The Wild Photographer

Tips for Great Night Wildlife Photography

• Episode 50

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Photographing wildlife at night is tough, but there's a formula I've found that works incredibly well. It produces high quality, even low ISO, inspiring images of rarely seen animals we may encounter on wildlife photo adventures.

In this episode I also go over the tools and specific camera settings, along with lessons and techniques from over 20 years on this topic for how to capture stunning nocturnal wildlife in their natural habitat.

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Takeaways

  • Nighttime wildlife photography is challenging due to low light.
  • A good flashlight is essential for illuminating subjects. No flash--too harsh!
  • Using a headlamp helps in adjusting camera settings in the dark.
  • Spotting wildlife at night can be easier with a guide.
  • Any camera can work, but DSLRs or mirrorless are preferred.
  • Fast lenses are not always necessary for nighttime wildlife photography.
  • Manual plus auto ISO is a great setting for low light.
  • Underexposing the shot helps capture the essence of night.
  • Editing can enhance the darkness around the subject.
  • Macro photography can be done without a dedicated macro lens.


Court Whelan (00:01.016)
Hey folks, welcome back to The Wild Photographer. am Court Whelan and we're talking today about great night wildlife photography. These are tips that I've gleaned from over, gosh, 20 years of doing this and all the various tropics and even polar places around the world. There are a lot of opportunities for nighttime wildlife photography, even though you might be thinking it's confined to smaller critters that are around jungle lodges.

There's actually a lot of stuff that is on deck, whether you're on an African safari, whether you're in the polar regions, whether you are on a tropical jungle adventure in Borneo or Madagascar. There are tips that kind of hold true throughout all these regions. And let's start off by just admitting that nighttime wildlife photography is tough. That's a big reason why I want to do this episode and give you these tips that I've learned and honed over the years is because it's a really, really tough type of photography to get right and to make look good. It has.

the most limiting ingredient in the most severe form for all wildlife photography, is extraordinarily low light. But as you're going to see from this episode, it doesn't really have to be the case. If you go into your wildlife photography with a few things in mind, a few tools, a few tips, a few techniques, it's going to make it a lot easier, a lot more enjoyable. And you're to get really great results without a ton of specific settings and work. It's just a few kind of hacks.

I like that term is sort of overused, but nevertheless, their tips, their advice, their techniques are sort of hacks for nighttime wildlife photography. Before we get into the episode, quick shout out to our sponsors, the first being art helper dot AI, an amazing AI promo tool made by photographers for photographers to help photographers promote their artwork. And it's not just conventional promotion. It's all the new age stuff like social media, like posting on Etsy, like posting on your website.

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Court Whelan (02:23.01)
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Use the promo code whelan15 for 15 % off on their website, just shimodadesigns.com And finally, lensrentals.com. Wild photographer 15 will get you 15 % off lensrentals.com and you know I'm a huge advocate for renting lenses. It's a great way to try before you buy or just try and try again and try a different lens for this trip. Try a different lens for that trip. Trying lenses, experimenting and not having to buy them is an extraordinary superpower.

that a lot of pro photographers use. So using lensrentals.com, they're a great company and you can get 15 % off with Wild Photographer 15. Without further ado, let's get into the episode about great tips for great night wildlife photography. like I mentioned, wildlife photography at night is pretty pretty... So like I mentioned, night photography at night is rather tough. You have...

Court Whelan (04:38.434)
very limited light. You're also kind of out of sorts. You're in a bumpy safari vehicle, not seeing your surroundings or you're hiking on jungle trails only using flashlights and there's sounds, there's noises all around you and you're you're probably enjoying it because you're immersed in this amazing environment, but you're also kind of out of your element. So how do you put all that side and focus on great photography? Well,

The first thing you do is you make sure you have the right tools. So going out for nighttime wildlife photography, let's talk about the tools needed. The first thing is a good flashlight. This is actually not only going to be you getting out there and seeing the stuff, but it also is going to be by far my top choice for illuminating your subjects for photography. do not use flash at night. Let me repeat that. I do not use flash. It's, it's way too powerful. And also, you know, probably

distracts the animal probably spooks it off in some cases, but just a good flashlight nothing nothing like millions of lumen power like they're making today just something that's a couple hundred lumens. Fenix is a great company F E N I X they make really really great affordable pretty bright flashlights that you know not only are just really bright but they come in a varying number of levels where you can kind of do them down based on what you need to peruse the jungle trail to illuminate your subject.

