This question is regarding print/display luminance matching. I understand that the soft proof can show out of gamut col.
Everything I've read says to un-check the Simulate Paper Col box. Why not? See the extracts quoted below the post.
I have a calibrated iMac display (xrite i1- D65, 2.2, 90) and a col corrected viewing booth (pantone). I have calibrated to a low-ish luminance value (90) to compensate for the screen being too bright resulting in slightly too dark prints (I use a printer/paper/ink profile in the Ps print dialog).
Generally, I also raise my midtones by about 10 points with a curve prior to printing & this seems to compensate (maybe its for over inking effect?) and it gives me satisfactory results.
I recently sent a bunch of images to a pro lab for c-type printing (Fuji Matte Maxima- a warmish paper) and used their custom icc profile for soft proofing the paper.
The prints are a little too dark.
However, if I go back to the file on my display, with the print alongside, and look at the soft proof again (Perceptual & Bl Pt checked as per lab instructions), and if I toggle Simulate Paper Col, then the display matches the print.
So, my questions are - is checking the Simulate Paper Col box never to be done, why not? Or could/should it be done on a paper boy paper basis as per my above experience?
I obviously want to hit the mark and not waste paper, ink, or lab costs + wait for a lab print to be done before finding out that it's slightly too dark.
What do you advise?
Simulate Paper col on or off
Perhaps lower Luminance value further to 80.
Thanks
Here's what I found to explain what it does -
From Red River - "So the white you will see is the white point of your monitor, not the print. When turned on, the simulation uses the paper's white point. In short, the system tries to replicate the actual white shade of the paper you are using."
From Cambridge in Col - "Simulate Paper Color. This setting converts the image's on-screen white to match the color temperature of white on paper (which is equivalent to an absolute colorimetric conversion). In addition, this also compresses the dynamic range of the on-screen image so that it matches the narrower range in the print (similar to the above "black ink" setting), but it does so by also decreasing the on-screen intensity of white. When paper color is checked, the black ink setting is therefore usually unavailable (since the on-screen dynamic range is already being compressed)."