Take a look at
www.hutchcolor.com
They have 4 or 5 free colourspaces available for download and they all serve a specific purpose.
I think the key is to use a colourspace which has a wide enough gamut to to prevent clipping at capture / conversion stage. So absolute colour matching is maintained.
If for instance you shoot in sRGB, moving to a wider colourspace will serve little benefit. Whereas using high end drum scanner to capture ektachrome would. Although saying this if you merge images in 32bit land for HDR then I suspect having a wider working colorspace would be useful.
If you get the chance download the
excel spreadsheet that is provided. It shows the phosphor co-ordinates and whitepoints of various colorspaces and you can compare them against each other.
Its an interesting topic as i've just spent this evening playing with a new toy, a spectrocolorimeter for printer profiling. What a difference its making to my Lyson CIS on Ilford Gallerie paper.
What I'm trying to do (self learning perspective) is to visualise and overlay various colourspaces e.g. custom dSLR profiles, printer profiles and workspaces (Adobe and those above) in a gamut viewer and see where gamut clipping will force pereptual and relative colormetric conversions.
Its fascinating stuff and a little sad, but being in the northern hemisphere this time of year there isn't much light around after 4:00pm
)