Proofing and correcting is a painstaking process. It comes at the end of making a work. First I must check and recheck each images to be certain that it is properly sized. Next I must view it at 150% of the actual print size to check for imperfections with a fine tooth comb. Dust, scratches and white marks must be carefully removed and retouched. No one wants a print with a big white spot in one corner. This part of the process takes place in my dark studio using two monitors side by side. On the right is my Mac Book Pro and to the left is an Apple Cinema Display. Frankly I can see better looking at the large display. So I connect my laptop to it to increase the area I can visualize.
Once all of the retouching is done and I like the colors I'm seeing, the real fun begins. I have to make a series of proof prints that I can use to guide me to getting a print that is actually the way I want it to look. Once in a while it comes out right the first try but usually it takes between 4 and 10 print adjustments to be satisfied that the color is going to come out right.
Right now you many be wondering why all of this is so difficult. In a perfect world, what I see on my screen would match from screen to screen, but it doesn't. Even with Spyder Calibration my laptop never quite matches my Cinema Display. Then there are all kinds of printing issues. I live in a world filled with ICC profiles, variable substrates (papers) and pigment inks. My brand new printer is an Epson 3880. It makes beautiful, archival pigment prints. It also requires an education to run it properly. So far I've discovered it's much more cooperative if I also use Epson paper. Every paper has color tones. The color tones in the paper or surface effect the way the print will look.