I've used the different iterations, off and on, over the years.
The one I liked the best is no longer available, sadly. It was the Variable Contrast Neutral Satin.
Recently I acquired the Variable Contrast Semi-Mat Warm and love it. I've used it Berrger Warm Tone developer. The results are not too warm, which is an aspect of warm tone papers I am not always happy with.
The semi-mat is quite rich, the black deep, velvety. The fine details the paper gives are excellent.
Papier baryté semi-mat à ton chaud Émulsion chlorobromure Base blanche Possibilités de virages
labo-argentique.com
I have not used Ilford papers much, for many years. I worked with Agfa papers for a long time, stocking up on them when Agfa went bankrupt some 20 years ago. From that, it was the glorious Adox papers I used, now sadly not available.
Running out of my stock of Adox left Foma and Berrger, for my choices. Here in France, the Ilford papers are increasingly expensive since Brexit, which decided me against trying them. For the moment, at least, with one exception.
The Berrger semi-mat has more depth and gives finer details than the Foma papers, and the Foma warm tone papers I approach with caution, depending on the negative to be printed. They can be too warm and without selenium toning, have a strange greenish cast to them. I systematically tone with selenium anyway, but it can be disarming to see the results before toning.
The Foma glossy neutral is my go to for a glossy neutral paper, due to its availability and price right now.
I printed the same negative on Berrger semi-mat warm, and Foma glossy neutral. On the Foma, the image is highly contrasted and somewhat dramatic, while on the Berrger, it has a depth of detail and more subtelty than the Foma could offer, which was what I wanted for that particular image.
I do not know if I have a scan of that print, I'll look. Correction : I do have a scan, I am not sure which device it is on., will look.
à suivre ...