It is critically important you use the correct black ink for the paper type for best results - the matte black ink must be used with all matte papers (the key improvement is a vastly improved D-Max), and the photo black ink must be used with gloss and semi-gloss papers.

For top class results, it is also critically important to custom profile, and use the right media settings with each paper.

We've divided the papers into 6 surface types:

• Matte Paper, smooth
• Matte Paper, textured
• Fibre Based Equivalents (papers designed specifically to look like traditional dark room papers)
  
• Semi-Gloss (Lustre)
• High Gloss & Metallics
• Canvas
  

These papers work very well with pigment inks and offer the best archival characteristics, and so are the papers of choice of fine art photographers around the world. They are extremely popular in the illustrative and graphics design worlds, and work beautifully in these contexts.

If you're a photographer, they're more subtle than traditional   photographic surfaces and, if you're used to things like Cibachrome and the like, may take some getting used to. They are seen by a few to be somehow less 'photographic' than gloss and semi-gloss papers, but this is largely a product of what has been sold out of mini-labs for so   long, so people are visually attuned to semi-gloss and gloss surfaces.   This is changing, and will likely carry on changing in the years to   come - certainly in the art photography world matte papers are very common and growing in popularity all the time.

These papers, combined with pigment inks like the Ultrachrome inks, now offer wide gamuts and strong blacks. It's true the d-maxes are still below gloss papers (matte surfaces will always offer less strong blacks due to their very nature), and the gamuts slightly smaller than gloss papers. But framed work is visually almost identical (and often better due to reduced reflections), and you gain MUCH better archival characteristics, and there are no issues whatsoever with gloss differential or bronzing. So all in all, with pigment inks, they're really the best option if you don't require the initial punch of glossy prints.

Museo (AKA Crane) Portfolio Rag is without doubt the best matte rag smooth fine art paper in the world today - and we've tested them ALL. One major advantage over most others that it   has absolutely no optical brightening agents (e.g Hahnemuhle Photo Rag has a low amount as do papers from Moab and most other brands). It's 300 gsm, smooth, and very sharp as well. It's an excellent paper for gallery quality prints. We use this as our primary matte fine art paper and roughly 80% of our printing customers choose this paper - it is adored by all who use it.

Fine-Art Matte Papers (with a textured surface)

Textured papers can really suit some images and applications, although generally work best for bigger prints as on smaller prints the texture can overwhelm the image.

Unlike smooth papers, there are a LOT of options that are really good and it's really hard to get a sense of what to buy without seeing them - why not invest in some sample packs to get started?

We carry a number of interesting options, all with superb quality coatings for inkjet printing - here are some favourites: 

• Hahnemuehle Torchon - Jeremy's personal favourite - a classic watercolour Torchon paper with a lovely irregular texture
• Arches Aquarelle - Great for art reproduction work, with a natural warm tone
• Canson BFK Rives - THE classic mould made traditional print making paper - lovely velvety texture.

Fibre Based Equivalents

Since 2006, a number of papers have appeared on the market, specifically designed to mimic the traditional air dried fibre based look.  The beauty of these is that the offer very classically photographic results, but for the first time the same papers can be used for black and white AND colour - something never possible with the darkroom equivalents. 

Museo (AKA Crane) Silver Rag - the first to market of this new type of paper and a truly excellent paper for high impact printing. Surface has some texture. Still one of our favourite paper in this category, has the most amazing tonal range and is very strong and easy to work with (much stronger than the newer baryta papers). Perfect for work that is not going to be framed.

Harman by Hahnemuhle Gloss Baryta - Very smooth, air dried fibre look, quite glossy. The replacement to the beloved Harman FB AL that is discontinued. This is the gloss paper we use here for general gloss printing, it's very nice.

Ilford Fibre Gold Silk - Somewhere between the two above papers and very beautiful indeed.  Silk (i.e. satin) surface.  Also very reasonably priced in the 50 packs - probably the most popular of these papers., therefore.

Epson Traditional Photo Paper - sold in the US as Epson Exhibition Fibre.  Pretty much the only Epson paper we really recommend, this is a remarkable paper with very clean whites and very deep blacks, and a very nice unobtrusive surface.  For maximum impact images!

Semi-Gloss (Lustre)

Semi-Gloss papers are probably the best option with pigment ink printers if you move away from fine art matte papers. Semi-Gloss offers a robust surface to work with (resistant to fingerprints and the like), but with the good D-Max and large gamut typical of gloss papers. Semi-gloss papers exhibit much less bronzing than high gloss papers with pigment inks.

Canson Infinity PhotoSatin - Beautiful 270 g/m2 Semi-Gloss paper. Instant drying, high weight paper that is resistant to marking, scratches and water! Offers excellent gamut and very high D-Max. Has a less sparkly surface than the Ilford paper below and is the paper I personally use for all our family photos etc - very classy.

Ilford Smooth Pearl - Classic pearl surface with considerable sparkle. Beautiful photographic results and the most popular inkjet paper in the world.

Gloss & Metallic Paper

Pigment inks and gloss papers are traditionally not the best of friends, with some issues with gloss differential remaining even in 2008.  Probably the best option is Harman by Hahnemuhle Gloss Baryta (see fibre alternatives above)

Ilford Smooth Gloss - Classic gloss surface, classic high impact photographic results.

Canson Infinity PhotoGloss - 260 g/m2 High gloss paper. Instant drying, high weight paper that is resistant to marking, scratches and water! Offers excellent gamut and very high D-Max.

Chromajet Centurion Metallic Pearl - the best inkjet match for Kodak's classic Endura Metallic paper (but better than the Kodak stuff!). Very high gloss and with a unique pearlescent appearance, a very high impact paper great for landscapes and architecturals.

Canvas

Our favourite canvas is without doubt the new Hahnemuhle Monet canvas.  400 GSM, 100% cotton, exquisite print quality, and stretches beautifully.