But a good flashlight is really paramount. then honestly, if I'm going to really do night photography, night wildlife photography, that is I'm going to have a headlamp too, because I want to be able to see my camera settings. I want to be able to see where my feet are walking the boardwalk underneath me, or if I'm getting in and out of vehicles, I want to make sure I can safely stash my camera gear somewhere safe and then use my other flashlight, my Fenix flashlight torch, let's call it to illuminate the surroundings and look for critters. So the next thing is how do you spot stuff?

Well, there's two main camps to this. I guess let's start off with one. You have a proper wildlife guide and nighttime wildlife guide that's doing the spotting for you and you're just kind of backup. You're sort of ancillary. That is always a more preferred way to go. Spotting things at night, if you're not used to it, is very, very tough. However, I will tell you, if you're going out on your own and you're looking for bigger things,

Court Whelan (06:55.97)
The best thing to do when you are in these bigger tropical areas is to hold the flashlight very close to your eyes. Sometimes people put it just at the bridge of their nose, kind of between their eyeballs and almost a little bit alien like, but use that spotlight flashlight, that phoenix type flashlight, and you're looking for eye shine. You're looking for the back of the retinas of mammals, maybe even big cats, to shine back at you. And you get those two little red

dots in the distance or sometimes yellow dots or orange dots. The species truly reflects back different light. I'm not going to go into the long list of which species is correlated to what, but nevertheless, there's two little orbs of light shining back at you. The bigger the eyes, the bigger the animal. And it's pretty exciting. Again, having just gotten back from Borneo, did this with everything from flying squirrels to slow Loras, you name it. Even some of the cats and civets that are found in the area. And it is really, really fun. The other thing you can do is not

worry so much about the big stuff, but look for the small things because it's equally rewarding. I have to say if you are going around a jungle lodge or a safari camp, almost definitely they're going to be illuminated. The pathways are going to have lights on them. It's a great place to look for things like frogs, like beautifully colored moths and beetles. Sometimes in places, little lizards and chameleons and geckos can even be found around them. So looking for that stuff too is highly rewarding. And I got to say, if you're not with a proper wildlife

guide or a night wildlife safari guide, you're going to do better on your own looking for those things. And frankly, in a lot of places, you're probably not allowed to set off on your own for a multi-mile hike by yourself in the dark, looking for big cats in like Africa, right? So stick with the camp, stick with the smaller things. And towards the end of the episode, I'm going to give you a really cool wild card tip on how to photograph with any lens akin to macro photography, like how to turn any lens into a macro lens sorta.

It really produces great results. I say sorta because it's kind of only on the technical end that it's not. It's not necessarily a one-to-one ratio, but it does make small things look as big as they can in your camera, which is another more layman's term of macro photography. So we're gonna come give you a little bit of tips at the end of how to do that with the smaller critters that you might found around your lodge or jungle camp, whatever you might be at. Okay, so we talked about good lighting. Next thing, any camera will do.

Court Whelan (09:21.186)
but the fancier the better because we're shooting in low light in challenging conditions. So yes, a point and shoot is going to do well. I should say iPhone smartphones are probably not going to do particularly well only because the best way for night wildlife photography, great night wildlife photography is you're going to want to zoom in a good bit. yeah, iPhones are getting better and better at this. They have like five times zoom now, so they're getting better. But really when I'm looking at the minimum

threshold needed. I'm thinking about a DSLR or a mirrorless, but you don't have to have a super fancy one. But as you can imagine, the fancier, the better because low light is one of the biggest stressors on camera sensors and one of the hardest things to overcome. So as a result, the better the camera, the better the photos, but any sort of point and shoot DSLR is better. Recent mirrorless is better. Full frame mirrorless. You can see the spectrum kind of going from good, better, best.

but really any camera beyond a smartphone is gonna do pretty well. The next thing is what sort of lens, assuming you do have a camera that allows you to put a certain lens on, do you go for a super quote unquote fast lens or just something that you'd use for normal wildlife? And when I say a fast lens, we're talking about one with a very big maximum aperture, like an F 2.8 lens or an F 1.4 in some cases. And frankly, with this technique I'm about to tell you here, you

actually just keep your normal telephoto zoom wildlife lens on. That's it's great. It's actually a really, really nice thing because you don't have to start investing or toting around these specialty lenses. The big limit, the big limiting factor with a fast lens is that usually you sacrifice a lot of telephoto power. And with this technique here, I'm actually encouraging you have a slower lens, like instead of an F 2.8.

