The Drop Color Method Improves ALL photos

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If you read a an oil painting color theory book (Munsell Student Guide) this is a principle that is important for painting. I call it the 80/20 rule. What that means is, an artist needs to identify the most prominent color they want the viewer to see. That color is higher in chroma (intensity) and can make up NO MORE than 20% of the surface area. The other colors are all lower chroma, or more neutralized because they are acting in support of the main color. Those neutrals are to make up the 80% of the surface area. This is what drives the viewers eye to what the artist wants them to look at.

This is almost exactly what you did here and you can make it work for almost any visual medium. It just takes a little bit of observation and thought to determine WHAT you want your work to portray to your viewer. It can be used with any color combination as well. Learn the color wheel, identify main color, subjugate the rest of them.

ccoppola
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Must admit I clicked on this video thinking, , 'oh lets see what the latest opinion on improving photos is....' sceptically, actually very very good advice, refreshingly so, and coincidentally there was a photo I've not developed in post since taking it because it just looked 'wrong' this advice set me on the right path and I'm happy with the result. thanks.

JerGoes
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After watching 1000 irrelevant videos on editing photos, I've found this gem. Thank you!

kytutr
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Oh man…I work as a large format printer, and our best looking output is when digitally shot pics have greens turned down. CMOS Camera sensors have more green receptors for chroma/luma detail but they never print right—unless it’s dialed back. I’m constantly adjusting customer supplied images…

tedbragg
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This video just gained you a new subscriber because instead of click bait it's actually great advice. Thanks

Fotoe
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Finally... for the first time in my 47 years as a photographer, 42 as a professional, 24 in digital, and who worked as a news photographer from 1982-2015, as a war photographer for the last 12 of them, and who now teaches photography, you are the FIRST photographer I have heard say what I have known in the digital era. There is a God🙏...lol.

thefluffinator
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I’d consider myself still an amateur and I’m red-green colorblind but I’ve been addressing my oranges and greens like this for a couple years now so thank you for this much needed ego boost haha

justinchey
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I literally discovered this by accident this morning colour correcting a digital render of people in a forest. I took down the orange a little and the green a lot and suddenly it looked real. It’s brilliant.

jamesmorrall
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I’m an independent filmmaker - I just subscribed to you after seeing this video - thank you for the great advice.

SuchetB
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There is a colorist/cinematographer whose work that I like named Tom Bolles. He's very good at what he does and isn't afraid of saturation. In his work it doesn't bother me like it does in the intentionally oversaturated example photo you showed. Obviously he is working with larger budgets than a portrait photographer so lighting is a big part of it, but he isn't afraid of hard light and saturation and that is what I love about his work. I think the reason that it works is because there is more hard light in his work and there is more of a "dense, " "rich" feeling to the color palette. Any suggestions on how to achieve this?

Noahs_Photography
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I've been learning myself that if you want a color to stand out more, increasing saturation isn't always thr move. Sometimes it will actually look more impactful if you tweak something else like reducing the luminance

Tardsmat
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This is really fascinating. I dialed down the green in a test photo and it did look more natural. I Googled an image of a Canon camera sensor diagram and it showed a block of pixels: Red - 9 pixels, Blue - 4 pixels, Green - 12 pixels! No wonder green is so prominent.

Paul_Wetor
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Very elegant in it's simple method! This was one of the issues they had to solve with the Technicolor system - they piddled around with the dyes in the transfer process to drop the green and red/orange that the dyes in the negative emulsion (essentially panchromatic B&W film) responded to a given wavelength band. Hence, you altered the color by changing the base points of CYMK dyes in the dye transfer process to match color test shots.

dangilmore
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I have to admit, I really like the over-saturation of greens that you get from modern digital sensors. Bright, vivid greens (and blue) just scream "joy" to me. But the surreal electric colours are definitely overdone. I know I overdo them. The result is that I usually end up with 3 very different drafts of my photos: Surreal colour explosion, muted, and surreal moody, and I can never tell which version I think is my favourite.

Depends on my mood, probably.

ChanJENI
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HSL has a huge problem: it doesn't know how to mix colors, it is so selective with green that if you have an out-of-focus background where green grass and cyan water mix, HSL will break the transition zone, generating two perfectly defined blocks of color. It is extremely unnatural and ruins the whole point of the tool. They are like Clarity halos, but with color instead of light.

MinoltaCamera
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The "green pixels" on the Bayer filter double those of the other colors because the "green cone cells' in the retina cover almost all the visible spectrum.
Yes it is for a lot of circumstances advisable to reduce the background when you want to stress the foreground subject, independent of colors, structures or what so ever. But if you have e.g. a person yellingly red dressed there could not be too much green and that green must not be reduced or an orange admidst green leaves...
Look at paintings of Cezanne or van Gogh or Nolde...

WMedl
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Oranges and greens are problem for anything going to commercial print, because oranges and greens can't be printed well using a standard 4colour process print. Oranges often turn into muddy browns, greens into mushy greys, especially tiny foliage. That is why there was a fad to over-saturate them, and that fad still remains in many generic digital colour profiles, including RAW, and people are puppy trained to that ARTIFICIAL look of oranges and greens. With the invention of hexachrome print, they could be kept at a subdued level in original photographs, because two extra colour rasters (orange and green) in hexachrome print will push them enough in print, clarify them where needed by reducing interfering C and K rasters that make them dirty. But the hexachrome is very expensive. However, the damage is already done and it keeps repeating because they are *deliberately boosted* in digital colour profiles.

zvonimirtosic
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Finally, some actual good editing advice. Thanks for the video man!

nomadben
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You are sooo right about this. I actually hate shooting with anything green when shooting. Good info.

EJKelly
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Brilliant, Gav. I love how these videos combine the artistic with the technical. Great stuff.

mattbarry