I, too, have thoroughly enjoyed this discussion. I am much more the artist than the technician, but I need a standard so I can attempt to have a say in what is going on with all the various permutations of image capture and output that are beyond my control, yet attempt to make repeatable results to some degree of satisfaction. So many stories I heard in the darkroom days about special agitation techniques, secret ingredients in developers, and other rolls of the dice that I had to laugh. They were stories of blind luck. When I finally learned some sensible and very accurate exposure/development control with Phil Davis, I finally felt a sense of relief that I could create a negative that fit nicely within the range of my printing paper's capabilities with amazing repeatability. Similarly, I respect Iliah and Ben's and others attempts to explain from what basis they work and why it is satisfying to them. It makes a lot of sense even though it is way outside my skill set. I appreciate their efforts to explain. I prefer to have as much control of my medium as my abilities and tools allow. I'll never capture the perfect evening light, but if I can consistently capture it on location to some repeatable standard, then at least I can starting point to begin to achieve what I would like to represent in post ( to use a video editor's term). Therefore, the question came up before and I would like to ask again, how do I do an adequate color balance at "sunset with the model at the beach during magic hour"? The Passport? Then what? Thanks. don -- don schaefer