The Sharing Part.

First off, in most lighting situations, I tend to use a Hand Held Meter which I've profiled for my camera. I tend not to use the TTL meter most times.

I do keep WB in mind, but don't overly concern myself with it at the time of taking the image, as it can be adjusted later in PP. Thus, white balance on the camera is set to AWB and left there. Format is set to RAW.

1. In addition to HHM determination of exposure, I have profile curves in PS for each lens I use and exposure method combinations. These are applied during the ACR step in PP, prior to determining white and black levels. (Yes, at times TTL metering is much more convenient)
Thus, any lens will have a profile for:
Hand Held Meter
Matrix
Center Weighted
Spot

I then adjust white and black to determine those settings, additional adding Clarity, Saturation, and Vibrance, and open in PS.

2. As for PP color adjustment, I do the same as I do with exposure and contrast. I attempt to recreate the scene as I saw it in my mind, and sensed it emotionally, at the time of taking the image. Pre-visualization is the key here.

White Balance:
If I determine WB should be applied, after opening the image in ACR, applying the lens and exposure profiles, and make white and black adjustments along with clarity, saturation, and vibrance ajustments, then open in PS. I save the file as a .psd. Here is the algorithm for the program I wrote. Yes, being a computer programmer has its advantages.

3. Scan each pixel in the image file and determine if any are white. This looks at each pixel and tries to find the one, or several, that have the R,G,B values for white - 255,255,255.

If a pixel with the RGB value of 255,255,255 doesn't exist, which one(s) is/are closest.

Output the required R,G,B values to make that pixel white.
(Thus a pixel whose R,G,B values were 255,250,253 would indicate that a boost in values for G and B are needed, add 5 to G and add 2 to B) I make note of that.

Repeat the above two steps looking for Black and output the R,G,B values required to produce a Black pixel. (In this case, though, the values would be subtracted to bring the R,G,B values to 0,0,0).

Finally, and probably the most important, average the R,G,B values across the entire image. This will output the necessary offset to apply to the R,G,B values to provide a mid-tone of 127,127,127. This could involve adding and/or subtracting values from each pixel's RGB values.

After the values are determined, I open the image in PS and proceed to apply those adjustments. Additionally, I most often use, darken/lighten and contrast adjustments, with burning and dodging to achieve the desired visual results.

I've attached two images to illustrate the above proceedure. The first has no white balance applied to it, the second does. The first was provided to the owner of the restaurant becuase it was going to be used on their web site. I wanted a visual representation of a warm ambiance.

Due to the primary lighting being incandecent and the wood tables, there was a bit of a red, or warming cast over the image. This was a pleasing appearance for the intended use of the photograph. So, I decided to leave it as is.

The second is more of what I visually perceived the reality that was the most pleasing to me.
To make a print for myself, I applied the above procedure and achieved the second result.

The exposure information for the original image is ISO-200, f/16 @ 6 Seconds.

As an addendum, This program was written long before I became much more proficient with all of the capabilities of PS. The above can be accomplished within the image using curves. However, as stated, I do write computer programs. So, I fell back to my comfort zone at the time.

Additionally, along with a friend of mine, we wrote a stitching program which I still use today. It still out performs the one in Adobe. The only modification I've made to it is on the taking end.
--Bob

photoninja1 ... you remind me of my high school days.

When I was in school we were taught how to calculate square roots, how to do arithmetic in our heads, how even to calculate present value.

When my sister followed me nine years later all those things had been dropped. By then calculators were cheap and easy to buy. So why burn out the brain learning how to do that stuff when the calculator can do it for you?

Well that's an interesting sentiment. But calculators have batteries that fail, and calculators themselves also sometimes burn out a chip. How do you calculate then if you have to urgently?

Yah, maybe the expo disk is like that calculator was back in school. But what happens if you accidentally forget to take it along to your next shoot of a large event? Using it after the fact won't work. But what would work perfectly is this process we have so kindly been given.

I'd not be in too much of a hurry to discount and ignore it. I think it's worth learning and practicing. And I think we should be grateful for having been given the chance to find a work around to technical problems.

Shooting in RAW has virtually eliminated my need to worry about white balance, along with providing ACR with profiles for each lens/TTL metering mode combination. Though, most of the time I use a hand held meter, which I also profiled for my camera.

If really needed because of some outrageous lighting situation, I can do a white balance in Photoshop using and algorithm I designed which produces a mathematically correct white balance. From that I can then do minor tweaks to achieve the color balance I find visually correct, or pleasing.
--Bob