Even a close-up, zoomed-in examination will not give you a clue as to the real color of the model’s eyes. This is because I’ve used the Color Replacer option in Photoshop to replace the color. In fact, Marianne (the model) has killer blue eyes. She could just as easily have had brown eyes, though, and you’d never know for sure if that was the color I replaced.

The reason that it’s so hard to tell that the color has been replaced is that all of the surrounding shades of blue in the eyes have been replaced with corresponding shades of green in the middle third and with brown in the bottom third of the image.

The best part of the process, in my opinion, is the ease with which it’s executed. The hardest part is making the selection. You’ll need to select the areas you want to change, otherwise any areas in the image that contain the same color(s) will be changed, as well.

Because of the nature of the tool, though, you don’t have to be too exact in your selection unless the area you’re selecting is surrounded by areas with similar colors. If, for example, Marianne was wearing blue eye makeup, it would have been prudent to exclude that area as I selected the eyes. I simply used a circular marquee and removed some of the selected areas using the Lasso tool.

To show you the process and how it works, I’ll use another image with this scenario: Say you’ve just finished working on an image for a client. The photo shoot has been done, the image(s) selected and retouched, the layout almost done, etc. when the client decides that they want to go with another color of lip gloss for the campaign. Panic sets in, right? Wrong!

Load the image into Photoshop, select the model’s lips, and choose Image, Adjust, Replace Color.

To get started, I’ll zoom-in on the area I want to work on.
I’ll then, select the area using the Lasso tool. Depending on the image you’re using and the area you need to select, you may want to use a different method and/or tool.
You can see that I’ve already started the process.
I’ve zoomed-in, made the selection and run the Replace Color option. As well, I’ve chosen the initial shade that I want replaced and I’ve chosen the color I want it replaced with.

To do so, I selected the middle Dropper tool (the one with the small plus sign), shown with a red pen mark around it , and clicked on the color I want to replace. Because of the nature of the replacement, I chose one of the brightest reds in the models lips.

After choosing the primary color I want replaced, I used the sliders to set the color that it should be replaced with. In this case I simply set the Hue to -31 and left the Saturation and Lightness alone.

To complete the change I simply clicked the other red pixels that were unchanged. Doing so replaced them with corresponding shades of the new color I had chosen.

I told you the process was easy!
shows the final image with the model’s lip gloss completely (and yet undetectably) changed.

Here’s my digital twist on getting an infrared look from regular photos taken with your digital camera. The first few steps give you the standard infrared look (which makes it kinda look like you popped a Hoya R72 infrared filter on your lens), and the last steps let you bleed some color in for some really interesting looks.

Step One
Open the RGB photo you want to apply an infrared effect to in Photoshop. Go to the Layers palette and choose Channel Mixer from the Create New Adjustment Layer pop-up menu (it’s the half-black/half-white circle icon) at the bottom of the palette
Step Two
When the Channel Mixer dialog appears, turn on the Monochrome checkbox at the bottom of the dialog. Then, set the Red channel to -50% (you can just type it in the field or move the slider to the left until it reads -50%); set the Green channel to +200%; and set the Blue channel to -50%.
Step Three
When you click OK, the black-and-white infrared effect is applied to your image. If you want to keep your photo in black and white, then you’re done. If you want to add some muted color (which is a very popular technique these days), then go on to the next step.
Step Four
Go to the Layers palette and drag-and-drop the Background layer onto the Create a New Layer icon to duplicate it. Then, drag this Background copy layer above the Channel Mixer layer at the top of the layer stack. Now, make two changes: (1) Change the layer blend mode from Normal to Overlay, and (2) lower the Opacity to 50%. You’re not done yet.
Step Five
In the Layers palette, click on the center layer (the Channel Mixer adjustment layer) and lower the Opacity to bring back more of the original color. In the example shown here, I only had to lower the Opacity by 10% to bring the color roaring back in.
Step Six
Once you lower the Opacity on that Channel Mixer adjustment layer, you’ve got the final effect. Now that you know how to do this technique, want to try a little deviation from it, for a totally cool color effect? Good (I knew you’d be up for it). Start by dragging the Background copy layer and the Channel Mixer layer to the Trash icon at the bottom of the Layers palette to get back to your original, untouched Background layer.
Step Seven
Now, choose Channel Mixer again from the Create New Adjustment Layer pop-up menu. You’re going to enter the same settings (-50%, +200%, -50%), but this time don’t turn on the Monochromatic checkbox, and you’ll get the way-cool effect you see here. It’s not infrared, but it doesn’t have to beit’s just a totally cool color effect. Give it a shot and see what you think.

