I’ve been working with Hahnemühle papers for years, and there’s a reason they’re the gold standard in fine art printing. From the moment you handle these German-made papers, you can feel the quality – that substantial weight, the beautiful texture, and knowing your prints will last generations. Let me walk you through what makes each paper special and help you find the perfect match for your work.

Smooth Matt Papers – The Photo Rag Family

This is where most photographers start, and for good reason. These smooth cotton-based papers are incredibly versatile – I use them for everything from client portfolios to gallery exhibitions. The matt coating has just the right amount of tooth to hold ink beautifully without any glare.

The Classic Photo Rag Papers

308 GSM

Photo Rag 308gsm

This is my go-to paper – the one I recommend when anyone asks where to start. That natural white tone works beautifully with portraits and landscapes alike, and whilst it’s smooth, there’s just enough subtle texture that prints feel properly crafted rather than commercial. The blacks are genuinely deep, and it handles shadow detail exceptionally well.

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310 GSM

Photo Rag Bright White 310gsm

When I need more punch and contrast, this is where I turn. That brighter white base really makes colours pop – perfect for contemporary work or commercial clients who want maximum impact. I particularly love it for landscape photography where you want those vivid greens and blues to really sing.

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305 GSM

Photo Rag Ultra Smooth 305gsm

This paper is seriously smooth – almost like glass under your fingers. I reach for it when every tiny detail matters: macro photography, architectural work, or any technical prints where absolute sharpness is non-negotiable. The bright white finish gives you incredible clarity and edge definition.

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Eco-Friendly & Specialty Smooth Papers

290 GSM

Bamboo 290gsm

I was sceptical about bamboo paper at first, but this genuinely surprised me. The warm white tone adds a lovely organic feel to prints, and you’re not sacrificing quality for sustainability – it prints beautifully. Several of my eco-conscious clients specifically request this for their exhibitions.

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Textured Fine Art Papers

Here’s where things get really interesting. These textured papers completely transform how prints feel – literally. Run your hand across them and you’ll understand why clients are willing to pay more for work on these papers. They add a dimension you simply can’t get with smooth papers.

350 GSM

Museum Etching 350gsm

This heavyweight beauty is my top pick for gallery work. That felted texture adds such depth to prints – they literally have a three-dimensional quality when light hits them. I’ve had gallery owners specifically comment on prints done on Museum Etching. It’s expensive, but for exhibition pieces, it’s worth every penny.

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310 GSM

German Etching 310gsm

The mould-made texture on this paper is unmistakable – it’s got that traditional printmaking feel. I use it when I want prints to have that authentic artistic quality, particularly for reproducing paintings or more expressive photography. The texture is pronounced but doesn’t overwhelm the image.

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285 GSM

Torchon 285gsm

Torchon has the most aggressive texture of the textured papers – those felt marks are really quite coarse. But on the right image, particularly landscapes or artistic work, it’s stunning. The bright white base means colours stay vibrant despite the texture. Not for everything, but magical when it works.

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190 GSM

William Turner 190gsm

This mould-made watercolour paper gives prints an almost painterly quality. The texture is fine but definitely present, and those deep blacks are remarkable for a textured paper. It’s lighter weight than some others, but the 100% cotton construction means it still feels substantial. Beautiful for artistic photography.

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210 GSM

Albrecht Dürer 210gsm

Another mould-made paper with authentic watercolour character. The texture sits somewhere between William Turner and German Etching – distinctive without being overwhelming. I find it works particularly well for art reproductions where you want that traditional feel combined with modern print quality.

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Glossy & Semi-Gloss Baryta Papers

If you grew up in a darkroom like I did, baryta papers will feel like coming home. That characteristic sheen and depth brings back everything I loved about traditional darkroom printing, but with the convenience and control of digital. The blacks are absolutely spectacular.

325 GSM

FineArt Baryta 325gsm

This high-gloss finish is gorgeous – that elegant sheen without the harsh glare you get from glossy photo paper. I use it for exhibition photography where I really want prints to command attention. The colour vibrancy is exceptional, and those blacks… they’re genuinely the deepest I’ve seen from any inkjet paper.

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300 GSM

FineArt Baryta Satin 300gsm

For clients who love the baryta look but worry about reflections, this satin finish is perfect. You still get that lovely richness and depth, but with subtle texture that cuts down glare. I find it particularly good for portraits – skin tones are exceptional, and it handles studio lighting beautifully.

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285 GSM

FineArt Pearl 285gsm

This pearlescent finish is quite unique – there’s a subtle shimmer that catches the light in interesting ways. It’s not for everything, but for contemporary photography or commercial work where you want something a bit different, it really stands out. The colour intensity is brilliant, and sharpness is top-notch.

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350 GSM

Baryta FB 350gsm

Heavyweight and absolutely premium – this paper feels like the finest traditional darkroom prints. That smooth base with brilliant white coating produces prints with remarkable tonal range. It’s pricey, but when you need the absolute best photographic quality, nothing else quite compares.

