Very important question

on the old golden days, proofs are "photographic", using overlay proofs systems such as Cromalin (from DuPont) or MatchPrint (originally from 3M, now property of Kodak). Today, the color proofs are usually made using an high quality injet printer (for example, an Epson Stylus Pro 9000 series). but the most important point is the RIP: the proofs ae made using the same RIP, with the same settings, same color profile, same quality and of course, the same file than the final file for output. If you send to print without those conditions, it will be a high quality print, but it will not valid as a "proof"

Of course, a printed proof means an extra-cost, and most people don't want to spend money (although the risk is bigger).
The most difficut point is how to explain the difference between "a high quality print" and "a proof". Sometimes, the client gives a pinting with brighten colors and he want to use it as a proof. Negative, it's a good print, not a proof. A proof should include all the PrePress settings (such as line frequency, dot angles, overprints, etc) but also the paper settings (coated, uncoated, matte, etc)

Hi Ariel
I have never understood the reason for a separate charge for a proof. We tell clients up front if we are using their files we will not be responsible for color and will charge for requested corrections after proofing. The purpose of the proof for us is to ensure our work (imposition, trim , creep and color reproduction) is correct and give the pressroom a setup tool.

How can we charge the client to proof our work not theirs.

Ross Blair