I think a discussion about solving dark prints and colour management was finally solved in the thread http://www.inkjetmall.com/tech/showthread.php?1975-Conecolor-ink-on-Red-River-Polar-Pearl-Metallic
There started to be a little discussion of the merits of colour management in LR vs PS vs others, and I didn’t want to contaminate the thread with this topic. I, being relatively new to digital photography at this level, don’t feel well qualified to contribute, but my modesty and issues I have brought up have lead some to make incorrect assumptions. There were discussion about how I was soft proofing, my monitor being too bright, not using ICC profiles correctly, etc. All valid concerns that had to be addressed to some degree. Then we got into the discussion of colour management in LR. Jon stated that colour management wasn’t so good in LR, which got somewhat contested by Brian, while I was left standing in the middle of the two of them sparring! (I think we can call it a friendly sparring).
Considering I knew very little about colour management when I got LR (I got it because it was dirt cheap with an educator’s discount) I’ve been quite impressed with how it works for printing. Soft proofing may actually make sense now that I’ve got the ICC profile issue sorted out, at least for Epson papers. As far as I can tell, LR5 is at a disadvantage for some people who have the need to choose a colour space for editing. Is this really an issue, especially if one is working with RAW formats?
In terms of colour space, how important is it when you have a printer that can potentially print a wider gamut than your monitor can produce? (I assume this is true for printers with more than 3 colours) If I’m using an ordinary LED Samsung monitor is there any point in being able to choose a colour space anyway?
A lot of questions, perhaps some or all do nothing more than reveal my ignorance in this field.