The color space associated with the camera usually is NOT the best choice, in my humble opinion, in fact Adobe has a plug-in to ignore the srgb color space in the EXIF data. which you can download from the Support area>Photoshop, on this site.
For now,you could try the following for less of a gamut jump:
When you first open your digital image,(just click ok to use embedded profile, you’re going to get rid of that in a minute). Once the file is open, go under Photoshop’s top menu Image>Mode>Assign Profile. When that dialog opens, click on the Profiles tab menu and select "ColorMatch" for your new profile. Note that your mids will brighten and the colors will be less green(you can click the "preview" box on/off while you are in the Assign dialog box to see the change as it updates in the image window). ColorMatch is a good choice (the ol’ Pressview Monitor profile)(especially for portrait photogs) to use as the master RGB working space, for one, because it uses a 1.8 gamma instead of 2.2. The 1.8 gamma is ideal for print because that is the standard gamma compensation that represents the midtone of ink on paper. Using this profile will fall more in range of the printer, so there will be less of a shift when it comes time for "remapping" the color numbers and black&white points, which is what the conversion will do for printing.
Always keep this "ColorMatch" embedded file, as a master to repurpose duplicates for various output devices or media. While adjusting this file you can "softproof", by going under the top menu View>ProofSetUp>Custom … here you will click on the Profile tab and hopefully, your printer device profiles will be somewhere in this list; select it. DO NOT CHECK the "Preserve Color Numbers" box or you will be defeating the purpose of the conversion. (If you’re curious at heart, like me…you will check it, just to see, and the image will change it’s appearance back to the yucky state…so see for yourself)
Now, you also have to decide the "intent" or algorithm that Photoshop will use for this conversion. There are four-Perceptual,Saturation,Relative, & Absolute. Dial in each one with that "Preview" box checked. Some intents will look similar or have very subtle differences…but you must decide which one is the best looking one for your intended output!
Also check black point compensation because you do want the black point to be remapped accordingly with the intent.
The "Paper White" is really optional. I never use it!
If you are often printing to the particular device whose profile you just selected, then you’ll want to click the "Save" button, as well. Here you can name these custom settings something like "My Epson Glossy.psf" (for example). This will save you time the next time you want to soft proof for your printer. When you click on "View>ProofSetUp>Custom" you can now select "My Epson" from the top "SetUp" tab, in the dialog box. While you are softproofing, the setup name will also appear in the top title bar of your image window. Now you can go under File>Print with Preview and check the "More Options" box. Click on the "Output" tab and select "Color Management" Then for "Source" you can click the "Proof SetUp" radio button, and leave "Same as Source" for Destination. Anyway, that’s a start!
For more options on page set up and advanced printer controls, as always, I refer and defer to Mr. Andrew Rodney at <
http://www.digitaldog.net> where you can download and print his most excellent PDFs on various aspects of implementing color management!