Go with the F 5.6. My telephoto that I have, my trusty one that I have on my side all the time is a, it gets to an F 7.1 when I'm at 500 millimeters. I wish I had a faster aperture, but F 7.1 actually works. And again, just getting back field tested in Borneo, I have some amazing Western Tarsier shots that I'm really happy with from my 500 millimeter that is again at F 7.1. So you don't have to worry too, too much about getting these crazy fast nighttime lenses.

Court Whelan (11:42.223)
A lot of people carry around like a 50 millimeter, 1.8 or 1.4 or might have a 100 millimeter, 2.8 macro. Those are great, but honestly for big wildlife, like we're talking about here, you want that telephoto, not necessarily the speed. So getting that reach, getting that distance, that is paramount. So let's move on to camera settings. So again, no flash. Therefore you don't actually need to think about a specific shutter speed maximum. So in other words,

If you are using flash, if you have used flash before, you might know or realize that you can't actually sync the flash to your camera beyond like one over 200 or one over 250. Now there are definitely workarounds for this. So don't want to say it's a be all end all, but the nice thing about not having used flash is that if you do want to shoot faster than that, you can, you're not limited by one over two 50th of a second as the maximum fastest shutter speed like you would with a flash. That'll being said,

You are shooting at night and so shooting that fast is almost not an issue anyway. My sweet spot in general is somewhere around one one hundredth of a second just to make sure that any movement from the animal is frozen. Maybe one hundredth of a second. But as you're going to see from these settings next, you're really going to experiment and test around a little bit because you are shooting in really, really challenging conditions. So by using.

my tried and tested manual plus auto ISO technique, meaning you're setting your camera on full manual mode, but auto ISO, I find this is once again, the greatest setting for all wildlife photography. You can dial in the aperture, you can dial in the shutter speed and you let your camera choose the ISO. So here's the combination I use for great night wildlife photography. I have it on manual plus auto ISO.

biggest aperture I can muster, which means the smallest F number. If that's F 7.1 and I can't go below that number, I can't get to F 5.6 because of lens limitations. All right, so be it. But it is the smallest F number. If my lens allows me to go to F 5.6, great. F4, awesome, even better. F 2.8, splendid. But most of you out there are probably gonna realize you can't get below F 5.6. The 2.8 lenses, you know who you are.

Court Whelan (14:07.094)
Amazing lenses and they do work very, well for night photography and you should use F 2.8 if you can get it to that, you know, the 300 millimeter, 400 millimeter. That's, that's obviously ideal. And you probably know that auto ISO takes that element of the equation. The ISO can be extremely variable. So I take that out the equation, which allows me to still use exposure compensation in my camera. Meaning I can choose how light or dark my shot is.

Now here's where it comes into the philosophy or the artistry of night wildlife photography. You do not want your animal evenly exposed in the scene. Well, let me step back. You want your animal evenly exposed. You do not want your entire frame evenly exposed. You're shooting at night. You do not want to illuminate your entire frame, meaning your entire sensor. You want the darkness. You want at least half your frame or at least any bit of the frame that the wildlife is not in.

You want to be pretty dark, like pitch dark. So usually I start off with any sort of wildlife drive or wildlife walk, whatever way that I'm getting out there. I'm going to dial my exposure compensation to minus one or minus two, meaning I'm going to force it to be dark in the shot. If I don't do this and I shoot on even what happens is that the camera thinks I want it normally exposed. It's going to, you know, kill my ISO. It's going to be way too high.

It's going to need a super slow shutter speed or whatever combination and it's going to look like a daytime shot in terms of lighting, which is not what we want. We want to capture the essence of the darkness. We want to show that this is a nighttime nocturnal animal. So by force we darken the shot by minus two, sometimes even minus three. I I tell the camera darken the shot. That is a huge part of this equation. And then the last thing, which is the biggest thing is my exposure.

or metering style, like metering setting, I use spot metering. Okay, this is one of the few times on any wildlife trip that I'm going to use spot metering. And what this does is it meters for just the very, very dead middle of my frame. So I usually use a center point autofocus for all my wildlife photography. If not, you know, I usually use center point autofocus for the vast majority of my wildlife photography when I'm not using

