There's a difference in how images will look between the bright and backlit computer screen and the dark and reflective printed page, and even full profiling and calibration won't make the two match. The good news is that it's usually a predictable difference between what you see on-screen and in the print, and it's not hard to learn a couple of simple adjustments to get the brightness and contrast right for a print. You could even create a development preset in lightroom to automatically adjust your images from what looks right on the screen to an image that will give you a good print, but I've always just done it the old-fashioned way.
I have to agree with slej about the limitations of black and white on a colour inkjet, within limits. My little Epson R220, which is an inexpensive home photo printer, produces "black and white" prints with distinct colour shifts. It's usually toward green, but it depends on the light (metamerism) and will shift toward blue depending on the tone (greyscale value) of the image, making it impossible to correct.
The last thing I want to do is get in the middle of a household discussion, but my larger Epson R1800 is a completely different beast. Even though it's designed for glossy colour prints, it produces very good B&W with no colour shifts. And the cost per square inch is actually cheaper, because even though the ink cartridges are more expensive they contain more ink. Naturally larger paper is more expensive than smaller sheets, but the cost-per-print is better than what the local labs charge and I get to keep full control over the quality and the output. It's quick and cheap to run off a couple of 4x6 test prints before printing a full-size sheet.
I used to think that it wasn't worth the cost to buy and feed a printer when I could just get a lab to print my images for me. The problem was that I never had any printed. I'd usually only want one or two done a month, so it was never worth the hassle to drop off the files and then carry the prints home the next day (the lab was across the street from my office) and I'd never know if they'd look right anyway. And just like shooting film, I'd be asking myself if it's really worth the $10-20 that it would cost, and usually decided that it wasn't. Now I just suffer whenever I need to buy ink -- a full set costs about $120 -- but I've learned much more about photography and my own photos from being able to see them printed larger than the postage-stamp 8x10 size.
Digital imaging is a mathematical abstraction -- it takes a print to make it into a photograph.
Im no expert, Irma--and I know you will soon master this by hook or crook--you always do. I know that printing is tricky if you are a perfectionist especially. Papers differ in their ink absorbtion--so have different color biases. I think contrast is usually a problem with printers unless they are very expensive. My monochrome prints are always a little purple--i learned to live with it.
Are you printing in color or monochrome? It wasn't clear from your note.
I have run into the color shift problem when using my preferred printer for B&W, but it's always a tiny bit of red channel added.
Never enough to make me angry or be noticed my most people, but it's there.
The same slight red-shift also makes my color prints look better than they were on my monitor, especially skin tones.
To go through so much extra effort by shooting B&W in infrared, with much added time to get the post processing right, only to see pink in my clouds...
I need to find someone in this city with a dedicated B&W printer.
Until that happens I have given up shooting in IR.
I don't know if this is your problem but selecting the correct paper profile to match the paper you are using makes quite a difference. I don't know your printer and paper profiles but with the Epson I select enhanced matte paper if that is the paper I have loaded. I also found the printing software makes a difference, QImage does a good job for me. I do not think PS CS3 and Ligtroom produce as good a print as QImage but that is just me. One other factor to consider is your color space, sRGB, Adobe or Pro-Photo. Hope this is help-full.
The problem is that most printers mix different colours to get the lighter tones. So even setting the printer to black and white doesn't guarantee that it isn't using different colours to get its final results. Printers like the Epson 2400 use different tones (black, light black, dark white) for a true greyscale print. Others (like my R1800) do pretty well with only one black, but it still may not be a true monochrome image.