If you're shooting sheet film, I'd be worrying more about reciprocity failure and calculating proper exposures. The type of film is important. Many people claim good results with Fuji Acros B/W, minimal reciprocity effect up to a minute or so (don't quote me on the exact time, it would pay to do your own homework). So you've got to have a system already in place regarding film and exposures.

For paper negatives, which I have some experience with, I'd recommend grade 2 RC paper rather than MG paper. Yes, some people claim good results (e.g. more moderate contrast) using a yellow filter with MG paper, but you'd have to do exposure tests, and also risk dust & scratches being visible from the filter, which are at least as bad as atmospheric haze. You also lose several stops of exposure with a yellow filter.

My current setup is to preflash (at home, in the darkroom) Freestyle's Arista-brand grade 2 RC paper, expose it at ISO12, and give it an extended development in dilute developer. Good contrast control, but of course with an actinic, 19th-century tonal range (e.g. blown out skies and dark skin tones). In cloudy daylight, exposure times with this paper can often be shorter than using traditional sheet film where you then have to extend your exposure times because of reciprocity failure. It especially helps to have it working at ISO12 and not having to apply a yellow filter, your exposure times remain moderately short.

Other advantages of paper over sheet film are less cost, less issues with dust (only one side shows dust vs two with film), scans easily on any flatbed scanner and quicker drying, especially RC paper negatives, a squeegee and hair dryer. Disadvantages of paper are slow ISO, less resolution if enlargement printing (yes, RC paper is translucent enough to projection enlarge) and slightly less sharpness if contact printing.

Paper negatives are ideal for a hybrid workflow of paper negative that's then scanned to digital for processing and printing or posting online, easier than any film.