Andrew, Doug,
thank you for your detailed and very informative posts.
I actually battle my way through "Real World Colormanagement", where I read about the LAB issues Doug mentioned above (the "blue-turns-purple-effect" for example). For lack of own experience, I wondered whether this could lead to the effects I see. Following your explanations, it does not. Btw, I print on Canson Baryta Prestige, which is glossy.
My viewing environment is D50 with Just Fluorescents. I follow Andrew's instructions on monitor calibration and am aware of the differences of reflective/emissive light and the psychological effects when comparing print and monitor.
Doug, I calibrate/profile my NEC (yes, hardware LUT, thus linear vcgt-tag in the profile) with Spectraview II and a Discus to a viewing light specific white point (x0.35, y0.356) and, as you already found out, L* gamma, Mac/Catalina. Recently I experimented with BasICColor Display 6 (which is pre-release), but usually do a factory reset in my NEC when switching profiling software.
I am not sure whether I grabbed the screenshot when the above mentioned print settings were active or with D65/2.2 which I normally use for photo editing/general work.
Nevertheless: Leaving the assumed buggy Photoshop Print preview aside, I still see two - very! - different softproofs in Photoshop and Roy Harringtons Print-Tool. Screenshot 2 shows them side by side. How are such huge differences possible? Same printer driver, same settings.
Print-Tools softproof matches the printing result - although I printed via Photoshop.
Of course I could decide to change my monitor calibration to match Photoshops softproof and forget about Print-Tool - but how can I get assure that the problem lies not within the specific colour range, or Photoshop, or some quirky mistake on my side?
Can someone point me to a description on how to address this questions in a structured way?
Thank you!