SkedAddled wrote in post #19109673
I suppose there's truth to this, though I seem to have been fortunate in my endeavors so far.
My few prints to a PRO-100 printer have gone from Photoshop to print extremely well,
onto Canon Paper, looking very much like what I see on the displays, if even exactly as expected.
Perhaps I've been very lucky in this regard - ?
The only noticeable discrepancy is with the software I use to print to disks.
I have to brighten every image in that software(Acoustica CD/DVD Labeler Pro)
by 15 to 30 points so that it's not too darkly printed to a disk.
I figure it's either the medium being printed to, or the software's handling of images,
which is the reason for requiring adjustments for print.
Yes, you've been lucky that your monitor settings just happen to fall around where you'd be calibrated and that you are using a Canon printer with Canon paper, so a generic output profile has already been created for you by the manufacturer. Also that most of your printing has been within the gamut that your monitor and/or printer can show.
Your disk printing software probably isn't profiled at all and probably doesn't handle profiling, so it doesn't even try to color match the image you sent. My disk printer has a full profile created: pattern printed on a test blank of one type of media, then read in and calibrated with an i1Pro. Even if the image sent isn't photographic in nature, printing can still be way off, like sending a blue colored background to the print and it comes out a completely different tone (purplish usually).
That profiling completes the workflow, so that the colors I see during capture are translated into the sensor/camera output correctly for import. Then, those values are adjusted to show the proper values on my calibrated screen by that profile. Because of the calibration, any changes I make are WYSIWYG because the profile in all my editors match a standard and my monitor(s) is now a known norm. Finally, the output profiles, whether to the disk printer, my WF printer, a press, or lab, adjusts the values I send to match their ink/paper combo. I have even shoved random materials like plywood, cardboard, and handmade papers into my WF printer and have the colors decently accurate - as long as I profile the material/ink combo first.
When my client hands me a bundle of yarn or bottle of product that's a certain color, I can guarantee that it'll look exactly like that on my screen, on the web, for a brochure, as a postcard, billboard, CMYK web press, or simple disc printed. Some bright reds and deep blues are notorious for being off during capture and without calibration are impossible to get right through output. Most colors when near the saturation point, are also hard to control in output because they'll fall out of the gamut the devices are capable of handling. You'll get anything from splotchy color on screen to completely whacked colors on prints.
Again, if you think that you don't need to calibrate your system and what you see is acceptable, then good for you! You've saved money and time. Maybe your work and it's output doesn't require it, the audience doesn't notice, or your work just happens to be narrow enough of a gamut that it just hasn't come up yet. But then don't expect it to work forever either, as you'll eventually run into something that does matter/gets noticed and you'll be wondering what to do...don't get mad when it becomes a real headache because you've been shooting in the dark and hitting the target by sheer luck!