposure time (s)

22
 (13) Layer structure RC/PE paper Layer structure fibre-base paper
(schematically) (schematically)

double- single-
weight weight
1 1
1. Protective layer 1. Protective
2 2
layer
2. Emulsion layer
3 3
2. Emulsion
3. Polyethylene
layer
Emulsion layer
4 4 3. Fibre base
The light-sensitive emulsion consists of silver 4. Paper interlayer
layer
halide crystals filled in gelatine (silver bromi- 5. Polyethylene
4. Paper base
5 paper
de or silver chlorobromide mixed crystals).
6 6. Anti-static layer
The emulsion on RC/PE papers contains deve-
loping substances which permit fast mechani-
cal processing. Because of these occlusions,
BROVIRA-SPEED is also suitable for activator The contrast grading is set through exposure
processing. with colour-filtered light:
 Magenta filtration affects the green spec-
2
The silver coating is approx. 1,5 g/m . The pro- tral range and produces steep contrast
tection layer protects the paper from friction  Yellow filtration affects the blue spectral
fog and mechanical damage. range. The resulting contrast is flatter.

The contrast grading can be varied virtually

Exposure and contrast grading in continuously, from extra hard to extra soft,
variable graded papers depending on the blue and green light content
AGFA MULTICONTRAST PREMIUM and of the exposure.
CLASSIC can be exposed in all customary
enlargers, AGFA MULTICONTRAST in laser prin- The following methods are suitable for varying
ters as well. BW tungsten or machine heads contrast: Standard filter sets (contrast grading
with opal lamps are just as suitable as colour filters) for variable contrast black & white
mixing heads. papers are on offer. They are available as:
 filter foils (in several formats) for use in
The use of special enlarging modules for varia- the filter drawer of the enlarger
ble contrast papers is particularly practical.  filter set (framed filter) with an adapter for
These offer automatic density balance mounting directly under the enlarger lens.
between the continuously adjustable grades.
The filter designations “0” to “5” correspond
As can be seen on the diagram for spectral to the grade numbers of conventional black &
sensitivity (see page 20), MULTICONTRAST white photo papers. Each filter set additionally
PREMIUM and CLASSIC have been sensitized includes filters with intermediate values, for
for both blue and green spectral ranges. fine contrast correction.

23
 The desired contrast is found by varying the Partial filtering
filters: MULTICONTRAST PREMIUM and CLASSIC both
 for high-contrast negatives, filters “0” to have the advantage that individual areas of
“1” negatives, which are difficult to copy, can be
 for negatives with normal contrast range, exposed using different contrast control filters.
filters “2” to “3” When photographing landscapes, for example,
 for low-contrast negatives, filters “4” to a better definition of the sky area is achieved
“5” with the use of filter “1”. A brilliant total
impact of the rest of the print is achieved, for
The density of the filters has been designed so example, with the use of filter “4”. Partial dod-
that the exposure time determined when ging and shading with filter foils within a
testing remains the same, when the filters “0” single print can not only balance the differen-
1
to “3 /2” are used. The time should be doubled ces in brightness, but can also create different
when the filters “4”, “4 1/2” and “5” are used. contrasts.
If the exposure time is determined using the
filters “4”, “4 1/2” or “5”, then this exposure
time should be halved for a flatter contrast
(that is filters “3 1/2” to “0”). (14)

24
 Michael Nischke/Germany

Optimized image dodging through of the light image parts with an aperture plate and shading of the dark parts.

Adequale definition but an overall “flatter” print effect Brilliant reproduction (hard gradation) but inadequale
due to use of a softer gradation. definition both in light and dark print parts.

25
 Exposing and filtering
MULTICONTRAST PREMIUM and CLASSIC
(ISO 6846)
(14) Gradation and Real Contrast Effective
gradation numbers speed control speed
for graded papers filters

without filters with filters

Colour mixing heads
EW 0 ISO P 400 0 ISO P 160
Each single contrast grade can be attained
1
ISO P 400 /2 ISO P 160
just as precisely by setting the magenta and
W1 ISO P 400 1 ISO P 160
yellow values on the colour mixing head. The
ISO P 400 11/2 ISO P 160 manufacturers’ filter density ratings vary. The
S* 2 ISO P 400 2 ISO P 160 exposure time has to be converted or found for
ISO P 400 2 /21
ISO P 160 each type of filter. In addition, high filter
N3 ISO P 400 3 ISO P 160 values lead to a physical loss of light, which
ISO P 400 3 1/2 ISO P 160 must be taken into consideration. If using
H4 ISO P 400 4 ISO P 80 combination filterings, the second filter could

ISO P 400 4 1/2 ISO P 80

act as a density balance, thereby making con-
stant exposure times possible. Moreover, some
EH 5 ISO P 400 5 ISO P 80
colour heads do not cover the total contrast
* Basic gradation which can also be achieved without filtering.
The effective speed is then ISO P 400. range, above all in the area of hard to extra
hard contrast grades.

All filter specifications are merely recommen-

dations. They are relative to the filter charac-
teristics, the condition of the filter and the
condition of the enlarger lamp (age) as well as
Exposure without filters
on the technology of the enlarger (plus colour
MULTICONTRAST PREMIUM and CLASSIC can
mixing head) as a whole.
also be exposed without filters. In this case,
the resulting contrast grade is “2” and the
Further filter characteristics should be obtai-
speed is either more than doubled or the expo-
ned from the respective manufacturers. (15) (16)
sure time shortened by more than half. (14)

Vario-Contrast modules
The use of special modules with a continuous
contrast control of the values from “0” to “5”
makes working very simple and easy. It is not
necessary to change the exposure times by
changing the density of the filters.

26
 Filtration with colour printing filters
or colour mixing heads
(15) Contrast control Filtering with Kodak Filtering with Durst
filter CP- or CC-filters* colour mixing head*/**

0 80 Y 60 Y
1
/2 55 Y 45 Y

Laser exposure (only MCP) 1 30 Y 30 Y

The following basic set values are valid for the 11/2 15 Y 10 Y
digital exposure of Multicontrast Premium in 2 – –
Durst Lambda laser exposure systems: 2 /21
25 M 20 M
attainable Dmax: 2.20
3 40 M 30 M
Y = 54.8 1
3 /2 65 M 50 M
M = 0.0
4 100 M 70 M
C = 18.0
4 1/2 150 M 100 M
D = 42.0
5 200 M 130 M

* Exposure factors must be individually found by test exposures.

Useful exposure range ** Our tests were carried out with Durst CLS 501.

The exposure range is the term used to descri-

be the ratio of the exposure times needed to
achieve a defined maximum or minimum den-
Constant exposure times for gradations
sity. This ratio is not normally given arithmeti-
from 0 to 5 (The second filter serves to
cally, but rather logarithmically, i.e. 0.6 – 1.0
balance the density)
– 1.5.
(16) Contrast control Filtering with
filter Durst colour mixing head*
These figures also represent the maximum
0 80 Y 10 M
density difference of a given negative. The
1 48 Y 20 M
exposure range, therefore, is the greatest ran-
2 32 Y 40 M
ge in which details can be distinguished both
3 16 Y 45 M
in shadow and in light. It provides information
4 5Y 88 M
on which negative contrast – utilizing the ent-
ire grey scale from white to black – can be 5 – 130 M

achieved on a photo paper. Soft graded papers * Our tests were carried out with Durst CLS 501.

have a wide exposure range. They are able to These figures are guides only,
and may vary with the mixing head used.
reproduce the wide density range of a high-
contrast, hard negative. In contrast, hard gra-
ded papers have a low exposure range and are
therefore suitable for low-contrast, soft negati-
ves with a narrow density range.

27
 Useful exposure range (ISO range)
(17) Paper types Filter/Gradation
0 1 2 3 4 5

MC PREMIUM R 130 R 110 R 90 R 75 R 60 R 50

MC CLASSIC R 140 R 120 R 100 R 85 R 70 R 55

BROVIRA-SPEED – R 130 R 110 R 90 R 70 –

These figures represent average values in used state, which depend on age,  Slight contamination of the developer with
storage and processing.
thiosulpahte makes print tone initially
somewhat warmer. Stronger contamination
produces a change to a cold tone, and also
an increased tendency to fog can be obser-
So that the exposure range data can be provi-
ved.
ded without a comma, the logarithmic figures
 An inadequate intermediate wash or an
according to the ISO standard 6846 have been
almost completely exhausted stop bath
multiplied by 100 and signified by an “R”
can lead to a change in the print tone in
(= Range) before the number. The exposure
the high density areas (to blue).
ranges of the examples given above according
 Too long fixing times, changes in concen-
to the standard are therefore:
tration and contamination of the fixer will
R 60 – R 100 – R 150. (17)
also affect the original print tone.
 Papers treated for either far too long or too
The print tone short in the final wash may also be subject
The print tone is above all a feature of the to a change in print tone.
emulsion. It is dependent on the size and  Air and hot drying result in varying print
structure of the processed image silver. Larger tones: hot drying produces a considerably
silver grains produce a colder, and finer grains warmer print effect.
produce a warmer print tone. Development
and post-treatment can influence the grain
General instructions
size and thereby the print tone of black &
white photo papers. For the influence of corre-
sponding developers on print tone: see page Darkroom safelights
55 The following protection filters or lamps can
be recommended as possible sources of direct
The print tone of black & white photo papers lighting for the working place in the darkroom:
can furthermore be influenced by the  Lamp with AGFA / METEOR darkroom filter
following factors: “G 7” and 15 watt bulb, minimum distance
 Papers harden during lengthy storage, and 1 m, maximum working time 3 min.
the print tone generally becomes colder.  Lamp with KODAK protection filter “OC”
 As the developer is exhausted, changes in and 15 watt bulb, minimum distance 1 m,
the print tone may occur. maximum working time 4 min.