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315 GSM

Photo Rag Baryta 315gsm

This combines two of my favourite things – Photo Rag’s lovely cotton feel with that beautiful baryta gloss. The warm white tone adds character, and that light texture means it doesn’t feel like a commercial photo paper. It’s become my go-to for fine art photography where I want impact but also sophistication.

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Canvas & Specialty Materials

Canvas printing isn’t just for reproducing paintings anymore. These poly-cotton canvases print beautifully and stretch well for gallery wraps. I’ve had great success with them for both art reproductions and photographic work where clients want that canvas aesthetic.

340 GSM

Canvas Artist 340gsm

This fine grain canvas is my workhorse for art reproductions. It stretches well without warping, and the matt finish means colours stay vivid. I’ve stretched dozens of pieces on this canvas for gallery wraps, and it’s been consistently reliable. The ink acceptance is excellent too.

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430 GSM

Cézanne Canvas 430gsm

This heavyweight canvas has a really pronounced texture that gives you that authentic painted canvas look. It’s substantial enough for large-format work, and when stretched properly, it looks absolutely professional. I’ve used it for museum-quality art reproductions with excellent results.

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400 GSM

Daguerre Canvas 400gsm

This canvas strikes an interesting balance – you get canvas aesthetics but with a smoother coating that’s brilliant for detailed photographic work. The colour saturation is impressive, and print definition stays sharp despite the canvas base. Good choice when you want canvas texture without losing detail.

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340 GSM

Goya Canvas 340gsm

The satin-gloss finish on this canvas gives prints a lovely painted quality. That subtle sheen adds richness to colours, and the texture is distinctive without being overwhelming. I’ve used it successfully for both art reproductions and more artistic photography where canvas suits the aesthetic.

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Finding Your Perfect Match

How I Match Papers to Projects

After years of printing, here’s how I think about paper selection:

Contemporary Photography: I reach for Photo Rag Bright White or Ultra Smooth when I want maximum sharpness and vibrant colours. These papers deliver that clean, modern look that contemporary work demands.

Fine Art Photography: Classic Photo Rag 308 is still my first choice. That natural warmth and subtle texture just works – it’s trusted by galleries worldwide for good reason.

Exhibition Prints: Museum Etching or FineArt Baryta are where I go when prints need to command a room. That presence and depth make a real difference in gallery settings.

Portrait Photography: Photo Rag Baryta or Baryta Satin consistently deliver beautiful skin tones. That baryta richness adds elegance whilst staying natural.

Art Reproductions: The textured papers – William Turner, German Etching – or canvas options give you that authentic artistic character that makes reproductions feel like original works.

Eco-Conscious Projects: Bamboo 290 proves you don’t have to compromise quality for sustainability. It prints beautifully and clients appreciate the environmental consideration.

Commercial/Studio Work: FineArt Pearl or Bright White when you need that contemporary aesthetic that impresses clients whilst maintaining professional quality.

Understanding the Categories

Try Before You Buy

Here’s something I always tell people: don’t guess on paper selection. The sample books and packs are genuinely worth it – seeing and feeling the papers makes all the difference. I still refer to my sample book regularly when talking clients through options.

Printed Sample Book

This spiral-bound book shows actual printed samples on every paper type. You can see exactly how colours render, how textures affect images, and compare finishes side by side. It’s an investment that pays for itself the first time it helps you choose the right paper.

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Media Sampler Pack

This compact swatch book with unprinted samples is perfect for feeling paper weights and textures. I keep mine in my camera bag for client meetings – being able to hand someone actual paper samples makes conversations about print quality so much easier.

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Protecting Your Investment

Once you’ve printed on Hahnemühle papers, you’ll want to look after them properly. These archive boxes and protective spray aren’t just accessories – they’re essential for preserving valuable prints.

Archive & Portfolio Boxes

I use these museum-quality boxes for storing client work and my own portfolio pieces. The acid-free construction means prints stay pristine for decades. That dove-grey exterior also looks properly professional when presenting work to clients.

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Protective Spray

I always spray exhibition pieces – that extra water resistance and UV protection is worth it. Apply it carefully in thin coats, and you’ll add years to your prints’ life whilst preserving colour vibrancy. Essential for any work that’ll be handled or displayed long-term.

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Why We Stock the Complete Range

As authorised Hahnemühle dealers, we’ve built relationships with photographers and artists who trust us for paper advice. We understand fine art printing because we do it ourselves – our team can guide you toward papers that genuinely suit your work and equipment.

We stock everything from classic Photo Rag to specialist textured and canvas materials because different projects genuinely need different papers. Fast delivery means you can start printing quickly, and our sample options help you make confident decisions before investing in boxes or rolls.

Whether you’re selecting your first fine art paper or expanding your paper library, we’re here to help you get the results you’re after.

All Hahnemühle product information sourced from manufacturer specifications and RGB UK product listings. Paper characteristics and availability current as of January 2025. Contact RGB UK for current stock levels and roll/sheet size options.