My old book of Agfa papers has 26 varieties. At the time those were available there were also Gevaert, Leonar , Mimosa and lots of others as well as the perhaps better known Kodak and Ilford. Perhaps we are regaining some of the past. I remember one, I think from Mimosa, that had a surface like velvet. Matte with deep blacks. No-one seems to have attempted that yet. I suspect it would require a different ink technology.
Like Eleanor I think stipple is a no no. Similarly for the more heavily textured silk type surfaces.
Looking into the afore mentioned Agfa book, where I can see the surfaces, not just try to remember them, I would go for 113 White Matte,114 White Grained Matte 122a White Velvet, 125 Royal Chamois - actually most are pretty good except for 117 White Silk Grained and 137 Ivory Silk Grained. All these papers had a modernist photographic look. At that stage there seemed to be little interest in paper that loked like paper. Now we have paper from the traditions of etching, watercolour and ink brush painting .
I have just printed a book (lots of photos!) on Somerset White Book, that is very impressive. It's an uncoated paper from St Cuthbert's Mill in England . It is textured but where the pics are you just don't notice it. It just looks classy. DMax is only 2.25 but black looks deep. Colours require some tricky editing, but jump out with no sheen at all.
Choice of papers is getting pretty good . It's a matter of matching the paper to the project so paper enhances and does not subtract from the image. I'd be carefull about dumping current favourites for new stuff. Crane Silver Rag, for instance , last years hot product , is now getting bad press in favou of the new (!) baryta based papers. I has a "wet" look that I find suits many photographic images eg landscapes and plants. The baryta based papers , I suspect , will suit different images or make the same images look different. It's a pretty subtle thing and most clients may just not recognise it . On the other hand there is something almost subconcious about why one image appeals and walks off the wall, and others. equally technically good,hang forlorn.
The right paper has a significant contribution.
Cheers,
Brian,
www.pharoseditions.com.au