Earlier I wrote
- 1400-UT14-UltraPremGlossPP-N-1-rgb.icc Not sure what this is.
Ya think it might be Epson's Ultra Premium Glossy Photo Paper? Apparently the older name for what Epson now calls Ultra Premium Photo Paper Glossy.
Hi, my name is Mike, and I love to overlook the obvious.
Still, using that results in dark prints. I finally did what I should have done at first: printed one of Paul Roark's step wedges. The bottom four patches are all black. So I guess the best plan is to try to find a curve that matches that, then apply the inverse, and that should help.
I have a sample image from The Light Room which includes a step wedge, so I can visually compare that to my printed results. Basically I printed the wedge, used curves to make the on-screen image look like the printed result, and then reopened the original, and used curves again (with the eyedropper) to sample the original and modified images and build an inverse curve. Essentially, profiling by hand.
So a few tests and adjustments later and the printed wedge looks fairly close to the Light Room's sample. I just printed a sample image with the compensator applied, and, yeah, that's fairly close to the screen image - there's not enough separation in the brighter tones, so the image's tonality suffers. But this is the best result so far, anyway.
But this all seems... Almost silly, really. The whole point of color management is to avoid this kind of nonsense. I think I must be doing something wrong. So I think I'll ask the guys over at Yahoo how much compensation they have to do.