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You now know the problem, but the solution may be harder ( without expensive calibration gear ).
It is possible to get a colour-chart which you photograph . . .this has different depths of CMYK so the printer can adjust their side of the process - (=making sure the inks are flowing correctly).
You may see these on the edges of large prints.... but for yr purposes they can be made using Photoshop, or Paint Shop Pro, etc.
1) Print "TEST-1" at home on an Inkjet, so you know it's reasonably OK
A4 should be enough, but you could print smaller multiple files at slightly different levels too. If the final includes a face/skin, then it may be better to include a face, as this rendition might be more important to the Client.
[ BTW be careful with Commercial colours - e.g. Logos - These should be a defined Pantone colour which your print-shop should be able to match - under suitable light ].
Take the "TEST-1" file-copy to yr printer and get a straight print - this should match the original inkjet.... if not then you can adjust the Monitor, so any subsequent file is closer....
2) Print "TEST-2" at home on an Inkjet, so you know it's reasonably OK
----go round again until it's corrected enough.
Getting a Test-Clip print from yr friendly print-shop is usually OK, but far better to use this facility only to make fine adjustments. Your (home ) inkjet may change over time ( ink changes, wear, etc.), so it might be a good idea to put the date on the back of the Shop TEST-prints, so you can compare again in a few weeks' time. You need to have a "standardised" Viewing light-source too. CF bulbs are not really up to the job for accurate assessment - and ColorLux ( specialised) tubes will be expensive. Modern (expensive Pro-style) LED lights are usually "better" than other photo-LED lights - but maybe your friendly print-shop can suggest how best to match the Client's need - as it's in their interest, too.
Good Luck Let us know how this pans out... |
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