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The spectral sensitivity of a photographic film emulsion will extend slightly beyond
that of the human visual spectrum. This can sometimes cause problems in color
photography when an object radiates light we cannot see, but the film does. This
phenomenon, known as metamerism, can affect the way the colors of specific garments
can appear the wrong color on the final film. There is also a special infrared
sensitive film emulsion you can buy, which is acutely sensitive to infrared radiation.
The black and white emulsion is quite grainy. Vegetation reflects a lot of infrared
light which we human observers are not aware of. Hence, green foliage will appear
very bright and almost iridescent when captured on infrared film.

1. This spring woodland scene is a prime candidate with which to demonstrate the following infrared technique. As you can see, there are a lot of fresh green leaves in the picture. What follows is an extensionof the color to monochrome technique using the Channel Mixer.
2. Essentially, what I am attempting to do here is to take this Channel Mixer technique to extremes.Now if we want the green channel to appear the lightest, because that’s where all the green foliage information is, then we have got to somehow boost the green channel mix. The maximum setting allowed is 200% which produces a burnt-out ‘screened’ result. Bearing in mind the ‘keep everything adding up close to 100%’ rule, I reduced the other two channel percentages, to give them minus values. There was a little cyancoloring in the green, so I reduced the red channel by only 30% and the blue channel was therefore set to minus 70%.
3. So far so good. Now I want to add some glow to the foliage. It is important that the underlying image has remained in RGB (because it is the adjustment layer which is making the monochrome conversion). I went to the Channels palette and highlighted the green channel and applied a Gaussian blur filtration to that channel only. The result of the full blur is shown opposite. This isn’t the desired result, so I followed that with an Edit > Fade Filter command, reducing the blur to a 26% opacity and Screen blend mode.
4. This is the final result after applying the Channel Mixer adjustment and green channel blur on the ackground layer. To further simulate the infrared emulsion, try adding a hefty amount of Gaussian noise filtration to either all three color channels or the green channel only.

With the Picture Package command, you can place multiple copies of a source image on a single page, similar to the photo packages traditionally sold by portrait studios. You also have the option of placing different images on the same page. You can choose from a variety of size and placement options to customize your package layout.
Clicking a placeholder in the Picture Package preview layout lets you browse to select an image.
Drag an image from the desktop or a folder into a placeholder.

Dragging an image from the desktop into a placeholder to add an image in the Picture Package
You can change any image the layout by clicking a placeholder and browsing to select an image.
In the Document area of the Picture Package dialog box, select page size, layout, resolution, and color mode. A thumbnail of the chosen layout is displayed on the right side of the dialog box.
You can also create your own custom layouts. For more information.
Select Flatten All Layers to create a picture package with all images and label text on a single layer. Deselect Flatten All Layers to create a picture package where each image is on a separate layer and each label is on a separate text layer. Placing each image and label on a separate layer lets you update your picture package even after it’s been saved. Keep in mind that not flattening layers increases the file size of your picture package.
In the Label area, choose the source for label text from the Content menu or choose None. If you choose Custom Text, enter the text for the label in the Custom Text field.
Specify font, font size, color, opacity, position, and rotation for the labels.
Click OK.

The Adobe Gamma control panel should be located in the Program files/Common
files/Adobe/Calibration folder which can be easily accessed on a PC by going to My
Computer and selecting Control Panels.

Adobe Gamma will now work with most PC
computers, providing the video card will allow Adobe Gamma to interact with the
monitor tube. Do not use the older Gamma control panel which shipped with
Photoshop 4.0 or earlier. This older control panel must be discarded.
When you launch Adobe Gamma, you have a choice of using it in either Control
Panel or Step By Step (Assistant) mode. Select the Assistant radio button and click
Next. If you already have a monitor profile, such as a canned profile supplied by the
manufacturer, click the Load… button, locate this profile and use that as your starting
point. Any existing monitor profiles should be found in the ICM Color Profiles folder.
If not, any will do as a starting point here. You will be asked to set the monitor
contrast to maximum. The single gamma display box will only allow you to adjust
the relative brightness. But since you will want to neutralize the color as well, uncheck
the View Single Gamma Only box and adjust the three color boxes as outlined in the
Mac OS X calibration routine.
The Windows default gamma is 2.2 and this is the best monitor gamma setting for
most Windows graphics cards. The white point should be 6500 K, if unsure, try
clicking on the Measure… button and following the on-screen directions. The next
screen asks if you want to work with a different white point other than that entered in
the previous screen. Unless you have a particular need to alter the white point, leave
this set to Same as Hardware.

If you are using a thirdparty method of profiling the monitor on the Macintosh, other than a system
utility, you may be required to manually load this profile next to where it says Display Profile in the ColorSync Control Panel (OS 9), or in the ColorSync System preference (Mac OS X). On a PC, you will probably need to carefully consult the instructions which came with the calibration device. These should guide you through the intricacies of how to configure the Windows system setups.