Adobe is constantly at work updating Photoshop and Lightroom with effective new features. Some familiar tools may fall by the wayside, but as you’ll see in today’s tutorial from the Photoshop Café YouTube channel, these are usually replaced with more powerful options.

Instructor Colin Smith is an image-editing expert whose advice we often solicit when it comes to understand new processing capabilities. In this Photoshop episode he explains that we recently lost a popular lighting-effects filter, that was replaced with a new Gradients feature that can be adapted to handle the same task and works even better.

This new feature is currently only available in the Beta version of Photoshop, and Smith explains how to download it if you haven’t done so already. Smith wants to work with a darker view of his demonstration image which is easily created by going to the Photoshop’s Adjustment Layers panel and using the Exposure slider.

His goal is to also add a spotlight effect and add a bit of texture. He begins with the spotlight and employs a Layer mask by first setting the foreground to black so that as  he paints over the image the mask will be hidden—allowing the light to show through. Then he grabs a Radial Gradient and chooses the Foreground to Background option, which is black to white.

You’ll quickly see how this method differs from using the Lighting Effect filter that was recently retired. Now you can easily drag the gradient around the image and watch how light changes in different areas of the photo until you see the effect you like. So here’s the new feature: you’ll notice a small red dot that enables you to pull the gradient down to create sophisticated directional light that Smith says, “changes everything.”

It’s also possible to grab the midpoint and modify light falloff to suit your needs. Now it’s time to add the texture, which is quickly accomplished within the Channels panel. Smith selects the red channel using the keyboard shortcut he provides, and now you’ll notice “marching ants” on the barrel that’s hit by the light he created earlier. Resetting the channels is as easy as clicking on the RGB tab in the panel.

Next, Smith chooses the background layer and copies the previously selected pixels. This enables him to further accentuate the texture. He then chooses a High Pass filter to further refine the texture by dragging the Radius slider. Everything else in the image that wasn’t selected in the red channel remains unaffected.

Check out Smith’s before/after images and you’ll be very impressed by this simple and effective transformation. You can find more simple solutions like this on Smith’s popular YouTube channel so be sure to visit often.

We also recommend watching a  tutorial we posted recently, in which another respected pro explains why, “Photoshop’s Generative Fill won’t replace you just yet.”

A week ago we featured a tutorial explaining why minimalism is the key to clutter-free outdoor photos, and that lesson touched on the concept of negative space as one way to get the job done. Today we’re taking a deeper dive into that specific technique as a means of capturing unique images that really grab attention.

Instructor Mike Smith is a skilled British landscape photographer who is very generous about sharing the secrets to his success. In this six-minute episode he demonstrates why less is often more when it comes to making great outdoor images that stand out from the crowd.

In basic terms this technique involves surrounding a main subject with a large area that lacks texture or distracting color changes. Smith says that by doing this you’ll be able to create photos that convey a sense of loneliness and a mood of isolation. And, of course, the main subject of the image will really stand out.

This is all about simplification and eliminating unnecessary elements from the frame. Smith equates this type of photography to the peace and solitude you feel in a quiet room after spending time in a frantic, bustling city. You’re able to concentrate and focus on what’s important.

It can be difficult to find scenes with abundant negative space while shooting in the field. Smith says a great place to start is on the beach with open water in the background, especially when there’s a featureless sky. Long exposures help by smoothing out the water, and a long lens makes it easy to get in tight on a key subject while cutting out nearby distractions.

Smith demonstrates why texture, even in distant clouds, can spoil this effect, and why he tries to surround his subjects with plain colors that don’t clash. He provides the example of a boat surrounded by an otherwise empty and lonely sea. There’s nowhere for the eye to go except to the boat.

As you’ll see, this powerful technique transcends landscape photography and works well for other genres too. Here Smith pulls up his image of a sky skyscraper shot against a plain blue sky. He shot the same image as a few clouds blew across the frame, and this one isn’t nearly as effective in focusing attention on the building.

There are several other examples of how to put this method to use, and there’s nothing difficult involved. All it takes is thoughtful mindset, and the understanding that sometimes less is more and negative can be positive.

There’s much more to learn on Smith’s instructional YouTube channel, so don’t forget to take a look when you have time.

We also recommend watching the tutorial mentioned above, explaining why minimalism is the key to clutter-free landscape and wildlife photos.