... Prints ... darker compared to what I see on my monitor. ...
To obtain and control the match between my modern, super-bright monitor and the final print, I've resorted to using an adjustment layer and final tweak of the image under that layer to make a "print" version of the file that is just for printing. I just manually adjusted and refined the curve I use in the layer. Although I used ICCs for years to do this "profiling," my current MS Studio setup does not allow that (or I could not find how to do it with this system). The modern monitor is extremely bright (and beautiful for most uses). As such, a very substantial drop in the maximum brightness was required. My adjustment curve's white end point is (255, 174). Aside from that it's a rather smooth, mildly concave-up curve. I can't just apply the layer right before the print because the monitor will look way too dark. So, I apply the layer (not flattening the file) and walk away from the monitor for a bit. Then when I return my eyes are not expecting the huge brightness. I do a final image file tweak, REMOVE the layer, and save the "print" copy of the file. The files are 16 bit, so I have plenty of "steps" in the remaining file.
It's crude compared to the ideal ICC approach, but it's the only approach I found that worked with this super-bright monitor (and MS's lack of making custom ICCs work easily on the system). I probably could adjust the monitor to be always "dull and dark," but aside from a print preview, the monitor is great; I like it's brightness for most purposes. It's just that, like the days of color slides with 500 watt light behind them, a paper print can't compete with this monitor.
FWIW,
Paul