As Andy has pointed out, it is critically important to engineer a negative of the correct density/contrast to work well with Kallitype. You can either make a digital negative (you have to work with Epson printer tech for this) or work out a process to create an in-camera negative, which requires special processing. (For this I recommend
Ellie Young's pdf, which goes into considerable detail about achieving the correct negative density) Your best option for in-camera alt process negatives is FP4+, which is ideally suited to making Kallitype (and Salt) negs because of its low base + fog density. Ellie explains the choice of FP4+ in the pdf, so do yourself a favor and take a look at it.
Andy's recommendation to stick to an appropriate paper is also excellent advice. To his list of Revere and Hahnemuhle I would add Bergger's COT 320 paper, which has been my favorite for Salted paper and Kallitype printmaking.
Tone your prints before fixing. Gold chloride toning is considered the best for archival and aesthetic purposes. You can buy a gram of Gold chloride for about half what it would cost you to buy gold toner pre-made: go to ArtCraft Chemicals. The Thiocyanate toner version of Gold toner is simplest and very easy to make yourself.