I've got a bit of a problem.

I have a color managed workflow with an accuratley profiled monitor.

I am using a Pixma Pro 9500 printer using Easy Photo Print Pro Plugin.

My prints have a very close color match to my monitor [close enough that I am happy] - but for some reason they are overall printing a little dark.

Any thoughts?

There's a difference between the transmitted light of the screen and reflected light of the print that usually gives the impression of the print being a bit darker.

Since your workflow is managed, try the print viewing environment - something like a Solux light might help. As long as you can see the same shadow detail in the print as you can on the screen you're probably OK.

You might also find the Camera to Print video worthwhile - Jeff has a small section on dealing with the "print too dark" issue.

If your monitor is a modern LCD model it's possible that it may be a too bright. What setting are you using for luminance?

This is most likely the issue. I found I had to set my luminance at about 110 and Softproof with "Simulate Paper White" selected to get a decent luminosity match between the display image and the print. They will never be exact because of the inherent differences between transmitted and reflected light.

Thanks Gents - that does indeed appear to be the issue. I have my LCD [my main LCD that I use for my photographic work] set to maximum luminance.

I guess it means I need to back this off to get a more true indication of how my shots will print.

How are you profiling your monitor? Good software now will measure your luminance for you. I've found 120 works pretty good for me.

Interesting, I had the same problem for a long time, and just assumed it wasn't correctable. Then I downloaded a new version of colormatch and noticed the luminance setting, and things are much better now. I usually keep the monitor turned up until I start up Photoshop or Lightroom.

My 30" Apple Cinema display is only at 40% brightness to be at 120L. A friends Dell at work can't even go dimn enough to get to 120.

One of the reasons I like Coloreyes Display Pro is because it allows you to set target white and black levels, so even if your monitor backlight can't be dimmed enough, the LUT in the PC will still compensate for it. I keep my screens set to 110cd/m2 at white and 1cd/m2 at black to better approximate the range of tones possible on paper.

And bear in mind that "proper" luminance is largely dependent on your ambient lighting (as well as, to a certain extent, the lighting you'll be viewing your prints in). I work in a fairly dim room and calibrate my NEC LCD to 95 cd/m².

Nill
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www.toulme.net

Thank you for all the assistance -I have resolved the problem by reducing my work LCD brightness [which was set to maximum] and this has definately made my prints much more closely match the on screen luminance.

To answer some of the above questions - I am using both a Spyder Pro 2 and MacBeth color meter for my color management. I tend to chop and change between the two as I find the Spyder does a better job of greyscale but the Macbeth does a better job of color.

I work in a dark room when working on my photographs usually - but view prints under daylight conditions.

I am going to invest in a Solux or equivalent.

Are you making your final luminosity adjustments in Softproof mode and comparing your print with the softproof view on the display? This is rather important.

I hadnt been - but I will be now.

Thanks Mark.