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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.

Open your photo in Photoshop and get to work by resizing it, copying it to a new document, or whatever you want to do with it

1. Colourise: Create a new layer (layer > new > layer) then get out the Gradient Tool. Using the gradient tool, add a very bright radial gradient onto your new layer, Try a few different layer modes and see which one looks best to You. You might also want to try a few different Solid Color fill layers, then mess with the settings for those, but this will be fine for now.
2. Shapes / Details: For this part of the tutorial you might want to hide the layer we previously made (the gradient layer). Start by getting out the Custom Shape Tool and finding the heart shape (or any other shape you think would look cool). Create a new layer and make a few white hearts on your canvas.As you can see in the above image, I also rotated a few of my heart shapes to make it look a little more interesting! Finish off with the hearts by adding a larger, pink-filled one in the background (behind your white shapes).
3. Halftone Effect: Now we want to add something really interesting on top of our hearts/shapes. Start by opening the Channels tab (window > channels) and creating a new channel (create a new channel by clicking the icon at the bottom of the palette). You might need/want to make a new layer before doing this channel business. Now to make an interesting effect out of these boring dobs — go to Filter > Pixelate > Color Halftone and use an appropriate setting (you’ll have to press OK and check if it’s good enough). Using 32 as your Max. Radius should be good enough. Now, holding ctrl down on your keyboard, click on the thumbnail for your new channel, this will select the pixels. Go back to your layers palette and select a new/blank layer. Fill your newly-made selection in the fresh layer with the very bright & colorful gradient that comes with Photoshop.
4. Image Adjustments:  would probably have made more sense to do the image adjustments at the start of the tutorial, but now we know what our outcome is mostly going to look like, we can make some photo adjustments to our stock. The main thing I did was add a levels adjustment layer below our screen gradient layer (note: layer > new adjustment layer > levels).

Lis bellow is standar of photography size if you printing your Photo at Photo Station:

2R : 6×9cm
3R : 8.9×12.7cm
4R : 10.2×15.2cm
5R : 12.7×17.8cm
5RS: 12.7×20.3cm
6R : 15.2×20.3cm
8R/10R : 20.3×25.4cm
10RS : 20.3×30.5cm
12R : 28.4×35.3cm
14R : 30.5×40.5cm
16R : 40×50cm
20R : 50×60cm

Ukuran diatas adalah ukuran umum yang dipakai distudio cetak foto, sekarang berkaitan resolusi image (foto) yang akan dicetak, bisa dilihat di Photoshop: klik [image]>[Image Size] lihat dibagian resolution:

Contoh Image Size diatas adalah untuk ukuran foto 4R, dengan besar Resolusi 300 dpi. Jadi format foto yang akan dicetak ke studio cetak foto adalah ukuran 4R. Sebaiknya gunakan format JPEG dengan mode RGB color. Besar Resolusi 300 dpi adalah yang paling ideal untuk setiap ukuran cetak, tetapi tidak harus sebesar itu, 150 dpi pun menghasilkan hasil cetak yang bagus.

Saat ini sudah ada jasa cetak foto via internet dengan mengupload file foto keserver tertentu. Tetapi berkaitan ukuran data vs kecepatan koneksi internet, maka perlu penyesuaian ukuran data. Berikut adalah tabel yang menunjukkan relasi antara ukuran foto dengan ukuran resolusi:

Bagi pengunjung yang ingin menambahkan tips-tipsnya berdasarkan pengalaman-pengalamannya silahkan ditulis di tombol Leaves Coment dibawah postingan ini.

Before you scan an image, make sure that the software necessary for your scanner has been installed. To ensure a high-quality scan, predetermine the scanning resolution and dynamic range your image requires. These preparatory steps can also prevent unwanted color casts from being introduced by your scanner.
Scanner drivers are provided and supported by the manufacturers of the scanners, not Adobe Systems Incorporated. If you have problems with scanning, make sure that you are using the latest version of the appropriate scanner driver.
You can determine the resolution for your scan using the original and final image dimensions and the resolution of your output device. Scan resolution translates into image resolution when you open the scanned image in Photoshop.
To estimate scan resolution:
Do one of the following:
For laser printers and imagesetters, multiply the printer’s screen frequency by 2. To determine your printer’s screen frequency, check your printer documentation or consult your service provider.
For inkjet printers, check your printer documentation for the optimal resolution. Many dye sublimation printers and devices that print directly onto photographic paper have an optimal resolution of 300 to 400 dpi.
Determine the ratio of the final image dimensions to the original image dimensions. For example, the ratio of a 6-by-9-inch final image to a 2-by-3-inch original image is 3.
Multiply the result of step 1 by the result of step 2.
For example, suppose you are printing to an imagesetter with a screen frequency of 85 lpi and the ratio of the final image to the original is 3. First multiply 85 (the screen frequency) by 2 to get 170. Then multiply 170 by 3 to get a scan resolution of 510 ppi. If you are printing to an inkjet printer with an optimal resolution of 300 dpi, multiply 300 by 3 to get a scan resolution of 900.
Note: Different color separation procedures might require different ratios of image resolution to screen frequency. It’s a good idea to check with your service provider or print shop before you scan the image
If your scanned image contains an unwanted color cast, you can perform a simple test to determine whether the cast was introduced by your scanner. If it was, you can use the same test file to create a color-cast correction for all images scanned with the scanner.
To identify and correct a color cast introduced by a scanner:
Make sure that your monitor has been calibrated.
Open a new Photoshop file, and use the Linear Gradient tool FPRIVATE “TYPE=PICT;ALT=Linear Gradient tool ” to create a blend from pure black to pure white.
Choose Image > Adjustments > Posterize, and posterize the blend using 11 levels.
Print the 11-step gray wedge on a black-and-white printer, and then scan it into Photoshop.
Note: You can also perform this test using an 18-percent neutral gray card or an 11-step gray wedge from a photography store.
Open the Info palette, and read the RGB values on-screen for each of the gray levels. Uneven R, G, and B values indicate a color cast.
Use Levels or Curves to correct the color cast, and then save the dialog box settings.
Open the scanned image you want to correct, reopen the dialog box you used to correct the cast in step 6, and load the saved settings.

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