Yes, I do look away from the monitor when I activate the soft proofed profile for Crane Museo II paper in photoshop, and it still gives me a fright when I look back at the screen. Gone are the shadow details, and I'm left with a grayish muddy image on the screen. So I then start using curves and saturation to try and get back some of the shadow information, and some of the tonal range of the original file.
Any suggestions for tricks and techniques for making these images printable again with these papers?
Any secrets, or is it on a photo by photo basis that you make your corrections using curves, trying to compensate for the lack of contrast in these papers?
And yes, the prints (unfortunately) do match what I am seeing on the monitor.
Using profiles provided by Crane for the R2400.
The canned profile from Crane isn't all that good, I have a custom profile I made that helps with these problems but doesn't completely solve them. I've found this to be an issue particularly with dark greens and to a lesser extent dark browns. The ICC profile seems to preserve saturation over luminousity and the saturated shadow tones get all blocked up.
The best solution I've found for this is to create a hue/saturation adjustment layer, and target it to the specific color range that's giving me a problem (using eye dropper). As you lower the saturation level you'll see the shadow tones darken like they should. The problem is this will also desaturate your midtones/highlights, so what I do is adjust the blending properties for the adjustment layer so that it only applies to the darker tones.