I actually just found it. Thanks.
I was thinking it would be in the main camera raw drop down under load settings. It was grayed out there. But I did find it under the camera dialogue box--didn't think to look there but after about an hour's search online I figured this out. I did end up using the dng color profile program instead of the passport version.
I still have a question on how to use this profile.
I photographed a color checker chart and created the color profile from that using the dng color profile. I loaded the raw file of that color checker chart and set the adobe camera raw to the default. then went to the camera setting and loaded the profile from that shoot. When I used the eyedropper tool to measure the color in the gray squares they were not close to neutral. The second gray square on the bottom measured: R167 G181 B194. Shouldn't it be close to neutral?
When I neutralize the gray tones after the fact all the images look too yellow. I had delivered the art files to my client based on the neutral gray tones even though the images look yellow to me. I tend to trust numbers more than how it looks on screen. But the client did complain that the images looked too yellow.
What is the correct procedure for adjusting images once i have the color profile? Is it normal for the grays to be off?
CCP will correct the color checker image for white balance before it creates the profile. However, the profile will not automatically white balance images, you still have to do that by the usual means in ACR, i.e. clicking on a neutral area or adjusting the sliders.
The usual problem I've seen with creating passport profiles is not being careful to avoid unwanted color casts on the cc chart. Often people set it on the ground with strong reflected light from grass, etc. The chart should ideally only be illuminated by the source light, best to have somebody hold it chest high and away from their body and any reflective surface, taped on a wall far from the ground, etc.
Thanks for the feedback. I have used camera raw quite extensively just not as experienced with using the custom profiles feature. I'm trying to create a more accurate way of ensuring correct color.
I am photographing artwork. I shoot with a tripod and quick release cable and mirror lockup. I have the artwork on an easel well above ground in shadow or overcast lighting. I use a large white foam core board and make sure the exposure is relatively equal in all four corners before beginning the shoot. Then I use a gray scale card to measure the exposure. Then I photograph the color checker chart sitting level in front of the artwork. (if the light is changing I will constantly recheck)
Just not sure why the color checker would render the grays more blue, and why that looks better on my monitor and my customer's monitor than neutralizing the gray after the fact with the white balance eyedropper. The artist was standing next to the painting holding it steady due to wind and the tones in her skin looked really yellow when I used the white balance eyedropper on the gray squares to set the white balance. I was shooting in shade and even shade auto setting was similar in numbers to using the eyedropper. But everything looked yellow and the artist complained that the images looked yellow. (My monitor is calibrated.) Just not sure when to trust the numbers and when to trust what I see.
Shadow or overcast lighting is bluish - when gray areas are forced back to neutral in ACR other colors will tend toward yellow. Easier said than done, but indirect sunlight is better for copying. Better yet is a controlled studio setup using 5K halogen lighting, or diffused flash.
I've had better results creating camera profiles with the Adobe DNG Profile Editor, less success with the Passport system. The process is similar, but the resulting profiles are more complex and IMO often will result in more pleasing results, particularly with difficult lighting situations.
Thanks, that explains it. Still learning...
So I will have to look at the indirect sunlight situation and work from there. Some of the paintings are quite large so we need to rely on outdoor light near the artist's studio.
I met artist a year or so ago that spent a decent amount of money getting her artwork photographed and it looked like crap and I said I could do a better job and do it cheaper and it snowballed from there. But now I'm running into the issue of controlling expectations. And I feel responsible to deliver an accurate product.