28
 Lamp with ILFORD protection filter “902” problem. Due to the fact that the AGFA MULTI-
and 15 watt bulb, minimum distance CONTRAST papers are orthochromatically sen-
1.2 m, max. working time 2 min. sitized photo papers (sensitive to blue or green
 OSRAM “Duka 50” with red filter, mini- light), the choice of darkroom lighting must be
mum distance 1 m, max. working time made with great care.
4 min.
 KINDERMANN “Dukalux Electronic”,
Processing
minimum distance 1 m, max. working time
The processing data for all papers are to be
4 min.
found in the Black & White Chemicals section
 ILFORD SL 1-Lamp, minimum distance
of this brochure from page 53.
1.2 m, max. working time
2 min.
Drying the papers
Other lamps may also be used. It is, however,
advisable to run a test before working with
RC/PE papers
these lamps. As the contrast grade tends to
The following drying methods are possible for
become “softer” before fog occurs, the test
MULTICONTRAST PREMIUM and BROVIRA-
should be carried out in the following way:
SPEED:
Two prints with the same exposure time
 Drying in special infrared dryers. This type
should be produced from a negative with
of drying produces a particularly good
medium contrast or from a neutral step wedge.
gloss on high gloss papers.
The one print should be developed immediate-
 Drying in RC/PE dryers which blow warm
ly, the second according to the working time
air on the prints passing through.
recommended for the darkroom lamp. If both
 Hot air drying in cabinets.
prints show the same contrast, then the dar-
 Air drying on racks (first wipe the print sur-
kroom lamp is safe to use. If the second print
faces with a damp cloth to prevent drying
is softer, this should be remedied through a
stains).
reduction in lamp power, greater distance bet-
ween lamp and working surface or indirect
lighting. Fibre base papers
The papers MULTICONTRAST CLASSIC 1 and
Shortening the exposure time or changing the 111 with their hardened emulsions are especi-
darkroom filter also naturally solve the ally suitable for hot drying on drums and in

29
 glazing presses. Drying on heated dry presses,
with the emulsion side facing the fabric, is
also possible. In this way, a semi-matt print
surface is created. MULTICONTRAST CLASSIC
118 can also be dried using this method.

The following should be observed if using this

method of drying:
 The temperature of the dry press should
not exceed 70°C.
 The drying fabric should not be stretched
too tight.
 The drying fabric should let water vapour
through and should not be not clogged
with gelatine residues.

If the drying fabric is very soiled, it can be

cleaned with an enzyme, e.g. Papain made by
E. Merck, Darmstadt/Germany.

If fibre base papers are air dried at room tem-

perature, the gloss may vary between different
types and grades. The degree of variation
depends on the age of the paper and also on
the processing and drying conditions in the
lab.

30
Stabilization and Improvement The common toning processes such as sulphur
in Durability of (AGFA VIRADON), selenium or gold toning also
Black and White Prints offer effective protection. However if a seleni-
The durability of black and white prints can be um or gold toner is used, the process must be
negatively affected by incorrect processing, continued until a visible change in the image
unsuitable glue, framing materials and envi- tone appears in order to achieve optimal pro-
ronmental influences. Oxidating pollutants in tection.
the surrounding air, in particular, can impair
image stability. The accumulation of such One of the advantages of SISTAN is that the
negative influences mostly leads to a reddish natural image tone is maintained. SISTAN is
to yellowish-brown discoloration of the print odourless and free of toxic heavy metals.
silver. The formation of a metallic silver mirror
is also possible. However, chemical reactions in the print silver
of posttreated prints cannot be completely
ruled out should they be exposed to unfavou-
Sistan rable conditions over a longer period of time.
Prints which are exhibited over a longer period
of time are at particular risk, especially if they
are framed behind glass. Prints intended for Toning
exhibition or archival purposes therefore requi- The toning process gives the black-grey print a
re corresponding stabilization against oxida- new colour - the extent depends on the paper
tion of the print silver. Posttreatment with the type used. Coloured metal compounds are
Agfa print silver stabilizer SISTAN offers pre- taken up by the silver grain and so improve
vention against such effects. The prints are stability against pollutants.
bathed for 1 minute in a SISTAN solution after
the final wash and subsequently dried. We differentiate between direct and indirect
toning. During direct toning, the silver image
SISTAN brings about a precipitation of the is transformed into a different silver compound
soluble silver salts which have formed (in the in one step. During indirect toning, the image
case of oxidation) into an insoluble colourless is re-constructed in a second bath with a silver
silver thiocyanate. This wraps the silver grain compound of a different colour. The use of the
in a protective coating. Silver thiocyanate is direct toning process is beneficial for increa-
light-insensitive and extremely stable. sed archival stability.

31
 Stamping
The concrete use of SISTAN and toners Special stamping inks are available in black
such as Agfa VIRADON is described from for stamping the backs of RC/PE papers:
page 71 of this brochure.  e.g. Universal Stamping Ink S
from the Gutenberg Werk mbH,
D-55122 Mainz

Marking and retouching

The marking (with a pencil), stamping and Retouching
retouching of fibre base papers is simple due Retouching is possible with standard
to the absorbent paper carrier. The following retouching paints. Use a moderately moist
are tips for RC/PE papers whose paper fibres brush. If possible, the prints should be retou-
have been sealed against fluids: ched when they are wet, to avoid matt marks.
It is more difficult to scrape RC/PE than fibre
base papers. The standard transparent and opa-
Marking
que retouching paints are suitable for spraying
The following special pens are suitable for
all paper types.
marking back and front:
 “Quickpoint” slide marker, Loersch,
D-47639 Straelen Mounting of prints
 OH P Plus, Faber-Castell, D-90547 Stein Standard liquid glues or double-sided cold or
 Lumocolor Permanent, Staedtler Mars, hot adhesive foils can be used. It is advisable
D-90419 Nürnberg to test these glues before use.
 Edding 400 and 3000 C.W., Edding,
D-22926 Ahrensburg
Packaging and storage
The original packaging protects the papers
Ball point pens are also suitable for marking
from light and brief exposure to humidity and
the backs of prints.
fumes. The inside packaging for sheet and roll
material is made out of light-proof PE bags or
foils. The outer packaging is either a red card-
board wallet or a box with tongued lid for
sheets and a corrugated cardboard tongued
box for rolls.

32
The outer packaging alone does not provide
adequate protection from light. Both the
inner and outer packaging should be used for
storing papers in already opened packs.

Black & white photo papers should be stored

in a cool, dry place away from harmful fumes.
Temperatures below 20°C and a relative humi-
dity of 50% to 60% guarantee good stability
over a very long period of time. Open packs
should be re-closed after use (both inner and
outer packaging) and should, if possible, not
be kept in the darkroom, but rather in a cool,
dry place or in the refrigerator.

The natural ageing process of photo papers is

greatly retarded by refrigeration or storage in
the deep freezer. However, the papers should
be taken out of the cold store several hours
before use and brought to room temperature.

The storage of finished prints

Photos with and without passe-partouts (from
acid-free cardboard) should be stored in speci-
al archive boxes also made from acid-free
material. Special enamel metal cupboards are
suitable for storing larger quantities.

33
Robert Gropuzzo/Italy
The Black & White Chemicals
From the film development to the finished image

Along with lab equipment and the photo The fixers enable fast, safe fixing of photo
materials in use, modern photo chemicals are materials. Archival stability can be guaranteed
a decisive factor for the quality standard of the with SISTAN and with certain toners, and the
image achieved. The image is only made visi- image tone can also be changed by toning to
ble by means of the photo chemicals, irrespec- correspond with personal ideas.
tive of whether it is a negative or a paper
print. Photo chemicals make it possible to
form the image according to personal prefe-
The Products
rences, e.g. the film can be processed so that
the result is steeper, flatter, finer or coarser
grained. Incorrect exposures can be corrected. The correct film developer
The image tone can be influenced depending The range of black and white technology is
on the paper developer used. very varied. The special composition of each
developer has been optimized for specific
A selection of fixers enable processing both areas of use. Here, along with the photogra-
with and without stop baths. A range of phic characteristics, yield, storage life and also
auxiliaries simplify lab work and prevent sub- replenishment of the ready solution are decisi-
sequent incorrect image results. All of these ve factors. A suitable, product-orientated pack-
various photo chemicals give the user a wide aging which ensures good storage stability of
scope for his personal creativity and imagina- the packed photo chemicals is also of impor-
tion. tance.

This part of the brochure describes the diffe- The processing of all common film materials is
rent photo chemicals and their use. done manually in small tanks and trays (pre-
ferred for sheet films of larger format). Machi-
Apart from its renowned and established film ne development with easy dosage is to be
and paper developers – RODINAL has recently found in drum developers. Continuous proces-
been included in the Guinness Book of World sing machines complete the range of common
Records due to the extraordinary length of technologies used. The criteria of development
production – Agfa also offers modern develop- with particularly fine grain and, at the same
ments. The NEUTOL plus BW paper developer time, a good use of speed are naturally of
is completely free of hydroquinone and greatest importance.
is also distinguished by further advantages.