Court Whelan (16:27.532)
newer auto-focus tracking, for, for nighttime, you have to use center point auto-focus. Otherwise the auto-focus track is just not going to work. If the animal's moving there, you don't have any chance of photographing it anyway. So I do use center point auto-focus. So that also means that whatever is in the dead middle of my frame is going to be prioritized for exposure. Now, the reason this is important is when you have that flashlight again, just a normal, moderate flashlight, looming, then illuminating that animal.

it will mean that everything else around the animal is pretty dark, but the halo of this flashlight on the animal means that your camera with spot metering will expose for the wildlife itself. It's pretty challenging to nail exposure otherwise. So putting it on spot metering, if you haven't tried this before, is a game changer because it's only going to worry about that animal being evenly exposed.

Combine that with the minus two exposure, which is going to darken the rest of the scene. And you kind of get this perfect mixture of settings and outcomes where you have a nice perfectly illuminated subject. could be an owl. It could be some sort of jungle cat. It could be a smaller thing like a frog or a beetle, but that's going to perfectly lit up. It's going to be the exact right exposure on the animal. And then everything else around it is just going to fade into the distance either because of your shallow aperture.

and or because of the underexposure that you're forcing your camera to do. So it's a pretty magical combination. It's not brain surgery or rocket science here, but it has taken me a little while to figure out that this combination of a noticeably underexposed shot with spot metering is really the key starting point. And I say starting point because then you start to play around, right?

So you start to notice what settings the camera is giving you. you start at F 5.6 and one over 100 shutter speed. One over 100 is going to pretty good at freezing your own hand movement. So your hands, if they're moving or, or shaking with excitement or, know, just in any way moving, it's going to freeze that movement. It's also going to freeze most wildlife movement at night because let's face it, the only time you're really going to get great shots of wildlife at night is when that animal is still.

Court Whelan (18:46.958)
If the critters darting across the road in front of your vehicle, your safari drive vehicle, you're not going to get a great photo of it. Or if you are, it's going to be a blurry mess and it's going to have the front headlight and it's just going to look bad. So you do have to also think about what conditions are going to even allow me to get a decent shot in the first place and throw a few of those opportunities away when you know it's not going to be sedentary wildlife, a sedentary animal. So as a result, one of our hundred good starting point.

And then let's just say by example, because of the strength of that flashlight or the proximity you are to the animal, it's giving you something like ISO 200. Okay. That's a low ISO. It's kind of surprising to get that, but oftentimes when you use that spot metering, so your camera is only exposing for that flash lit animal with the under exposure, it might actually give you really low ISOs, which is fantastic. That allows you to say, you know,

What do I want to increase in this scenario? Because ISO 200 is actually pretty low. You can go to 400, can go to 800 you can go to 1600. So maybe you want to double your shutter speed. Maybe that's the thing to do. Maybe you want to increase your aperture to get bigger depth of field, or maybe you just do nothing and really enjoy the fact that you have a super high quality shot at ISO 200. Let's go the other end of the spectrum and say your camera is giving you ISO 25,600, which is routine at night. Like remember, this is a hard...

hard type of photography. Then you're at one over 100. You can't change your aperture because you're already wide open. You're already underexposed. You can't darken it anymore. But it's giving you 25,000 ISO and you know based on your camera, I'm not telling you this, but you have to internalize this, but you know based on your camera that 25,000 is just not going to produce a good photo. I'm actually surprised that with my current camera, the Canon R5,

I can save that shot, but for a lot of cameras out there, 25,000 is just far too much. So you have to make that decision. Do you stick at 1 over 100 shutter speed or do you drop that down? If you drop that down to 1 fiftieth of a second, you double your light, which means your camera in the exact same scenario, exact same settings will drop the ISO down to 12,000, like 12,500 to be exact. Is that enough? Does that work? Do you need to go lower?

