Graeme, For weeks now I've been experimenting with Argyll every day between customer projects. It's helped me immensely to advance my understanding of the color management process. The most important thing I've learned is that the ColorCheckerDC input target has always been inadequate for my needs. Creating standalone light trap black and PTFE white patches helped me hone my camera RAW processing. Figuring out that I could fold in custom patch data and/or combine data from multiple charts into a single .ti3 file yielded tremendous testing flexibility. Comparing different input targets, each with its native white patch AND each with inserted standardized PTFE white patch data helped me see the differences between relative and absolute mappings very clearly. Treating a camera/profile combination as "a poor man's colorimeter" and comparing those XYZ results to i1pro measurements was a great learning tool and helped me understand the shortcomings of some input targets. Taking i1pro measured reference data out of a .ti3 file, batch feeding it through icclu into an appropriately sized working space (i.e. no clipping), then inserting those RGB values back into the original target .ti1 file to generate a synthetic working space target TIFF of "what the i1pro saw" helped me evaluate and better understand measurement variability as well as transformations from camera to working space and working space to printer space. Likewise, taking the averaged camera patch device values out of a .ti3 file and sending those RGB values back through the .ti1 to generate a synthetic TIFF of "what the camera saw" was also helpful in comparisons and analysis. Being able to combine camera scanins of multi-page targets into a single .ti3 file let me use 2500+ patch input sets without altering my normal camera imaging area. This was a significant breakthrough. Generating a 600 patch preliminary far point target spread and using that profile to build a 2500+ patch cubic perceptual uniform spread helped me visualize the importance of patch coverage. Those cubic uniform perceptual charts (-I) are so beautiful and mesmerizing to look at that I just couldn't force myself to randomize them. I paid the price when scanin had trouble recognizing the layout, but with a little work it turned out okay. Experimenting with a closed loop environment where my Epson 9900 inks on a non-oba paper served as both a well defined input space AND a matched destination space let me see how the building of an input profile differed from that of an output profile given the same target data, let me see the effects of going through an intermediate working space versus going straight from camera space to printer space, and taught me how finicky the whole white point situation can be (and that it's not such a big deal to clean white up at various stages in the process). Turns out that the pigments in my 9900 inkset must be a fairly good spectral response proxy for those in the pastels one of my artists uses, because mapping from camera space through BetaRGB and into printer space just yielded a perfect looking match print. First try. No mods. Amazing. Of course it's a simple case, with the image gamut completely inside the camera target interpolation space and the printer space. But still, I love it. Experimenting and learning will continue. Just wanted to say thanks for building such a powerful, flexible, verbose toolset. - Brad