35
 The following criteria are relevant when  economy through simple mixes, partial
choosing the developer suitable for the quantity mixes, handling (liquid concentra-
film used: tes, one-shot developers and so on)
 good use of speed
 fine grain
 sharp contours
The AGFA film developers
 resolving power

The correct paper developer

Short product descriptions
The positive developer should have a wide
developing range. Only in this way can under-
or over-exposure of the paper be balanced RODINAL
through a longer or shorter development, with- The traditional one-shot developer with very
out loss of quality. A stability in print tone, good contour sharpness and high utilization of
even with greater utilization, can hereby be speed. The concentrate can be matched to any
achieved. Contrast grading can also be mini- subject contrast by diluting as required.
mally controlled by different processing times.
RODINAL SPECIAL
The following criteria should be considered
The fine-grain developer for individual negati-
when choosing the paper developer:
ve development. It balances contrast, and pro-
 developing latitude
duces sharp and fine-grain negatives. The par-
 achievable print tone
ticularly short processing times should be
 print tone consistency
noted.
 processing stability through high yield

When choosing both film and paper STUDIONAL LIQUID

developers, further factors always play an The liquid negative developer with exceptional
important role: sharpness and fine grain, good utilization of
 speed of development (activity) speed and constant contrast. These parameters
 contrast characteristics (gradation) can be held stable over a long period of time,
 yield of the concentrates due to the optimum oxidization protection.
 durability of opened concentrates and
working solutions

36
ATOMAL FF Technical Data and
This negative developer with extremely fine Processing Instructions
grain has been especially designed for
tank processing with replenishment. It is well-
known for its very high yield and processing General instructions
stability. It is well-known that development results
not only depend on time, temperature and
REFINAL type of developer, but also on the processing
method used (tray, small tank, drum, large
REFINAL is the universal, extremely high yield
tank).
balancing developer which, as drum, small
tank or tray developer, will ensure a con-
The following instructions should be followed
sistently high speed yield and uniform grada-
to gain reproducible results:
tion over particularly long periods. REFINAL
 For processing in small tanks, agitate (tilt)
produces fine grain and sharp contours.
the tank continuously for the first minute,
and then tilt every thirty seconds. Develo-
ping times under three minutes should be
avoided!
 For processing in drums (rotary process),
the rotating speed should be higher than
30 rpm (changing the direction of rotati-
on). Developing times under three minutes
should be avoided!

In both cases the mixed developer solution is

put into the processor at the required tempera-
ture (in general 20°C).

Do not use the total amount of water stated

for mixing. Use part of the mixing water to
rinse out the chemical containers. This remo-
ves residues in the tanks, making it easier to
re-use the containers.

37
 Agitation: peratures) or lengthened (lower temperatures).
Tray: Continuous agitation The developing times at different temperatures
Small/big tank: Continuous for the first (18°C to 24°C) can be found in the relevant
minute, then tilt every time-temperature graphs (see instructions with
30 seconds products).
Drum: Continuous, changing the
direction of rotation
Speed yield
The film speed given is the effective speed for
Storage life the film developer system used (with a medi-
Liquid concentrates will keep for at least two um contrast of gamma 0.65).
years in the original packaging. The concen-
trate can be kept for some months in the ope- If mistakes are made in exposure, these guides
ned, tightly screwed bottle. Developer mixed still make it possible to produce standard
ready for use can be kept in brimful, tightly negatives. For instance, a slightly overexposed
screwed bottles for three months. Apart from AGFAPAN film can be developed in RODINAL
RODINAL where the ready solution cannot be with the corresponding dilution, achieving
re-used. suitable results, despite the wrong exposure.

Powder Developers can be kept dry in the ori-

Contrast
ginal packaging at room temperature for at
The developing times given are guides. The
least two years. Unused fresh solution will
negative contrast (gradation of the negative)
keep in brimful, tightly screwed bottles up to
can be influenced by the developing time,
six months. Used developer should be stored
depending on the subject contrast:
separately to fresh mixes. The life of used
Films are developed to a lower or higher con-
developer is reduced to about three months.
trast (gamma value). If the subject contrast is
The life in tanks with floating lids (con-
very high, then the negatives are developed
tinuously replenished) is at least 12 months.
flatter (γ = 0.55). With low subject contrast,
the negatives are developed to higher contrast
Processing temperatures (γ = 0.75).
If the specified developer temperature of 20°C
is not maintained, then the developing time It should be taken into consideration that the
should be shortened accordingly (higher tem- utilization of speed can either increase or

38
decrease. A development-induced lower or The following is a guide: after processing one
higher speed than that specified by the manu- film in 500 ml developer, the developing time
facturer must be compensated by a longer or should be lengthened by approx. 10%.
shorter exposure. In general, overexposure With a 5 litre tank volume, the time should be
with a subsequently shorter development pro- lengthened after ten films. (1)

duces softer negatives, whereas harder results

are produced by lengthening the developing (1) Idle time Development lengthened by
between batches (compared to previous batch)
time with a shorter exposure. This should be
individually tested for each film/developer few hours none*
(but development
combination. on same day)

1-3 days + 5%

Development generally aims at a medium 4-8 days +10%

negative contrast (γ = 0.65). It should however 1-2 weeks +15%
be taken into consideration that condenser over two weeks +20%
enlargers with colour mixing heads sometimes
* With ATOMAL FF: +10%.
require steeper negatives. The extra times given above do not change
if several films are simultaneously processed
in one batch.

Lengthening time for

multiple batches
(small tank, tray, drum)
To ensure consistent and reproducible
utilization of speed and contrast, the develo-
ping time should be lengthened for each
second and subsequent batch). It is not possi-
ble to give exact times, as these are determi-
ned by the idle time between two batches as
well as the method of storing the developer
(glass or plastic bottle, full or partly full, bottle
cap). If used developer is stored between each
mix in brimful, tightly closed bottles, the
figures given in the table should be used in
addition.

39
 Dilution and developing times*
(at 20°C) for AGFAPAN films
(with different speed ratings)
(2) Developer Temperature APX 100 APX 100 APX 400 APX 400
ISO 100/21° ISO 200/24° ISO 400/27° ISO 800/30°

RODINAL 1+25 20°C 8 min 11 min 8 min –

RODINAL 1+25 24°C – 8 min – –

RODINAL special 20°C 4 min 6 min 4.5 min –

RODINAL special 24°C – 3.5 min – –

STUDIONAL liquid 20°C 4 min 6 min 4.5 min –

STUDIONAL liquid 24°C – 3.5 min – –

REFINAL 20°C 6 min 9 min 6 min 9 min

REFINAL 24°C – 5 min – –

* Development in small tanks and trays

Extensive information on the individual negati-

ve developers is given in the corresponding
product descriptions. Different speed settings
(see table) and negative contrasts may result
from the different developing times, depen-
ding on the film/developer combination used.
(2)

A higher negative contrast can be

compensated by a flatter paper gradation.

40
 Dilution and developing times
(at 20°C) for AGFAPAN films
(with different ratings)
(3) Film Dilu- Rotary processing (drum) Small tank/tray
type tion γ = 0.55 γ = 0.65 γ = 0.75 γ = 0.65

APX 100 1+25 4 min 17 min 10 min 18 min

APX 100 1+50 8 min 14 min 19 min 17 min

APX 400 1+25 4 min 15 min 16 min 17 min

APX 400 1+50 7 min 19 min 11 min 11 min

The concentration of solutions
in use Film speed (exposure index) (γ = 0.65)
(4) Film Dilution Time* Speed
type
RODINAL
AGFAPAN 1+25 18 min ISO 125/22°
APX 100 1+50 17 min ISO 160/23°

Mixing Instructions AGFAPAN 1+25 17 min ISO 400/27°

APX 400 1+50 11 min ISO 500/28°
RODINAL is diluted with water. (1 part concen-
Fuji Neopan 1+25 14.5 min ISO 250/25°
trate + 25 or 50 parts water) at the ratio 1+25 400 Prof. 1+50 18 min ISO 250/25°
or 1+50. The water must have a temperature
Fuji Neopan 1+25 13,5 min ISO 400/27°
of 20°C before the concentrate can be added. 1600 Prof. 1+50 18 min ISO 400/27°

A finely graduated measure or pipette is nee- Ilford PAN-F Plus 1+25 16 min ISO 50/18°
1+50 12 min ISO 64/19°
ded for exact mixing.
Ilford FP 4 Plus 1+25 18 min ISO 100/21°
1+50 18 min ISO 125/22°
Diluted RODINAL will only keep for a short
Ilford HP 5 Plus 1+25 18 min ISO 400/27°
period of time and should therefore be mixed 1+50**

immediately before use. (3) Ilford Delta 100 1+25 19 min ISO 100/21°
1+50 16 min ISO 125/22°

Ilford Delta 400 1+25 18 min ISO 400/27°

Film speed 1+50 18 min ISO 400/27°

(exposure index) Ilford Delta 3200 1+25 11 min ISO 1250/32°

1+50**
Depending on the film/developer combination
Ilford SFX 1+25 16 min ISO 100/21°
used, film speeds may differ in practice from 1+50 15 min ISO 125/22°
the nominal speed rating. The table shows the
Kodak Plus-X 1+25 16 min ISO 125/22°
effective speed for the various film types 1+50 13 min ISO 125/22°

(γ = 0.65). (4) Kodak Tri-X 1+25 17 min ISO 500/28°

1+50 14 min ISO 500/28°

Kodak 1+25 15.5 min ISO 64/19°

Yield T-MAX 100 1+50 15 min ISO 80/20°

One-shot developing: approx. 50 35 mm films Kodak 1+25 16 min ISO 400/27°

T-MAX 400 1+50 11 min ISO 400/27°
135-36 or roll films 120 can be developed
Kodak 1+25 18 min ISO 1250/32°
with 500 ml of concentrate. T-MAX p3200 1+50 16 min ISO 1250/32°

Kodak 1+25 14.5 min ISO 640/29°

Recording 2475 1+50 10 min ISO 640/29°

* Small tank or tray processing at 20°C.

