I ran into too many problems with the Ilford Galerie Classic Pearl I have been using for some years thinking it was the best continuation of printing from film.

That caused panic buy of a pack of HP Premium Plus being the best I could get from local art/stationery shop. That in turn to studying the 'Canon ICC profiles guide' (pdf downloadable via http://photography-on-the.net/forum/...ad.php?t=29530) and deciding to follow general thrust of this rather than pedantic matching of profiles and papers. I went for the high end, starting in (Nikon) Adobe 1998, to Canon SP4 profile (for their top-end paper) and 'absolute colorimetric'. This despite dismal discovery that Canon IJ is sRGB in disguise and the <beginning and end> colour profiles I chose instead looked at in ColourSync nowhere match.

I found the result revelatory. It seems that these modern posh papers do achieve something appropriate to the digital age and also, maybe, bringing the quality of classic slide projection films onto paper.

It seems that the very bright white base covered with a transparent film and then with the further translucent film of the printing ink reflects the light from the room back up through the ink layer at least partially backlit as from a projected slide or good monitor?

Printing as I do direct from .nef (in NX2, but from .psd in CS would be the same), it is possible to do minor course correction of colour bias as a togglable step in the editing program; must be better than correction in printer dialogue?

Anyone, especially those of you who have been at it a while, have comments on this and further suggestions? And is it best to return to the Ilford paper for monochromes?