Have just done a comparison of CBP vs. IGFS and to me the difference is clear not just in the whiter tone of the the Canson, but especially in the stipple of the surface.
By comparison, the Ilford is yellow, though this difference is not as marked as if one were comparing to the Hahnemuhle which appears as Michael reviews, is markedly magenta.... so much so that if you accidently use its profile on other papers they will be insipidly green. To me the warmth is a matter of taste and an appropriateness for certain images, some intrinsically more wanting of a warmer paper. That is, both the CBP and IGFS can be pleasing.
But the Canson for me is much more so because of that stipple. For traditional silver halide, where the silver is embedded in the surface emulsion, and can consequently convey a greater sense of depth that subliminally registers as integrity, implicitly injet inks reside on the surface of a print. This bugged me about the Ilford as one could readiy see the ink sitting right at the surface which felt, by comparison to traditional silver, insubstantial. The slight stipple of the Canson helps create that same illusion of depth. Some of the ink is actually deaper in the wells of the stipple than the ink on the peaks. (I suspect it may therefore be more vulnerable to abrasion, bit I haven't tested this yet.) The stipple or some other finish also affords a slightly brighter sheen which masks the differential between the printed and unprinted edges of the paper surface, again, more like a "real" print. However the sheen—it is classed as a semi-gloss— is not so great as to create issues with viewing light reflection.
I compared a Canson print with one of the same image, size and tonal range that I printed on Agfa Classic roughly 20 years ago. Classic was a slightly warm-toned multigrade fibre paper, quite wonderful except for having a slightly too thin paper base which kinked too easily in sizes 16x20 and above (a feature that lead me to Ilford's multigrade fibre soon after. The Classic is slightly warmer though not as warm as the IGFS or ILford's silver-based Warm-tone Multigrade Firbe. The Canson, with Canson's own profiles for my Epson 3880 holds up most admirably compared to the vintage print. I'd still prefer the silver though it would doubtless take me quite while to bring my darkroom skills back up to my contemporary "lightroom skills". That greater control may just give the inkjet the edge.
I am deeply troubled however by the longevity question of the Canson. Its brightness, although pleasing, suggests not just the presence of optical brighteners, but lots of them, and I have just written to Canson questioning the appropriateness of branding it as an "Infinity paper". It is, albeit buffered, alpha-cellulose as opposed to cotton rag. The others of that brand have the Wilhelm stamp from the study published last year since they exceed the ISO 9706 standard. And on closer inspection of their sales bunk, Canson claims that their CBP "respects the ISO 9706 standard to guarantee maximum conservation of your prints" , whatever that means. In this case I read "respects" as a weasel word. Canson also refer to it as a "museum grade" paper, but I'm not sure upon what basis they can make this claim. It is a wonderful paper to be sure, but I'm not sure it is going to be a reliable contender in terms of museum longevity.
Is there a baryta inkjet paper without optical brighteners, but with some stipple, that meets or exceeds recognized standards of longeivty. Or is one still stuck with flatter matte papers for this job?