** not recommended

41
 Developing times (at 20°C)
for AGFAPAN films
(with different speed ratings)
RODINAL 1+25 (small tank)

(5) AGFAPAN APX 100 – ISO 125/22° AGFAPAN APX 400 – ISO 400/27°
24 24
Developer temperature (°C)

22 22

20 20

18 18
2 4 6 8 10 12 2 4 6 8 10 12
γ 0,55 γ 0,65 γ 0,75 Developing time (min)

Developing times (at 20°C)

for AGFAPAN films
(with different speed ratings)
RODINAL 1+50 (small tank)

(6) AGFAPAN APX 100 – ISO 160/23° AGFAPAN APX 400 – ISO 500/28°
24 24
Developer temperature (°C)

22 22

20 20

18 18
10 12 14 16 18 20 6 8 10 12 14 16
γ 0,55 γ 0,65 γ 0,75 Developing time (min)

42
 Dilution and developing times
(at 20°C) for AGFAPAN films
(with different speed ratings)
(7) Film type Rotary processing (drum) Small tank/tray
γ = 0.55 γ = 0.65 γ= 0.75 γ = 0.65

AGFAPAN APX 100 – 3.5 min 5 min 4 min

RODINAL SPECIAL AGFAPAN APX 400 3 min 4 min 5 min 4.5 min

Mixing instructions Speed

The concentrate is diluted with water at the (exposure index) (γ = 0.65)
ratio 1 + 15 (= 1 part concentrate + 15 parts (8) Film type Time* Speed
water). (7) (8)
AGFAPAN APX 100 4 min ISO 100/21°

AGFAPAN APX 400 4.5 min ISO 400/27°

Fuji Neopan 400 Prof. 3 min ISO 320/26°

Fuji Neopan 1600 Prof. 3 min ISO 800/30°

Ilford PAN-F Plus 3 min ISO 50/18°

Ilford FP 4 Plus 3.5 min ISO 100/21°

Ilford HP 5 Plus 4 min ISO 400/27°

Ilford Delta 100 3.5 min ISO 160/23°

Ilford Delta 400 4.5 min ISO 400/27°

Ilford Delta 3200 6 min ISO 1250/32°

Ilford SFX 200 4 min ISO 125/22°

Kodak Plus-X 5 min ISO 125/22°

Kodak Tri-X 3.5 min ISO 400/27°

Kodak T-MAX 100 5 min ISO 80/20°

Kodak T-MAX 400 5 min ISO 400/27°

Kodak T-MAX p3200 6 min ISO 1250/32°

Kodak Recording 2475 6 min ISO 640/29°

*Small tank or tray processing at 20°C.

43
 Developing times (at 20°C)
for AGFAPAN films
(with different speed ratings)
RODINAL SPECIAL (small tank)

(9) AGFAPAN APX 100 – ISO 100/21°

24
Yield
Developer temperature (°C)

10 – 12 35 mm films 135-36 or
roll film 120 per litre
22 50 – 70 sheet films 9 x 12 cm per litre
(= 0.5 – 0.75 m2)

To ensure uniform utilization of speed and gra-

20
dation, the developing time should be lengt-
hened for the second and each subsequent
developing batch. (9) (10)
18
2 4 6 8 10 12
Developing time (min)

(10) AGFAPAN APX 400 – ISO 400/27°

24
Developer temperature (°C)

22

20

18
2 4 6 8 10 12
Developing time (min)
γ 0,55 γ 0,65 γ 0,75

44
 Speed
(exposure index) (γ = 0.65)
(11) Film type Time* Speed

AGFAPAN APX 100 4 min ISO 100/21°

AGFAPAN APX 400 4.5 min ISO 400/27°

STUDIONAL LIQUID Fuji Neopan 400 Prof. 3 min ISO 320/26°

Fuji Neopan 1600 Prof. 3 min ISO 800/30°

Mixing instructions Ilford PAN-F Plus 3 min ISO 50/18°
STUDIONAL LIQUID is diluted with water at
Ilford FP 4 Plus 3.5 min ISO 100/21°
the ratio of 1 + 15 (= 1 part concentrate +
Ilford HP 5 Plus 4 min ISO 400/27°
15 parts water). If the total quantity is not
Ilford Delta 100 3.5 min ISO 160/23°
used, the plastic bottle should be squeezed
Ilford Delta 400 4.5 min ISO 400/27°
after each use to prevent oxidization. It is,
Ilford Delta 3200 6 min ISO 1250/32°
however, best to mix the total quantity and
then fill in bottles. (11) Ilford SFX 200 4 min ISO 125/22°

Kodak Plus-X 5 min ISO 125/22°

Kodak Tri-X 3.5 min ISO 400/27°

Kodak T-MAX 100 5 min ISO 80/20°

Kodak T-MAX 400 5 min ISO 400/27°

Kodak T-MAX p3200 6 min ISO 1250/32°

Kodak Recording 2475 6 min ISO 640/29°

* Small tank or tray processing at 20°C.

45
 Developing times (at 20°C)
for AGFAPAN films
(with different speed ratings)
STUDIONAL LIQUID

(12) AGFAPAN APX 100 – ISO 100/21°

24
Yield
Developer temperature (°C)

10 – 12 35 mm films 135-36 or
roll films 120 per litre
22 50 – 70 sheet films 9 x 12 cm per litre
(= 0.5 – 0.75 m2).

To ensure uniform utilization of speed and gra-

20
dation, the exposing time should be lengthe-
ned for the second and each subsequent deve-
loping batch. (12) (13)
18
2 4 6 8 10 12
Developing time (min)

(13) AGFAPAN APX 400 – ISO 400/27°

24
Developer temperature (°C)

22

20

18
2 4 6 8 10 12
Developing time (min)
γ 0,55 γ 0,65 γ 0,75

46
Powder developers in use (14) Temperature Time

18°C 8-10 min

ATOMAL FF
20°C 6-8 min

22°C 4-6 min

Mixing instructions
24°C 3-5 min
Stir Part A into at least 75% of the total quan-
tity of water needed at 40°C until completely
dissolved. Then stir in Part B. When dissolved, (15) Film type Rotary processing (drum) Small tank/tray
γ = 0.65 γ = 0.75 γ = 0.65
fill up with water to the final volume. Develo-
AGFAPAN APX 100 6 min 19 min 18 min
per and replenisher are ready for use immedia-
AGFAPAN APX 400 7 min 12 min 10 min
tely after cooling to room temperature.

Speed
Processing in tanks (exposure index) (γ = 0.65)
The optimum developing time is established
(16) Film type Time (20°C) Time (20°C) Speed
by the printing process used, the processing Small tank/tray drum ISO

temperature and the desired gradation. AGFAPAN APX 100 8 min 6 min ISO 50/18°
The times should be determined individually, AGFAPAN APX 400 10 min 7 min ISO 160/23°
depending on the film type and the above Fuji Neopan 400 Prof. 8.5 min 6.5 min ISO 160/23°
criteria. The developing times on the left are
Fuji Neopan 1600 Prof. 7.5 min 5 min ISO 250/25°
guides. (14) (15) (16)
Ilford PAN-F 8 min 6 min ISO 25/15°

Ilford PAN-F Plus 7.5 min 5.5 min ISO 20/14°

Ilford FP 4 Plus 12 min 10 min ISO 100/21°

Ilford Delta 100 7.5 min 5.5 min ISO 40/17°

Ilford Delta 400 11 min 9 min ISO 160/23°

Ilford HP 5 Plus 11 min 9 min ISO 200/34°

Kodak Tri-X 10 min 8 min ISO 250/25°

Kodak T-MAX 100 12 min 11 min ISO 50/18°

Kodak T-MAX 400 12 min 10 min ISO 250/25°

Kodak T-MAX p3200 14 min 12.5 min ISO 640/29°

47
 Yield
Processing with replenisher – approx. 14 ml
replenisher per 35 mm films (135-36): 71
35 mm films with 1 litre replenisher.

Yield without replenisher:

10 – 12 35 mm films 135-35 or
roll films 120 per litre
50 – 60 sheet films 9 x 12 cm per litre
(= 0.5 – 0.65 m2)

For details on replenishment: see page 51.

Michael Jaeger/Germany

48
REFINAL (17) Film type Rotary processing (drum) Small tank/tray
γ = 0.55 γ = 0.65 γ = 0.75 γ = 0.65

AGFAPAN APX 100 3 min 5 min 8 min 6 min

Mixing instructions
Stir Part A into at least 75% of the total quan- AGFAPAN APX 400 3 min 5 min 8 min 6 min

tity of water at 40°C until completely dissol-

ved. Then stir in Part B. After it is dissolved,
Speed
fill up with water to the final volume. (17) (18)
(exposure index) (γ = 0.65)
(18) Film type Time* Speed

AGFAPAN APX 100 6 min ISO 160/23°

AGFAPAN APX 400 6 min ISO 500/28°

Fuji Neopan 400 Prof. 3.5 min ISO 320/26°

Fuji Neopan 1600 Prof. 3.5 min ISO 400/27°

Ilford PAN-F Plus 4 min ISO 50/18°

Ilford FP 4 Plus 7 min ISO 160/23°

Ilford HP 5 Plus 5 min ISO 640/29°

Ilford Delta 100 5 min ISO 125/22°

Ilford Delta 400 5 min ISO 400/32°

Ilford Delta 3200 6 min ISO 1250/32°

Ilford SFX 200 4 min ISO 125/22°

Kodak Plus-X 4 min ISO 125/22°

Kodak Tri-X 4 min ISO 400/27°

Kodak T-MAX 100 5 min ISO 80/20°

Kodak T-MAX 400 4 min ISO 400/27°

Kodak T-MAX p3200 6 min ISO 1600/33°

Kodak Recording 2475 5 min ISO 800/30°

* Small tank or tray processing at 20°C.

49
 Developing time (at 20°C)
for AGFAPAN films
(with different speed ratings)
REFINAL (small tank)

(19) AGFAPAN APX 100 – ISO 160/23°

24
Yield
Developer temperature (°C)

Processing with replenisher – approx. 14 ml

replenisher per 35 mm film (135-36); 71
22 35 mm films with 1 litre replenisher

Yield without replenisher:

10 – 12 35 mm films 135-36 or
20
roll films 120 per litre.
50 – 69 sheet films 9 x 12 cm per litre
(= 0.5 – 0.65 m2).
18
2 4 6 8 10 12
Developing time (min)
For details on replenishment: see page 51.