Court Whelan (21:10.603)
is 1.50th of a second going to be too slow based on your lens and your camera. Remember, sometimes these image stabilizers are so good that 1.50th is just fine. Depending on your camera and lens, maybe it's too slow. Maybe you can go even further. With my setup, I was taking shots at 1.20th of a second at 500 millimeters and getting stable, crisp, clean shots on this past trip, which is just amazing. It just goes to show you.

the limit of our technology right now is somewhere around that realm, which is pretty impressive. Like 1.20 for the second is really, really slow. 500 millimeters means even any slight movement in the lens is gonna blur the shot. So just keep that in mind. Like you can go slower than one over 100, which gives you better and better ISOs, which gives you better and better quality shots. And the final thing with the technique specifically of taking the shot,

is do your best to have the critter fill at least half the frame. You don't want to take landscape shots at night with these settings and this technique. We're talking about wildlife shots. We're not talking about Milky Way shots. We're not talking about blue hour shots of your beautiful safari camp. We're talking specifically about when you're out at night and photographing wildlife, just try to have it fill the frame. You know, that's that's the key thing. If you get too much in the frame, if you're trying to make a landscape shot out of it, it's just not going to do well with these settings and how much darkness I'm

needing to eject in my scene. really, that's a big, big reason why I'm using a telephoto lens. I want to fill the frame as much as possible. At least half the frame with the wildlife, half the frame with the darkness is a beautiful combination.

When it comes to night wildlife photography, editing is becoming...

Court Whelan (23:01.089)
Editing is another huge facet to nighttime wildlife photography and I'm not doing a ton, but a couple things I want to point you in the direction of is is.

Editing is a pretty important thing when it comes to great night wildlife photography. I'm not doing a ton, but I wanted to tell you the two things I do think about. One is that I'm really just editing to make the surroundings even darker. Remember, I'm telling you to underexpose and use spot metering, which will mean that anything that's not directly illuminated by the flashlight does fall off in terms of light. It's really, really dark. Like it should be almost pitch dark, but I want to make sure that's even darker because

Any little leaf or branch or background that's lit up is very, distracting. And you can create some incredible artistic looks with this almost like isolated look of the animal with an otherwise very, very dark background. It almost looks like it's shot in a studio, which can be extremely beautiful. So that's really what I'm trying to do is push the limits and darken everything but the wildlife. Most of that happens in the camera with everything I just talked about, but the rest, the final.

stage of the race happens in editing, when I do want to select and create masks, what I'll often do is I'll create a mask of my wildlife itself. And because of that, that strong difference in lighting of the, the wildlife in the background, all the masking picks up pretty well with Lightroom and Photoshop and Adobe Camera Raw. So I'll select my subject and I'll just hit X to inverse that or just select background and then just darken the heck out of it.

I'm always very careful to not darken it too much so it starts to look fake. Sometimes a little bit of fringing happens in the animal, but just trying that to darken it even 10 % or 20 % more just to isolate that subject a little bit further, and it makes a big difference. And the last thing I'm going to do is look at white balance, because since we are illuminating a subject with a bright light, it could be a yellow light, it could be an overly blue light. You do want to play around because it will mess with the overall color of the photo.

Court Whelan (25:04.863)
And sometimes just as is, is fine. I almost always shoot an auto white balance at night because of that in camera. I would say it does a pretty good job, but with almost every nighttime wildlife photo, I do tweak the white balance a little bit warmer, a little bit cooler, mess with the tint a little bit in terms of the magenta, the green, just to fine tune it a little bit because I find that because artificial light is the dominant source, it does get it wrong enough for me to pay a lot of attention to it.

Okay, I want to go over a couple of wild cards here in the world of nighttime wildlife photography. So sometimes on African safaris, you have red lights, a lot of the drivers and guides because they're going to similar areas over and over, they're using red lights. So animals do not start to get habituated to white lights or do not have any sort of visual damage from white lights. This is a prudent thing. So what do you do? What do you do when the light source is not

a nice white or blue or slightly yellow light, you embrace it. You know, this is part of the story. This is a great storytelling element. You you take the photo just like you would any other time and your ending photo is pretty darn red. And that's part of that story of your safari. So that's one option is just to embrace it and say, you know what? It's kind of cool. It's a little bit weird. When I show this photo to someone, they're going to ask why in the world is it red?

You say, well, let me tell you a story about this night drive. And that's the whole thing there. The other option, though, is if you say, well, I'm a little bit more of a purist and I don't want to inject this really artificial red light, it doesn't make sense to me, it's not very aesthetic, is you can simply turn your photo to black and white. It's going to look really, really darn good. So yeah, pretty easy fix there. Turn it to black and white, start boosting the contrast.

start boosting the clarity and just make a really, really dramatic, moody black and white scene. And then it mixes that red right off the bat.

