Photoshop’s easy-to-use Healing Brush is typically considered a tool for editing portrait photos, and rightly so because that’s how it’s often used. But it can be very valuable for cleaning up other types of images too.

If you’re* unfamiliar with Healing Brush edits the tutorial below is for you, as you’ll learn several easy methods for getting the job done. Instructor Nino Batista is a photo-retouching expert, and he considers this episode to be in the category of “Photoshop 101.”

Batista is working on a portrait of a pretty model who happens to have a few spots and creases on her face—much in the same way a landscape shot may have small, distracting artifacts that you may want to remove. In either case the easy tips or techniques he discusses provide all you need to know for achieving nice and clean photos.

Using Photoshop’s Healing tools can be as simple or as complicated as you make it, and Batista’s goal for this 14-minute episode is the former. He explains all the basics for using the Healing Brush and the Spot Healing Brush, and provides some thoughts about using these tools with what’s known as “Frequency Separation.”

Batista notes that when editing portraits, “Healing is mostly for high-frequency areas like dots, zits, and moles.” Healing tools can also be very helpful when working on flyaway hairs and other elements that need to be removed or repaired.

The demonstration begins with a discussion of the differences between the regular Healing Brush, and the Spot Healing Brush. Batista says, “The Spot Healing Brush is the most direct; you choose your brush size and paint over the area you’re working on.” As you’ll see, the regular Healing Brush works differently. In simple terms this option enables you to sample a clean nearby area with similar texture and use it to replace the offending spot.

After demonstrating the basics, Batista move on to a few additional tricks you can employ in difficult situations when a bit more care and precision is required. One somewhat unfamiliar method is to do your healing on a “blank layer,” and this trick works with either of Photoshop’s Healing tools.

After watching the video head over to Batista’s YouTube channel, where you’ll find a bunch of great tips to use when you find yourself in a bind

And for another very helpful explainer be sure to watch the tutorial we posted recently, explaining how to make the most of Photoshop’s Object Selection tools.

One camera feature that landscape photographers have relied upon for years to achieve sharp photos is image stabilization. But does it always work the way you expect? Read on.

Instructor Ian Worth is a professional landscape photographer who frequently takes us behind the scenes during his excursions while demonstrating simple techniques that contribute to his success. He begins the tutorial below with an unexpected comment: “I this it’s fair to say there’s a bit of confusion surrounding in-camera image stabilization (IBIS), and whether it’s best left switched off during certain situations.”

This got our attention in a hurry, and we expect it may have captured your’s too. In today’s behind-the-scenes tutorial Worth conducts a simple test to determine whether turning IBIS off can actually result in sharper images. He’s also on the hunt for some awesome landscape photos and you’ll pick up valuable tips on composition, camera settings, and more.

Worth uses different focal lengths, shutter speeds, and ISO settings to make the comparison as valid as possible, while photographing a number of different scenes in varied light—sometimes employing a polarizing filter to minimize glare with the camera on a tripod.

At his first location Worth turns IBIS off and on to shoot the same scene. He sets the camera to ISO 400 with a shutter speed of 1/200 to prevent subject movement as a slight wind blows the leaves. The focal length is 18mm, and as you’ll see, both photos look identical when comparing static portions of the images, but what about everything else?

Worth does much the same at the second location, but this time he zooms the lens to 33mm for the composition he desires, and sets the camera to ISO 125 with a shutter speed of 1/100. And again, “to my eye the images look identical.” Keep in mind though that your results could be different, depending upon the camera you use.

Keep watching as Worth continues his experiment in different places with results you may find surprising. And then see if you agree with the conclusions he draws as the end of the video.

There’s much more to see and learn on Worth’s instructional YouTube channel, so be sure to take a look.

And don’t miss the video tutorial we posted from another accomplished outdoor photographer, with three pro tips for speeding up your landscape photography.

Julienne Kost is an accomplished photographer, educator, author, and image-editing impresario who regularly post tutorials for improving your workflow in Photoshop and Lightroom. Today she’s back with another quick episode in her “Photoshop Icebreakers” series, and it’s definitely one you don’t want to miss.

Today Kost discusses the versatile Object Selection tool, explains how it works, and provides several tips for employing it properly. In barely four minutes she explains various options for customizing overlays, choosing Selection modes, how to use the Mask All Objects command, and more.

Kost explains that this powerful tool uses artificial intelligence (AI) to detect and select several different types of “regions” in images. These include objects, people, and animals. The Object Selection tool also does a good job of identifying skies, water, buildings, trees and other plants, and a few other things that may appear within the frame.

In Kost’s words, this is what to expect: “When the Object Finder option is enabled, Photoshop displays a magenta overlay wherever it detects an object or a region in the image.” By clicking on the gear icon atop the screen you can quickly customize the overlay options in order to change the color, thickness of the outline, and the opacity of the overlay.

To select an object once everything set up to your liking, simply click within the overlay. Kost also demonstrates several keyboard shortcuts for adding to, subtracting from, or intersecting more than one selection.

If you prefer to make selections manually, Kost explains how easy that is to do too. There’s also a straightforward method for selecting objects on different layers by enabling Sample All Layers. By doing this you won’t have to target the layers in the Layers panel.

Kost discusses a few other helpful tricks, and it’s pretty amazing that she covers so much ground in so little time. Once you’re done watching you’ll be ready to start using Photoshop’s Object Selection tool today.

There’s much more to see on Kost’s instructional YouTube channel, including other episodes in her Photoshop Icebreakers series. So pay a visit soon and check back often.

We also urge you to watch the important tutorial we posted earlier, explaining a safe and easy way to back up your important Photoshop Actions before they disappear.

Perhaps we’ve raised a few eyebrows with the headline above, since we constantly preach the importance of slowing down and taking a thoughtful approach when shooting in the field. But hold on for a moment, because the valuable advice you’ll learn in the tutorial below isn’t really a contradiction at all.

As you’ll see, there are a few things you can do to accelerate the shooting process, while still proceeding with calm and deliberation. Robin Wong is a respected photographer and educator based in Malaysia, and he provides five simple tips that you’ll wish you had thought of before.

One thing that can really slow you down is changing lenses when shooting in the dark. This can be particular annoying when using prime lenses because there’s only one focal length available, and it may not match the situation. The challenge when switching lenses in low light is aligning the red dot on the lens mount with the index on the camera.

Wong’s simple solution is to avoid the red dot and look at the electronic contacts on the back of the lens instead. That’s because they’re metal and thereby reflective—making them much easer to see in even a flicker of light. All you have to do is remember where they are relative to the index mark, and the problem is gone

Another trick Wong strongly recommends is to “leave your lens cap at home.” As he explains, interesting opportunities often pop up unexpectedly, and the small amount of time it takes to remove the cap and stash in in your pocket may cause you to miss the shot.

You can always keep the front element of your lens safe from damage by using a high-quality UV filter. Speaking of accessories, it’s important to not skimp when purchasing memory cards, because premium high-speed options are well worth the expense—especially if you frequently shoot in the Continuous Drive mode at fast burst rates.

Wong also explains how to speed up your photography by simplifying the shooting process. So take a close look, and then slow down and speed up the next time you’re out in the field!

Wong’s popular YouTube channel is full of great stuff, so be sure to take a look when you have time.

We also recommend checking out the helpful tutorial we posted earlier with some great ideas for capturing landscape photos close to home—where you thought there was “nothing to shoot.”