Wilt I really don't understand how this image is supposed to be helpful. It is completely untagged as regards to colour profile, which means that the colour management system in your software has no starting point for determining what the colours should actually look like on any particular managed output device. I know that for printer profiling you use a test image with various RGB swatches, and that it has no profile. Not having a profile at this point not being an issue, since to profile you have to send it to the printer without ANY colour management, so that the profiling device can record the hue the printer gives for any set of RGB values and thus build a profile. Printing this test target with or without colour management won't tell you much, since you don't have a clue what the "correct" hue for any RGB triplet is.
On the other hand I like the test images that Kieth has on this page http://www.northlight-images.co.uk …-web-browser-test-images/
. It has a set of images in sRGB, aRGB, ProPhotoRGB, as well as a couple of others, as well as one in "WhackedRGB" which is effectively a broken colour profile, that will only show the correct colours if the system you are using is truly and correctly colour managed. So far I found them really useful in setting up my wide gamut Dell UP2715K monitor. It has several hardware LUTs for colour management, and a very good profile switching program. So I can have the screen be a true 100% sRGB when viewing Chrome or other browsers, since even if the browser is correctly colour managed many images on the web although being sRGB have no profile information attached to them, to allow the colour management system to do it's work. Since in so many situations colour management either isn't implemented, or is broken to some extent or another they have been very useful in setting up my system. As well as all of this though these images would also be very good for test printing, since they are correctly set up for each colour space. If your colour management is truly set up correctly, so that everything matches across all devices, these images should also match exactly when used with colour managed software and profiled devices. So when printing from LR, with those brightness and contrast sliders set to zero, the print should be the correct brightness as long as the colour profile is correct. Changing the colour profile can change the perceived brightness as well as the perceived hue of the result.
After typing all of the above out I also remembered something very important, your print will only match the screen if your viewing booth meets the correct viewing conditions. You need to be using a D65 (6500 Kelvin colour temp) light source, which is a lot easier these days, although the colour temp matches better now, the RI value that shows how good the spectral response is can be much lower, down as far as 80% compared to the 100% of a tungsten filament or the sun. To be considered good the RI should be 85% or better, although depending on where the spectral gaps are, one 85% can be better or worse than another 85% source for a particular image. As well as the WB and spectral response though the intensity of the lighting will also have a very large effect on the appearance of the print. In very many cases of prints seeming to be too dark, it is simply that the print is being viewed in conditions that are far too dark. IIRC according to specifications the brightness level at the paper should be about 100-120 Cd/m^2 pretty much matching the screen brightness. Giving this some thought, and if you are really serious about printing, and correctly viewing them, a cheap way to build a good viewing booth for prints would be to pick up and old LCD monitor to use as the light source. This would produce a large evenly illuminated area, which is not otherwise easy to do. Most of these D65 lamps that are sold for print viewing and crafting are in the £100 range and to do larger than A3/16×12 you would need two of them for even coverage, you should be able to get a reasonable secondhand 27" monitor for that sort of money, it can be very low resolution after all, or even a couple of 23" - 24" units. Then all you need to do is calibrate them to D65 white point, have them so they are just outputting white and mount them over your viewing booth. Most monitors go way too bright normally anyway, so the brightness at the print should be good, as long as the monitor will still calibrate at that brightness level. A cheap way to an actually calibrated viewing booth, you should be able to simulate almost any viewing conditions this way too.
Alan
