Agfa/Ansco 113

Water (125 degrees F) . . . . . . . . . . . .      750 ml
Sodium Sulfite (Anhydrous) . . . . . . . . .     44 g
Potassium Bromide . . . . . . . . . . . . . . .      .55 g
Amidol . . . . . . . . . . . . . . . . . . . . . . . . . .   6.6 g
Cold Water to make . . . . . . . . . . . . . . . . .     1 liter

     Use full strength.  Add the amidol only after the solution of the first two chemicals has cooled to below 80 degrees.

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I used this formula and a “spoonful” modification while at the San Francisco Art Institute. My favorite papers were Agfa Brovira and Portiga. Using this old formula I could save almost any negative. This saved many 35mm shots. Those papers, this formula and Selenium toning produced gorgeous rich tone prints. The Brovira was cold, with ranges of color that tinged blue or green, depending upon the time in the developer. The Portriga was my favorite B&W paper. It had been intended as a warm tone portrait paper, but its creamy paper and brown tone worked wonders on my Obelisks. I never used it with people or nudes, but many of my fellow students sure did. I may have brought it into the studio but many were those who took it up.