Monteriggioni, Tuscany - available light only

A quiet moment beneath One World Trade Center. 

I revisited an older photograph and reworked it in Lightroom Classic, focusing on deep contrast, architectural scale, and the connection between two people moving through the city at night.

On considère souvent que la retouche fait partie du métier de photographe. Pourtant, sur beaucoup de projets (dans la beauté, mode, joaillerie, parfum...), la post-production peut représenter autant, voire plus de temps que la prise de vue.

Vous en pensez quoi ?
Est-ce que vous réalisez tout vous-même, ou estimez-vous qu'à un certain niveau de qualité et de temps de travail, il est plus pertinent de collaborer avec un retoucheur spécialisé ?

Je serais ravie de lire vos retours. Je suis moi-même retoucheuse professionnelle, spécialisée dans le haut de gamme, et je trouverai intéressant de voir comment chacun organise son workflow.
(Btw, disponible pour collaborer sur vos projets si besoin! )

A Masai farmer tends his cattle at the local watering hole. Masai Mara, Kenya.

Siestas eternas bajo el sol implacable.

When I traveled to South Africa, I wasn't chasing animals.

I was chasing light.

Before the trip, I had spent months studying the landscape and planning the kinds of images I wanted to create. Most wildlife photographers work almost exclusively during the golden hours of sunrise and sunset—and for good reason. The light is soft, flattering, and forgiving.

But I had already decided to build this collection in black and white.

Black-and-white photography depends on contrast, and contrast comes from light. That meant I was actually hoping for the harsh midday sun that so many photographers try to avoid.

That decision completely changed how I looked at Africa.

Instead of searching only for lions or elephants, I was searching for scenes where I could use the bright sky and deep shadows as part of the composition. The challenge wasn't simply finding an animal—it was finding one in exactly the right place. Every shadow had to support the photograph rather than distract from it.

Then, as we drove across the reserve, I saw these two young giraffes.

Immediately, I noticed something.

Their necks and the shadows they created echoed one another, almost like a reflection. It was exactly the relationship between light and form I had imagined before leaving home.

I quietly climbed out of the vehicle, lowered myself to ground level, and waited.

Like many young giraffes, they were naturally curious. Instead of walking away, they looked directly toward me.

That curiosity became the emotion.

The harsh African sun did exactly what I had hoped it would do. Instead of ruining the photograph, it sculpted it. The shadows strengthened the composition, creating balance instead of distraction.

For a few brief moments, everything came together—the light, the lines, the curiosity, and the composition I had imagined long before I ever arrived in Africa.

That is why this photograph is called Shadow.

Not because of the darkness.

But because this image is a reminder that shadows don't always hide beauty.

Sometimes, they reveal it.

Balearica regulorum! Nikon D5300 + Nikkor AF-S 300mm F4D ED IF. ISO 100 | F4.5 | T-Exp:1/400s. No se usó trípode | No tripod was used. Iluminación | Lighting: Sol | Sun Flash: No. 05 May 2026 | 14:59 PM #jo_crespo112358 #balearica #regulorum #grulla #crane #coronada #gris #gray #grey #crowned #macrotenebrism #macrotenebrismo #guatemala #nikon #lowkey #tenebrismo #tenebrismofotográfico #tenebrism #phototenebrism #clavebaja #low #key #photo #artemacro #macroart #macrophotography #macro #foto #fotografia #photography #art #arte