Thanks although I expect my lack of charts/graphs/more charts/analysis won't go down well in some quarters, but then it's not written for the gurus ;-) :-)
I'm probably in the broad audience you were writing for in this instance. I don't need charts and graphs. But what I do need is the bigger picture stuff, which you give.
For instance, I really appreciated this observation: "remember that the best looking image on a screen does not always equate with the best looking print." I've been (re)learning that the hard way with recent print that includes a heavily saturated red girl's coat, combined with the girl and her friend having red cheeks from the cold (I'll attach it here to demonstrate what I'm talking about). Another version of the attached image that looks fantastic on my screen produced a terrible print on my Canon Pro 1000, probably because the reds are out of the printer's gamut (or at 6 months past their optimal use-by-date, my printer's original inks are breaking down!). To solve the problem of the red coat, I had to open the image in Canon's DPP (which I rarely do) and use the Faithful picture style, because anything else looks far too saturated for print. I then blended that coat with the LR / ACR rendering of the rest of the image in PS. I'm still not that happy with print. The transitions between reds in the coat are not as smooth as I'd like, and the girl's faces lack the liveliness and color differentiation in the print that is easily seen on screen.
I don't know that a custom profile of my printer (or fresher inks) would be of any help for this print. Maybe a custom profile would help. Or maybe it's more a matter of me learning how to better prepare an image for print. Anyway that point is that it's precisely because I don't know that articles of your kind are so helpful