(20) AGFAPAN APX 400 – ISO 500/28°

24
Developer temperature (°C)

22

20

18
2 4 6 8 10 12
Developing time (min)
γ 0.55 γ 0.65 γ 0.75

50
Developing times at (21) Temperature Time

different temperatures
18°C 7-9 min

20°C 5-7 min

Processing in tanks 22°C 4-5 min
The optimum developing time is dependent on
24°C 3-4 min
the printing process used, the processing tem-
perature and the desired gradation. The times
should be determined individually, depending
on the film type and the above criteria. Level replenishment in tanks
The following developing times are guides: The replenishment rate corresponds to the
(21). amount of solution carried over by the films.
The tank solution is filled up with replenisher
as required, then stirred. Any suspended
General instructions
particles should be allowed to settle.
when mixing powder developers:
The use of partial quantities is not recommen-
ded, as the chemicals may have separated due Automatic replenishment
to vibration during transport. The effective replenishment rate depends on
the throughput. In comparison, higher through-
put has a lower rate of replenishment than
Replenishment of BW developers
small throughput or if there are long idle
Continuous replenishment of ATOMAL FF and
times between batches.
REFINAL developers ensures consistent results
over long periods of processing. This means a
The following replenishment rates are guides:
good, reproducible utilization of speed
 per sqm of film = 250 ml
together with consistent gradations. Theoreti-
 per 35 mm film 135-36 = 14 ml
cally, the developers can be replenished
 per roll film 120 = 17 ml
indefinitely.
 per sheet film 9 x 12 cm = 2.7 ml

Replacement is practically only necessary if

the tank solution has been contaminated by
glue residues, gelatine or sludge.

51
 Klaus Tiedge/Spain

Remedies for
over- and under-replenishment
Incorrect replenishment is indicated
by the negatives being too flat or too steep Please note: the replenisher should never be
and/or having too low or too high density, diluted with fresh solution or with water! In
despite correct exposure, developing time and the case of under-replenishment (= developer
temperature. In the case of over-replenishment activity too low), a higher replenishment rate
(developer activity too high), fill up with deve- is necessary or part of the tank solution should
loper tank solution until the fresh state is be replaced with replenisher. Corrections of
reached. this type can be done several times.

52
The Agfa paper developers The very good storage life and yield are
demonstrated when processing without reple-
nishment. This developer is characterized by
General instructions
the following factors:
Positive developers have been optimized for
 neutral image tone
the full development of photo papers. They are
 exceedingly active, thereby ensuring rapid
much faster then negative film developers. The
response and good use of speed and
developing times should be set so that the
contrast differentiation with variable-con-
papers are fully developed in the given time.
trast papers
 very good maximum density of both Multi-
The draining times should not be forgotten
contrast papers:
here. Longer developing times are relatively
MULTICONTRAST PREMIUM and
unproblematic and only minimally influence
MULTICONTRAST CLASSIC
the final result. Slight deviations in the bath
 above-average storage life, processing
temperature do not affect the quality and
stability and yield
should be balanced simply by alterations in
 low replenishment rage, so less waste
times.
 new anti-calcifier system with bio-
degradable complexing agents, so more
environment-friendly
Short product descriptions

AGFA MULTICONTRAST
DEVELOPER NEUTOL plus
This developer is suitable for the processing of This developer has no hydroquinone. It has
variable contrast black & white papers. Ideally been optimized for high-yield processing in
balanced to AGFA MULTICONTRAST PREMIUM trays, drums and roller transport machines
or AGFA MULTICONTRAST CLASSIC. without replenishment.
 excellent activity, resulting in rapid
response of the density
 good use of speed ensures short exposure
times
 very good maximum blacks offer brilliant
reproduction

53
  the very low fog level leads to clear image AGETOL LIQUID
results
A developer with optimum processing consi-
stency. Very good storage life and economical
NEUTOL plus/LOR in use for continuous processors and roller
This developer without hydroquinone is especi- transport machines (e.g. AGFA PRO).
ally designed for mechanical processing. It
achieves particularly good developing results NEUTOL NE
with Agfa Multicontrast Premium RC/PE paper
This powder developer influences the print
in combination with laser exposure. Further
tone and is used for tray, drum and roller
product qualities to be noted are:
transport machine processing without reple-
 extremely low replenishment rate of 100
nishment. It shows extremely high yield, a
ml/m2
very consistent print tone, and also outstan-
 no silver sludge and therefore no soiling of
ding calcium stabilization together with con-
machine and prints
stant low clouding.
 high activity enables processing at low
temperatures or with shorter processing
times METINOL
Due to its slow and steady print formation,
NEUTOL, NEUTOL LIQUID NE METINOL is extremely suitable for tray proces-
sing. METINOL is marked by its high through-
and NEUTOL LIQUID WA
put and the processing of large formats (also
This group of high-quality developer
when the sponge technique is used).
concentrates are ready for use immediately
after dilution with water. They are suitable for
processing in trays, drums and roller transport
machines without replenishment but with very
high yield. The image shows rapid response
and the print tone is neutral to warm black.
The good use of speed and good fog security
are further special quality features of these
developers. A special calcium stabilizer stops
the clouding which otherwise occurs in liquid
developers, even with a high output.

54
 (22) Developer Silver bromide paper: Silver chlorbromide papers:
BROVIRA-SPEED MULTICONTRAST PREMIUM, MULTICONTRAST CLASSIC

MULTICONTRAST DEVELOPER Neutral black print tone Neutral to warm black print tone

NEUTOL Plus Neutral black print tone Neutral to warm black print tone

NEUTOL Plus/LOR Neutral black print tone Neutral to warm black print tone

NEUTOL LIQUID NE Neutral black print tone Neutral to warm black print tone

NEUTOL NE Neutral black print tone Neutral to warm black print tone

AGETOL LIQUID Neutral black print tone Neutral to warm black print tone

NEUTOL Neutral to warm black print tone Warm black print tone

NEUTOL LIQUID WA Neutral to warm black print tone Warm black print tone

METINOL Neutral to warm black print tone Warm black print tone

Technical Data and

processing instructions

Image tone control

The print tone of black & white photo papers
is determined above all by the emulsion.
However, the print tone can be marginally
influenced by the choice of developer.
The following table shows the effect of Agfa
positive developers on the print tone of silver
bromide and silver chlorbromide emulsions.
(22)

Other standard black & white developers and

fixers are also suitable, bearing in mind their
special characteristics.

Note for warm tone development: To ensure

perfect processing of warm tone papers, care
must be taken to avoid contamination of deve-
loper with fixer. In addition, there should be a
stop bath (2% acetic acid solution) between
developer and fixer.

55
(23) Concentrate Standard dilution Economy dilution
1+4 1+6

500 ml 2.5 litres 3.5 litres

01 litre 0.5 litres 0.7 litres

05 litres .25 litres .35 litres

20 litres 100 litres 140 litres

The concentration of developer
solutions in use
Processing in machines
with replenishment* and manual
processing in trays and drums MULTICONTRAST DEVELOPER
(Dilution 1+4)
(24) Paper Developing times* in sec. at Yield per litre Mixing
type 20°C 25°C 30°C
The concentrate is topped up with water to the
PE 50±10 s 30±10 s 15-20 s 200 sheets 17.8 x 24 cm end volume required and well mixed. The nor-
(= approx. 8.5 m2)
mal 1 + 4 dilution can be used both as tank
Fibre 90±10 s 70±10 s 50±10 s depends on solution
base absorption solution and replenisher. (23) (24) (25)

* Replenishment rate: 150 ml/qm (normal dilution 1+4)

Storage life
Processing in trays and drums The storage life of the concentrate in the
without replenishment unopened original pack is at least 12 months.
(Dilution 1+6) Mixed developer should be kept in airtight
(25) Paper Developing times* in sec. at Yield per litre closed bottles or in tanks with floating lids.
type 20°C 25°C 30°C
The storage life with a 1 + 4 dilution is:
PE 075±15 s 50±10 s 30±5 s 150 sheets 17.8 x 24 cm
(= approx. 6,5 m2)
 In brimful, airtight closed glass bottles =
6 weeks
Fibre 110±10 s 90±10 s 70±10 s depends on solution
base absorption  In half-full glass bottles = 3 weeks
* The precise time depends on the type of paper and the processing  In tanks with floating lids = 4 weeks
conditions, and should be determined individually. Longer developing
times are relatively uncritical. In the AGFA PRO processor, the developing
 In open tanks without floating lids =
time is approx. 30 seconds (at 25°C/77°F). 2 weeks
In the Ilfospeed 2050-RC or 2150-RC processors, the developing time is
between 10 and 20 seconds. The developer temperature is 35°C and Storage life is reduced by 20% with a dilution
cannot be adjusted. Standard results are produced with the MC developer
at the dilution 1+4.
of 1 + 6.

