Does anyone know the full location of the /darktable/color/in folder on Intel Mac Monterey please?
in your user directory: .config/darktable/color/in
Then you’ll need to create the folders.
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The macOS Finder doesn’t show file names beginning with a . by default. So it could very well be there already. There’s a way to get the Finder to show them, but it requires Terminal.app.
But according to the posted screenshot, @Andy_Astbury1 is displaying the correct directory. The files concerned do not have hidden names, so should be visible if existing.
(e.g.: the full path to darktablerc is ~/.config/darktable/darktablerc …)
As Mica has already said, you are at the right location. But, since the color/in and color/out directories are not essential, they are not created by darktable – their content is read, if present; them being missing is just ignored.
I created the folder as suggested, and yes, that works - sadly though, my huge library of camera dcp profiles can’t be read by Darktable - only icc profiles (or so it seems).
Thanks everyone for the location answer though, very helpful.
What is the dcp doing for you that makes you think it is so essential?
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or if you know how to use a mac: shift+cmd+. hides/unhides those hidden files and folders
I’m obviously not Andy, but this is why I prefer dcp over icc:
icc files are completely static; you load them and everything that’s part of the icc file is applied.
dcp files, on the other hand, give you options when activated. You can selectively turn on/off the following items, at least in RawTherapee you can:
- Baseline exposure,
- Look table,
- Tone curve,
- Base table (to be honest: this one seems to be always greyed out).
And, if implemented, choose between Interpolated, 2850K or 6500K
It is this flexibility that makes the difference between the two and why I prefer dcp over icc.
You might as well be 
There is only one thing that is implemented in dt and that is the color matrix (transfer curve as well, but that’s linear/identity for a camera input profile; output profiles including those are not DCP anyway). As dt is designed for scene-referred workflow, that’s all you need. Furthermore, the dt workflow and color science is based relative to 6504K, so only the one color matrix is supported. Whether that is a right/limited approach is a completely different discussion and out of scope here.
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I guess most dt users dont need the tone curve, or baseline exposure, leaving the real benefit of dcp the interpolated temperature. This can be somewhat mimicked by using two instances of color calibration, masked, for white balancing.
I personally noticed huge improvements by using the color checker in color calibration. I dont even own a color checker, just got the raw studio shot for my camera by dpreview and used it. (Actually they didn’t even have the raw for my camera, only a later model with the same/similar sensor. But even with these imperfections a vast improvement on the default icc was attained).
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Agree, I was addressing Mica’s question and the reason why I prefer one above the other. I’m basically a RawTherapee user, although I do use darktable at times. Nothing wrong with either of them, they just have different approaches.
One other thing that comes to mind why dcp might be preferable: Camera manufacturers do not provide icc colour profiles for their models if I’m not mistaken, dcp only. And having the manufacturers colour profile that goes with your specific camera model and/or shooting intent (flat or neutral in my case) can be rather nice, especially when shooting problematic lighting, nice and bright neon blue being an example.
You could use dcamprof to convert from dcp to icc, but something always gets lost in the translation.
I agree with Tim that using a colour checker will solve some of the issues some of the time, no matter the editor that is being used. But like the dcp2icc converting thingy, I don’t think that most users are willing to go through that process (they should, though 
).