Court Whelan (27:09.463)
Next up in the wild cards, macro is really fun at night. I love walking around little frog ponds or the jungle lodge that I'm at, looking at the lights, looking at the handrails and trying to find cool beetles or stick insects or whatever might be in the area that you are photographing. And this is actually one of the few times that I may consider using a flash. I very rarely bring a flash with me on my trips these days because it's just another thing that I have to total around with me.

I can usually manage with a flashlight just fine, but in full disclosure, a flash can help a lot when looking at macro photography. You can have just a normal shoe mounted flash, something that you might see a wedding photographer use. Oftentimes these things tilt down enough. They can illuminate a macro subject right in front of your lens, or you might choose a big fancy macro setup with a proper macro ring light. Either way, macro is really, really fun at night. It is something that I...

tend to do on each and every trip, whether I have a flash or not, again, flashlight works 99 % of the time. And I want to give you a bonus tip on how to take macro photos without a macro lens. So essentially what we're doing here is we are going to manually find your minimum focusing distance. So if you already know what your minimum focusing distance is for your lens, that's great. You know, might be one foot, might be three feet. It really depends on the lens, the manufacturer, and a few other things.

But a way to figure this out if you don't know it or maybe you're not a really great judge of how far, you know, 1.7 feet is exactly from your subject is this. So here's how to make the subject appear as big in your frame as physically possible with your lens and camera. So the first thing you're going to do is if you have a zoom lens, meaning it has, you know, like, let's say it's a 24 to 105 zoom all the way into 105. The next thing you're going to do

is you're going to turn your autofocus off. So it's going to go to manual. Next, you're going to take your focusing ring and you're going to twist it all the way to the side that is the closest focusing distance. And the easiest way to figure this out is usually on your ring, you're going to see one side with a little infinity sign and one side with a little bracket. Go away from the infinity sign all the way to the other end of the spectrum. And that's going to be the closest focusing distance. So again, fully zoomed in manual focus.

Court Whelan (29:31.534)
minimum focusing distance. Now you yourself are going to be the focusing mechanism. So if you are standing, let's say, you know, a couple of steps away from the wildlife subject you're trying to photograph, let's say it's a beautiful moth on a handrail, you are going to look for the viewfinder and start moving yourself with camera and lens closer and closer to your subject until the subject appears in focus. And at that moment you have maximized the size of that critter.

that moth in your camera lens. And you'll note that the distance from you to your subject often is a lot closer than the minimum focusing distance says it is. The reason for that is usually if your camera is reporting this minimum focusing distance, it might be reporting it from the sensor itself and not actually the tip of the lens. So this is a really, really helpful way to figure out how close can you get to a subject

The closer you go, the more size it fits in your frame. And that creates this macro look. Now this is not the time to go into the technicalities of true quote unquote macro lenses and photography. They do get bigger and better as you go to dedicated macro lenses. But I almost never bring a macro lens around with me anymore because a combination of this technique with a little bit of cropping and post-processing, and I can make that subject look really, really big in my frame, which is really all I'm trying to do with macro.

So yeah, it's a really fun technique. If you find that you have now mastered that distance, you can turn your lens back to autofocus, but I would keep that zoom all the way in. And now you go around to a different moth, a different beetle, maybe a nighttime blooming flower. And you know that approximately that distance is where you need to be. And then you can use autofocus at that point as you move a little bit in and out. If you move too close, obviously the autofocus won't work. It'll just give you a little red box.

But if you just stay a little bit further out from that, you can auto focus as well, which gives you again, maximum size in your frame. It's really darn fun. And I think a great dimension, a wild card dimension to night wildlife photography.

Court Whelan (31:43.065)
So there you go, tips for great night wildlife photography, pretty much anywhere in the world and for a lot of different subjects. We talked about some of the tools needed, the settings, lots of stuff in today's episode. If you have any thoughts or tips on wildlife photography.

Court Whelan (32:02.563)
So there you have it, tips for great night wildlife photography. As always, big thank you to the sponsors of this episode, arthelper.ai, Shimoda Designs, and lensrentals.com. If you are interested in additional tutorials, I have some editing tutorials on my YouTube channel. I'm starting to do those with some frequency now. YouTube is just at Court Whelan If you search on YouTube, Court Whelan it'll be easy to pop up and you'll see some kind of in the moment.

three to four minute videos of me going through a photo and editing in them. And I think it gives you really good tools and information and maybe inspiration of how to do your own editing on different types of photos. And with that, I thank you so much for joining and I look forward to talking to you next time. Thanks folks.


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