56
 (26) Concentrate Standard dilution Eco
nomy dilution
1+4 1+9

1 litre 5 litres 10 litres

Processing in trays, drums and

NEUTOL plus roller transport machines
(Standard dilution 1+4)
Mixing
(27) Paper Developing times* in sec. at Yield per litre
The concentrate is topped up with water to the type 20°C 25°C 30°C
end volume required and stirred well. (26)
PE 50±10 s 30±10 s 15-20 s 117 sheets 17.8 x 24 cm
(= approx. 5 m2)

Standard dilution (1 + 4): This dilution is Fibre 90±10 s 70±10 s 50±10 s depends on solution
base absorption
recommended if the developer is to be kept
for a longer period of time with relatively
low daily throughput. The storage life of this Economy dilution 1+9
dilution lies at around one week. (27) (28) Paper Developing times* in sec. at Yield per litre
type 20°C 25°C 30°C

Economy dilution (1 + 9): Economy dilution PE 070±10 s 50±10 s 30±5 s 94 sheets 17.8 x 24 cm
(= approx. 4 m2)
is particularly effective if there is a high
Fibre 100±10 s 80±10 s 60±10 s depends on solution
daily throughput and the tray contents are base absorption
exhausted fast. The economy dilution permits * The precise developing time depends on the type of paper
an even better utilization of yield. To maintain and the processing conditions, and should be determined individually.
Longer developing times are relatively uncritical.
good consistency, the developer carry-over
should be topped up several times daily with
the same amount of fresh solution.
The storage life of the economy solution lies
at around 2 days. (28)

57
 NEUTOL plus/LOR NEUTOL, NEUTOL LIQUID NE,
NEUTOL LIQUID WA
Mixing
The concentrate is topped up with Mixing
water up to the end volume and diluted (tank The developer concentrate is topped up with
filling = replenisher). (29) water at about 30°C to the required end volu-
me and stirred well. The developer is ready for
2
Replenishment rate: 100 ml/m at standard use after cooling to room temperature. The
utilization (one tank volume turnover within concentrate should not be stored in the plastic
two weeks). At lower utilization it is advisable bottle after the removal of partial quantities.
to increase the replenishment rate (possibly
double). At very high utilization the replenish- Stock solution (1 + 3): If the complete quan-
2
ment rate can be reduced to 80 ml/m (for tity is not completely used or different diluti-
instance, for finishing leader belt machines). ons have to be produced, it is advisable to mix
(30) a concentrated stock solution (= 1 part con-
centrate + 3 parts water). This solution can
also be used undiluted as a particularly power-
(29) Concentrate Standard dilution ful developer (see dilution table). (31)
1+4

1 litre 5 litres Standard dilution (1 + 7): This solution

(1 part stock solution + 1 part water) is recom-
Processing in machines mended if the developer is to be used over a
with replenishment longer period of time with a lower daily
(30) Paper Developing times** in sec. at Replenishment throughput. Topping up with the same solution
type 20°C 25°C 30°C rate/qm
is only necessary when the tray level falls too
PE 30±5 s 20±5 s 18 s** 100 ml low. The storage life at normal dilution lies at
Fibre 30±5 s 70±5 s 30±5 s 100 ml about one week. (31) (32)
base

* The precise developing time depends on the type of paper and the proces-
sing conditions and should be determined individually. Longer developing
times are relatively unciritcal.

** A processing time of less than 18 sec. cannot be recommended, as this

could lead to streaking due to uneven development.

58
 Dilutions
(31) Version Concentrated Standard Economy
dilution 1+3 dilution 1+7 dilution 1+11

1.25 litres
(for 10-15 litres) 05 litres 10 litres 15 litres

5 litres
(for 40-60 litres) 20 litres 40 litres 60 litres
Economy dilution (1 + 11): Economy dilu-
tion (1 part stock solution + 2 parts water) is
particularly cost-effective. It is to be Processing in trays, drums and
recommended if there is a high daily through- roller transport machines*
put and the tray contents are exhausted fast. (Standard dilution 1+7)
The economy solution cannot be stored as (32) Paper Developing times in sec. at Yield per litre
type 20°C 25°C 30°C
long (no longer than one day), but makes
higher yield possible and therefore costs are PE 60±10 s 45±10 s 30±10 s 117 sheets 17.8 x 24 cm
(= approx. 5 m2)
especially low. To maintain a good
Fibre 90±10 s 60±10 s 45±10 s depends on solution
consistency, the developer carry-over should base absorption
be topped up several times a day with the * Replenishment in roller transport machines:
same amount of fresh solution. (33) approx. 350 ml/qm fresh solution, 1+7 dilution

Processing in trays and drums

Storage life
(Economy dilution 1+11)
 Concentrate in the original packaging =
(33) Paper Developing times in sec. at Yield per litre
2 years type 20°C 25°C 30°C
 Stock solution 1 + 3 in tightly closed glass PE 090±10 s 60±10 s 45±10 s 94 sheets 17.8 x 24 cm
bottles = 6 months (= approx. 4 m2)

 Normal and economy dilution: see mixing Fibre 120±10 s 90±10 s 60±10 s depends on solution
base absorption
instructions

If crystals have formed in the concentrate due

to too cold storage, they must be completely
dissolved in the amount of water specified for
mixing. Storage temperature above 30°C
should be avoided.

59
 AGETOL LIQUID

Mixing
To mix both tank solution and replenisher, the
concentrates are diluted at the ratio of 1 + 7
(= 1 part concentrate + 7 parts water) with
water of about 30°C. The solutions are ready
for use after cooling to working temperature.
(34) (35)

Processing PE paper
with replenishment in continuous
and roller transport machines.
AGETOL LIQUID 1+7
(34) Reple- Developing times in sec. at Replenishment rate
nisher 20°C 25°C 30°C 35°C (ml/qm)

AGETOL
LIQUID 60±10 s 45±10 s 30±10 s 20±5 s 300±20

Processing
without replenishment in drums,
tanks and other processors.
AGETOL LIQUID 1+7
(35) Paper Developing times in sec. at Yield per litre
type 20°C 25°C 30°C 35°C
Ralf Graebner/USA
PE 60±10 s 45±10 s 30±10 s 20±5 s 117 sheets 17.8 x 24 cm
(= approx. 5 m2)

Fibre 90±10 s 60±10 s 45±10 s 30±5 s depends on solution

base absorption

60
 Dilutions
(36) Versions Concentrated Standard Economy
stock solution dilution 1+1* dilution 1+2*

5 litres
(for 5-7,5 litres) 2,5 litres 05 litres 7.5 litres

20 litres
(for 20-30 litres) 10 litres 20 litres 30 litres
Powder developers * When mixed with stock solution
in use
Processing in trays, drums and machines
without replenishment
NEUTOL NE (Standard dilution 1+1*)
(37) Paper Developing times in sec. at Yield per litre
type 20°C 25°C 30°C
Mixing PE 60±10 s 45±10 s 30±10 s 117 sheets 17.8 x 24 cm
To make ready-to-use solution, Part A is dissol- (= approx. 5 m2)

ved in at least half of the final volume of Fibre 90±10 s 60±10 s 45±10 s depends on solution
base absorption
water at about 40°C. Part B is then stirred in.
* When mixed with stock solution
After the chemicals have been completely dis-
solved, mixing should be completed by
topping up the water to the final volume. The
developer is ready to use after cooling to wor- Storage life at normal dilution lies at about
king temperature. one week. (37)

Stock solution: If the developer is to be used Economy dilution: (1 part stock solution +
over a longer period of time, it is advisable to 2 parts water) The dilution is particularly effec-
mix a concentrated stock solution. Part A is tive with a high daily throughput. The
dissolved – depending on the package size economy dilution may be stored for less time
used – in either 2 or 8 litres of water at about (no more than one day), but it permits better
40°C, and then Part B is stirred in. The chemi- utilization of yield and therefore the costs are
cals should be completely dissolved. Please low.
see the dilution table for mixing working solu-
tions from the stock solution. (36) To maintain good consistency, the developer
carry-over should be topped up several times a
Standard dilution: (1 part stock solution day with the same amount of fresh solution.
+ 1 part water) This dilution is to be (38)

recommended if the developer is to be used

over a longer period of time with a low daily
throughput. Filling up with the same solution
is only necessary if the tray level falls too low.

61
 Alexander Basta/Germany

Processing in trays, drums and machines Storage life

without replenishment (at room temperature)
(Economy dilution 1+2*)  Developer in the original packaging
(38) Paper Developing times in sec. at Yield per litre = at least 2 years
type 20°C 25°C 30°C
 In brimful, tightly closed glass bottles =
PE 090±10 s 60±10 s 45±10 s 94 sheets 17.8 x 24 cm 6 months
(= approx. 4 m2)
 At normal and economy dilution,
Fibre 110±10 s 90±10 s 60±10 s depends on solution
base absorption see mixing instructions.
* When mixed with stock solution

62
 Processing in trays, drums and
roller transport machines
(Dilution: Ready solution)
(39) Paper Developing times in sec. at Yield per litre
type 20°C 25°C 30°C

PE 60±10 s 45±10 s 30±10 s 117 sheets 17.8 x 24 cm

METINOL (= approx. 5 m2)

Fibre 90±10 s 60±10 s 45±10 s depends on solution

base absorption
Mixing
For mixing ready-to-use solution, stir Part A in
Processing in trays, drums and
about 80% of the final volume of water at
roller transport machines
about 40°C. Then Part B is stirred in. After the
(Normal dilution 1+1*)
chemicals have been completely dissolved,
(40) Paper Developing times in sec. at Yield per litre
top up with water to the final volume. The type 20°C 25°C 30°C
developer is ready for use after cooling to PE 090±10 s 60±10 s 45±10 s 70 sheets 17.8 x 24 cm
working temperature. It is not possible to mix (= approx. 3 m2)

a concentrated stock solution with this develo- Fibre 120±10 s 90±10 s 60±10 s depends on solution
base absorption
per. The economy dilution (= 1 part working
* The economy dilution (1 part ready solution + 1 part water) will
solution + 1 part water) only has a short only keep for one day, and is intended as a one-shot developer for
storage life due to its tendency to oxidize. high throughput.

