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This is not a perfect scientific study, but merely my own observations and impressions, so please don't treat this as the final truth.  It is just a general guide to provide some idea of what these papers are like. 

4)  The test prints can be distinctly sorted by paper color into seven shades of white, by ink color (from the Eboni test) into seven shades of black, and by Dmax as measured by a colorimeter (thanks to Steve Karafyllakis for doing the readings). 

Note: Not every image needs eye-popping Dmax.  Other properties, such as contrast, tone, and the ink/paper color relationship are equally important.  A paper shouldn't be dismissed just because it doesn't have the highest Dmax rating. 

Dmax - In this group of papers the dmax ranges from 1.54 to 1.75.
I find that 1.58 is the minimum acceptable for images where dmax is not a major factor (such as higher key images with small amounts of black).  For images where dmax is important, 1.65 or greater is necessary.  From my own experience over time with a variety of papers, inks and images,  I grade dmax values like this:

Excellent - 1.70
Very Good - 1.65
Good - 1.60
Fair - 1.55
Poor - 1.40 (lowest reading I've seen, Schoellershammer Velvet)

I have gotten beautiful prints on lower dmax papers with images that have small amounts of pure black in them.  Some of those papers take the ink nicely and are quite beautiful in every other regard.

Paper Color -  A "White value" range from W1 to W7, where W1 is pure bright white and W7 is the warmest of the cream colored papers. 

Ink color - A "Black value" range of B1 to B7, described in terms of how Eboni ink is rendered from cold to warm:
 B1 - Cold; blacks look black or "neutral"
 B2 - Cool; blacks not pure black, but not warm either
 B3 - Slightly warm - beginning to look brown instead of black
 B4 - Moderately warm
 B5 - Medium warm 
 B6 - Very warm
 B7 - Extremely warm 

Note: K3 inks allow us to get a range of tones from warm to cool.  Since ABW mode uses predominantly carbon-based K inks with color pigments added only as toners, these papers will influence these inks toward the tones described here.  So while not completely relevant for a variable tone system, these ink color reports can still be useful.  For example, if you want to make a cold tone print, using a warm tone paper will require a greater amount of cool toner.  This can make a visible difference, both in overall coloration (bluish/greenish/magenta tints will be visible in certain zones) and the crossover effect (mismatch between ink and paper colors) caused by the warmer paper showing in the highlights.  Starting with a cold tone paper can reduce the amount of toner required.  The same is true for warm tone prints.  Printing warm on a cool paper will introduce more warm toners.  The best results are obtained when using a paper that is as close as possible to the desired tone to begin with. 


5) The papers are listed below in a Contents chart grouped by manufacturer, with links to comments below.

 

Some Abbreviations Used In The Comments

Comments

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This is still a Work In Progress - Some papers not finished testing

 

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