Quote Originally Posted by Klainmeister View Post
-I plan on using fiber for my portfolio and for any sort of framing...should I even bother with RC papers or should I just use fiber exclusively so I can learn it best
I think you're on the right track. Most people, and the digital folks, won't care about whether your work is on fiber or not. However people interested in, and certainly those who love, traditional photography, will. If the intention is to show your portfolio to any of these latter folks, you will have hobbled yourself "professionally" by not showing fiber. And then there are all those conflict–inducing issues of "archivability" and "beauty".

Quote Originally Posted by Klainmeister View Post
-95% of my negatives are pyro-stained (PMK and Pyrocat) Acros 100, so has anyone found a paper that they like with that combo in particular? Not to emulate, but just some ideas?
Never found film or development even remotely correlated to enlarging papers. An appreciation of light and composition is.

Quote Originally Posted by Klainmeister View Post
-Any general recommendations for papers? I'm open to trying something new, but I'd like to here experiences. Warm-neutral tone is preferred
Fomabrom (graded fiber) is warm and fairly inexpensive. Slavich Unibrom is cheapest and some of the only remaining graded fiber true cold tones currently on the market. Both are capable of producing fine prints, although they are little thin – not actually double weight. I love the new "neutral" Oriental for its unique warmish tone, when I desire it over my usual cold–tone preference.

Quote Originally Posted by Klainmeister View Post
, since I mostly do Southwest imagery.
I don't see the correlation. This is your personal preference, driven by your personal visualization. I am sure that I am not alone in that an overwhelming amount of my Am. Southwest prints are cold, selenium toned, enlargements (older Oriental Seagull).