(39) (40)

Storage life
(at room temperature):
 Developer in the original packaging =
at least 2 years
 Working solution in brimful, tightly closed
glass bottles = 6 months
 Economy dilution = 1 day

63
 Technical Data and instructions If correctly used, the stop bath has the follo-
for the posttreatment of wing advantages:
films and papers  It stops post-development
 It prevents or impedes the alkaline develo-
per from being carried over into the fixer
The stop bath (interrupter)
and therefore the formation of dichroitic
To prevent alkaline developer from being car-
fog, yellow fog and deviation of the print
ried over into the fixer, a stop bath should be
tone is prevented
used between developer and fixer. Fibre base
 It permits the use of a neutral fixer (e.g.
papers should not lie in this bath for too long
FX-UNIVERSAL)
(about half a minute). Too strong a mixture
 It permits warm tone development with
(and thereby a stop bath that is too acidic) is
NEUTOL LIQUID WA (no deviation in print
not advisable as too much acid would be
tone through post-development in the fixer).
carried over into the fixer. One the one hand, it
 It lengthens the storage life of the fixer.
is then difficult to wash the fixing salt out of
the soft paper and on the other, the danger of
The fixer is mixed as follows:
sulphur separation exists.
 1 part acetic acid (60%) + 30 parts water.
Length of treatment in the 2% acetic acid
stop bath: 20 – 30 s* (at 20 – 25°C).
Processing data for film processing
Longer treatment (more than 1 minute)
(41) Stop bath Time in sec. at Replenishment rate
tank solution 20-25°C would make washing more difficult and

2% acetic acid 10-30 s 910 ml/m2 Film

reduces the storage lives of prints.
50 ml/135-36
60 ml/rollfilm 120
9.8 ml/sheet film The stop bath can be replenished with a 5%
9 x 12 cm 50 ml/film 135-36
acetic acid bath with mechanical processing:
 part acetic acid (60%) + 11 parts water.
(41)

Processing data for paper processing

Replenishment rate: 200 ± 50 ml/m2.
Important: In processors for PE papers which
do not include a stop bath, the acid AGEFIX or
ACIDOFIX fixers should be used.

64
 Processing data AGEFIX for film processing.
Replenisher: AGEFIX 1+6
(42) Tank solution Time in min. at Replenishment rate
AGEFIX 20-25°C

Standard fixer 6-8 min 910 ml/m2 film

1+7 50 ml/135-36
60 ml/rollfilm 120
9.8 ml/sheet film
The use of fixers 9 x 12 cm 50 ml/film 135-36
Photographic emulsion layers contain non-
developed, light-sensitive silver complex on
Processing data AGEFIX for film processing.
the unexposed areas after development. For
Replenisher: AGEFIX 1+4
the long-term stabilization of the print, these
(43) Tank solution Time in min. at Replenishment rate
silver complexes must be removed at all costs. AGEFIX 20-25°C
This takes place through fixing which Rapid fixer 3-5 min 910 ml/m2 film
transforms the hard to dissolve silver comple- 1+5 50 ml/135-36
60 ml/rollfilm 120
xes into soluble compounds and the wash 9.8 ml/sheet film
9 x 12 cm 50 ml/film 135-36
ensures their complete removal from the
emulsion.

Correct fixing times Mixing for film processing

The fixing times required can be found in the The concentrate is diluted with water (approx.
corresponding tables. As a guideline for films, 30°C) at the ratio of 1 + 7 or
the following should be noted: the time it 1 + 5. The fixer is ready for use after stirring.
takes the cloudy, milky inking on the film to  Standard fixer:
disappear should be doubled. Too long fixing 1 part concentrate + 7 parts water (42)

times can have a negative effect.  Rapid fixer:

1 part concentrate + 5 parts water (43)

AGEFIX Yield without replenishment

Highly concentrated liquid fixer on ammonium (per litre):
thiosulphate basis with optimum composition  Approx. 1 m2 of film
for yield and storage life. Depending on the  15 – 30 35 mm films 135-36
dilution, AGEFIX can be used either as a stan-  15 – 30 roll films 120
dard or a rapid fixer.  100 sheet films 9 x 12 cm

65
 Processing (PE papers) with replenishment
in continuous transport and roller transport
machines (AGFA-PRO)
(44) Tank solution Fixing times in sec. Reple- Replenishment
AGEFIX at 20-30°C nisher rate (ml/m2)

Rapid fixer 30±10 s AGEFIX 200±20

1+5 1+3
Mixing for
Standard fixer 45±10 s AGEFIX 300±20
1+7 1+5 paper processing
The concentrate is diluted with the amount of
water required. The fixer is ready for use after
Processing without replenishment in trays,
stirring. (44)
drums, tanks and other processors
 Standard fixer:
(Dilution: Standard fixer 1+9)
1 part concentrate + 9 parts water (45)
(45) Paper type Fixing times in sec. Yield per litre
at 20-35°C  Rapid fixer:

PE 075±15 s 60 sheets 17.8 x 24 cm

1 part concentrate + 7 parts water (46)
(= approx. 2.5 m2)

Fibre base 240±60 s 35 sheets 17.8 x 24 cm The composition of the fixer changes during
(= approx. 1.5 m2)
use. To achieve perfect results, the fixer should
therefore be checked regularly and replaced
Processing without replenishment in trays, with fresh solution in good time. Continuous
drums, tanks and other processors replenishment over a longer period of time,
(Dilution: Rapid fixer 1+7) and therefore longer storage life of the fixer
(46) Paper type Fixing times in sec. Yield per litre ensures consistent results with mechanical
at 20-35°C
processing.
PE 045±15 s 60 sheets 17.8 x 24 cm
(= approx. 2.5 m2)

Fibre base 120±60 s 35 sheets 17.8 x 24 cm Storage life

(= approx. 1.5 m2)
(at room temperature)
 Concentrate in unopened original pack =
2 years
 Ready solution and opened packs
= max. 3 months

66
 Processing data ACIDOFIX
for film processing
(47) Tank solution Time in min. Yield per litre
at 20-25°C

ACIDOFIX 2-3 min approx. 1 m2

15–30 film 135-36
15-30 rollfilm 120
ACIDOFIX 100 sheet film 9x12 cm
50 ml/film 135-36
Rapid fixer in powder form on ammonium
thiosulphate basis with optimum chemistry for
Processing data ACIDOFIX
fixing speed, yield and storage life.
for paper processing
(48) Paper type Fixing times in sec. Yield per litre
at 20-35°C
Mixing
PE 060±10 s 60 sheets 17.8 x 24 cm
The contents of the pack are stirred into the (approx. 2.5 m2)
appropriate quantity of water at approx. 40°C.
Fibre base 150±30 s 35 sheets 17.8 x 24 cm
The fixer is ready for use after cooling to the (approx. 1.5 m2)

working temperature. The fixer times depend

on the film or paper type (emulsion, silver
halide coverage), temperature, agitation and
condition of the fixer. The shorter times are
applicable for freshly mixed fixers. Used fixers
require longer fixer times. (47) (48)

Storage life
 In the unopened original pack = 2 years
 Ready solution = max. 3 months

67
 Processing (PE papers) with replenishment
in continuous transport and roller transport
machines (AGFA-PRO)
(49) Dilution Fixing times in sec. Replenisher Replenishment
as at 20-35°C rate (ml/m2)

Rapid fixer 20±5 s* MC FIXER 200±20

1+4 1+4
MC-Fixer
* At fixer times of 10±5 s, the replenishment rate must be doubled to
400±20 ml/m2.
The liquid fixer concentrate on ammonium
thiosulphate basis is perfectly matched to the
Processing without replenishment in trays, AGFA MULTICONTRAST papers PREMIUM and
drums, tanks and other processors CLASSIC. This fixer is also most suitable for
(Standard fixer 1+7) all other B&W papers with fixed or varied gra-
(50) Paper type Fixing times in sec. Yield per litre dation.
at 20-35°C

PE 040±15 s 60 sheets 17.8 x 24 cm

(= approx. 2.5 m2) Mixing
Fibre base 120±30 s 35 sheets 17.8 x 24 cm The concentrate is diluted with the appropriate
(= approx. 1.5 m2)
quantity of water. The fixer is ready for use
after stirring.
Processing without replenishment in trays,  Tank solution/Standard fixer:
drums, tanks and other processors 1 part concentrate + 7 parts water (50)
(Rapid fixer 1+4)  Replenisher (tank solution) – Rapid fixer:
(51) Paper type Fixing times in sec. Yield per litre 1 part concentrate + 4 parts water (49) (51)
at 20-35°C

PE 20±10 s 60 sheets 17.8 x 24 cm

(= approx. 2.5 m2) Storage life
Fibre base 60±20 s 35 sheets 17.8 x 24 cm (at room temperature)
(= approx. 1.5 m2)
 Concentrate in unopened original pack =
2 years
 Ready solution and opened packs
= max. 3 months

68
Fixer monitoring The following values in used condition should
The rising silver content, dilution due to carry- be achieved for problematic work:
over and the subsequent change in acid con-  Acid content between pH 4 and pH 8
tent reduce the effectiveness of the fixer. For  Density value not under the value of fresh
this reason, the pH value, density and silver solution
content – particularly when processing with-  Silver content not over 4 g/litre
out replenishment – should be continuously (The silver content does not exceed this
monitored. value in correctly replenished processors).

The chemical trade supplies acid test paper to If the figures obtained during monitoring vary
monitor the pH value: for instance, Lyphan to any great degree from those given above, it
Paper L 669, Fa. Kloz, Berlin. The paper strip is is advisable to mix fresh fixer to maintain the
dipped into the solution and the change in quality of the results.
colour compared with a test chart. These indi-
cator papers are accurate enough to determine
Silver recovery
the pH value.
Electrolytic silver recovery is possible from
fixers which can contain up to 4 g silver per
The density is measured with a hydrometer
litre. If the quantities of fixer are large enough,
(areometer). The fixer is poured into a gradua-
it may be worthwhile using a silver recovery
ted cylinder and the hydrometer is then dip-
unit. Smaller quantities should be handed over
ped in, to swim on its own. The density value
to a fixer-disposal company.
can then be read on the hydrometer scale at
the highest point of the solution. The tester’s
eye should be on the same level as the Fixer recycling
surface of the solution. The higher the density In the same way as the AGFACOLOR processes,
is, the less the hydrometer sinks into the solu- finishers can also recover the silver from
tion. black & white fixer overflow and recycle the
solution to produce replenisher. FX-UNIVERSAL
To test the silver content of used fixers, a 5 must be used for this purpose. Special
cm long strip of standard silver test paper is information on this subject is available from
dipped into the solution to be monitored and Agfa subsidiaries.
after a few seconds, the test strip is compared
with the colour chart.

69
 Final wash ces the final wash by about 30% but also
The final wash ensures that the fixer salt com- improves the storage lives of the prints. The
plexes are washed out of the emulsion of the treatment lasts about 2 – 3 minutes.
photo materials.
A thorough final wash is most important for
the storage lives of black & white negatives or AGEPON
papers, as the silver complexes reduce the sta-
This wetting agent is used as the final bath
bility of photo materials.
after the last wash. It ensures even draining of
the water without leaving drops, stains or stre-
Depending on temperature, agitation, input
aks on the paper or film surface. The AGEPON
and output of the washing water, the following
final bath reduces the drying times and impro-
washing times are necessary for all films:
ves high gloss on papers.
 15 ± 5 minutes at 20 – 25°C
 20 ± 5 minutes at 15 – 20°C
Mixing
The following washing times are necessary for AGEPON is diluted with water at the ratio of
papers: 1 + 200 (= one capful to 1 litre water). Higher
 for PE papers: 2 – 4 min. concentrations do not improve results. The
 for fibre base papers: 20 – 40 min. papers/films are agitated for 1/2 to 1 minute in
 for fibre base papers after a soda interim the wetting agent and then dried without
bath: 15 – 30 min. rinsing.

Note for RC papers: Much longer washing

Yield
times may cause the prints to curl.
Around 100 to 200 films can be put through
1 litre of AGEPON bath. The AGEPON bath
must be replaced when the liquid does not
Soda interim bath
drain evenly off the surface of the material.
for fibre base papers
For processing black & white fibre base papers,
a soda bath (= 1% sodium carbonate solution) Storage life
can be inserted between fixer and final wash. The concentrate will keep virtually indefinitely
This enables the fixer to be washed better and in the closed bottle. The storage life of ready
faster out of the soft paper. This not only redu- solution depends on the type of water used.

70
The diluted AGEPON solution should not be More information on the theory of this subject
used for longer than 2 weeks. is to be found on Page 31 of this brochure. The
practical use only is dealt with here.

ALGEZID II Mixing
This powerful, chlorine-free biocide is used to For use, SISTAN is diluted with water: 50 ml
prevent fungus and algae forming in the water SISTAN + 950 ml water. The correctly proces-
tanks and in wash water and silver recovery sed and washed prints are agitated for 1 minu-
units. When used correctly, AGEZID II has no te in the SISTAN solution after the final wash.
detrimental effects on photographic materials. A further wash should not be done
It should not be added to the processing solu- afterwards!
tions.
Note: Too high a concentration of SISTAN can
lead to stains which take some time to appear
Use
– particularly if prints are in close contact
After shut-down, 2 ml ALGEZID II
(store stacked).
(per 10 litres) are added to the water tank. The
water need not be drained off before the next
Care should therefore be taken that both the
development batch.
fronts and backs of prints are wiped before
drying to avoid partial over-concentration cau-
Storage life sed by dried spots of SISTAN. The pinch and
The concentrate will keep virtually indefinitely transport rollers of mechanical processors and
in closed bottles. continuous dryers should be carefully wiped
clean to stop the SISTAN solution crystallizing
on them.
Stabilizing with SISTAN
SISTAN protects photo materials from changes
in print silver caused by environmental effects, Yield
without changing the print tone. These chan- Up to 2 m2 of film (equivalent to approx. 30 –
ges appear initially as yellowish brown to red- 40 35 mm or roll films) or 2 m2 of black &
dish highlight discoloration and can later dest- white paper (equivalent to approx. 45 sheets
roy the whole film or paper material by the 17.8 x 24 cm) per litre ready solution. The
silver being converted into a colloidal form. solution can be used down to the last drop.

71
 processes. VIRADON can produce a brown ima-
ge tone without changing the contrast. Toning
can either be direct or indirect. Direct toning
converts the silver image into a different silver
compound in one operation. With indirect
Ryuichu Sato/Japan
toning, the prints should be bleached first.
Print not toned. Neutral black image tone A new image is formed in a second bath, but
with a different coloured silver compound.
Both direct and indirect toning are possible
with VIRADON. Only prints that have been cor-
rectly exposed, developed according to specifi-
cation and fixed in really fresh fixer are suita-
ble for toning. (52) (53)

Only photos which have been developed as

instructed and fixed in as fresh a fixer as possi-
ble are suitable for toning. A good final wash
is equally important to quality. In principle, all
black & white papers can be toned.

Direct VIRADON brown toning

The image tone chosen can intensify expression However, warm tone papers are the most sui-
table. The direct toning process should be
chosen if archival stability (image silver stabi-
lity) is of the utmost importance. The image
Storage life
tone here rarely changes. Indirect toning pro-
The concentrate will keep virtually indefinitely
duces much warmer print tones (yellow-red).
in closed bottles. The ready solution should
BROVIRA SPEED 310 is less suitable for indi-
not be kept in open trays but rather in closed
rect toning, since this method may result in a
bottles.
matter gloss in the dark to black areas than in
the lighter areas.
Toning with VIRADON
The metallic (black) image silver can be con- Note! To avoid staining, each print should be
verted into a different coloured tone by toning placed individually and then well agitated. It

72
 (52) Direct toning Time
with VIRADON*

AGFA VIRADON 1+24 1-10 min

(1 part VIRADON + 24 parts water) (depending on intensity
needed)

Stop bath (10% sodium sulphite solution) 1 min

(only necessary if after-toning in the wash
is to be prevented)
is also necessary for prints intended for toning
Final wash
to be treated with fixer which is as fresh as (as indicated for PE and fibre-base papers)
possible and to have been thoroughly washed. * Processing temperature: 20°C

Yield (53) Indirect toning Time

with 44 BL bleach*
2 – 3 m2 photo paper can be toned in 1 litre
ready solution (equivalent to approx. 45 – Bleaching with 44 BL bleach* (1+3) 2-5 min
(1 part 44 BL concentrate + 3 parts water)
70 sheets 17.8 x 24 cm). *Process AP 44
(bleach for colour reversal film processing)

or bleach (Agfa 501 formula): 5 min

Storage life 500 ml 10% potassium ferricyanide solution
100 ml 10% potassium bromide solution
The concentrate will keep virtually indefinitely 400 ml water 5 min

in closed bottles. Ready solution cannot be Wash (running water) 5 min

re-used. AGFA VIRADON 1+50 3 min
(possible stop bath as for direct toning)

Final wash
(as indicated for PE and fibre-base papers)

* Processing temperature: 20°C

73
 General information Storage, safety at work,
handling photochemicals
Environmental protection and
disposal Storage
The chemicals should be stored in their origi-
Wash water from processors containing small
nal packaging at temperatures between 8°C
quantities of process solutions are subject to
and 25°C. If the temperature is too low, cer-
local and often general waste water regula-
tain substances may crystallize in liquid con-
tions if disposed of into the public sewage
centrates, which could result in wrong bath
system.
mixtures, if this is not taken into considerati-
on. The effects of direct heat should also be
If these regulations do not permit used photo-
avoided. High temperatures can trigger a pre-
graphic solutions to be discarded into the
mature chemical reaction in concentrates that
public sewage system, they must be disposed
are prone to oxidization, and this in turn can
of as special waste.
lead to the decomposition of a bath.

Agfa photo chemical packaging conforms to

the regulations of safety (transport, storage, Safety aspects when working
handling) and of recycling. Photo chemical with photochemicals
packaging should not contain any harmful Certain precautions (e.g. avoiding contact
impurities if it takes part in collection and with food and drink) and safety measures must
recycling systems. The packs must therefore be taken when working with photographic
be absolutely empty, this means free of lefto- processing chemicals. These include adequate
ver powder, sludge and drops. Photo chemical ventilation at the working place and,
containers should preferably be rinsed out as if necessary, the use of protective gloves and
well. It is best to use some of the mixing glasses.
water for this purpose.
Observing all the safety precautions ensures a
Queries on environmental protection and waste high degree of safety at work. Nevertheless,
disposal can be answered by the environment with particularly sensitive persons, irritation of
officers in the Agfa Sales organisations, or the skin and mucous membranes, and, in iso-
referred to the central Environmental Protec- lated cases, allergic skin reactions cannot be
tion Department in Leverkusen, Germany. excluded.

74
Special regulations concerning transport and Safety data sheets in several languages are
handling of dangerous substances apply to available from the appropriate Agfa sales orga-
certain photochemicals and these are shown nisations. These safety sheets also contain
on the packs of all products subject to such specific information on the substances contai-
labelling. Extra safety recommendations are to ned in the products.
be found in the instructions enclosed with the
products or on the labels of the packs.

75
 Impressum

Published by:

Agfa-Gevaert AG

Postfach, D-51301 Leverkusen

Redaktion:

Joachim Badura, Wolfgang Holz,

Stefan Roebrock, Christian Sinz

76
77
Worldwide. Your direct connection to us.
Argentina (PY, RDU) Denmark Japan Sweden
Agfa-Gevaert Argentina S.A. Agfa-Gevaert A/S Agfa-Gevaert Japan, Ltd. Agfa-Gevaert AB
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5EJKT 0092 engl.

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