Zebra Archives - Mihaela Limberea

How To Shoot and Edit Backlit Wildlife Photos

23rd July 2026 Mihaela Limberea

Photography

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This is the fourth of four posts about shooting and editing wildlife photos for different creative results on safari. We’ll look at high-key, low-key, black-and-white, backlit & silhouette. Each style offers a unique way to see and a different set of choices, both when you’re out in the field and when you’re editing. While I’m focusing on a South African safari, these ideas work anywhere you’re photographing wild animals.

I use Canon equipment for all my photos, but I’ve tried to avoid using brand-specific terms wherever possible. My main post-processing tools are Lightroom Classic and Photoshop, and my guide starts from there, but I kept the details general, and they would apply to most post-processing software.

Today, we’ll look at backlit & silhouette photos.

This photo freezes two feisty Kangaroo Island Kangaroos (Macropus fuliginosus fuliginosus) in a classic boxing match, their paws locked in a cheeky spar as they balance on powerful tails against a sun-kissed, dusty arena. — *Two young kangaroos, Kangaroo Island, South Australia.* *The backlight does the diplomatic work here, softening the whole exchange into something that reads as tender even if it started as a shove.*

On almost every safari, there’s a moment near sunset when the vehicle stops, the guide turns off the engine, and everyone falls silent. The sun sits low in the sky, shining straight ahead. Whatever animal stands before you, maybe an impala, maybe a warthog, appears outlined by the light in a way that takes your breath away. The animal’s edges seem to glow. Behind it, the world looks like fire. In front, everything is in shadow.

At that moment, you need to make a quick decision.

The question isn’t whether to take the shot; you will. The real choice is what kind of image you want, because backlit wildlife scenes give you two very different creative options, each needing its own exposure approach. If you pick the wrong exposure, you’ll end up with the other type of image. Sometimes that’s fine, but usually it isn’t.

You have two options: a backlit portrait that keeps detail in the animal’s face, or a pure silhouette where the animal becomes a dark shape against a bright sky. Both are valid and striking. They start with the same scene (the animal, the low sun, the glowing sky), but split at the moment you choose your exposure.

This post explains how to do both.

What Backlight Does

Before talking about exposure, let’s look at the light itself. Backlighting, where the light source is behind the subject and facing the camera, does several things at once, some helpful, some not.

Backlighting creates rim light. The edges of the subject (like fur, feathers, thin ears, or a mane) are outlined by light passing through or around them. This rim is often the most beautiful part of a backlit photo. It separates the subject from the background with a glow that editing can’t fake if the light wasn’t there in the first place.

Backlighting also causes flare. When sunlight hits the front of your lens, it can lower contrast, shift colors, create ghosting, and soften your image, sometimes badly. Always use a lens hood in backlit situations, and keep your lens clean. These steps are essential.

Backlighting creates a big difference between the bright sky and the shadowed side of your subject, more than most cameras can handle without losing detail. You have to decide what to let go, and that’s what your exposure choice is about.

Zebra portrait (Equus quagga)) captured in warm, golden lighting during sunrise. The zebra's iconic black-and-white stripes are prominently displayed, with the pattern extending across its face, ears, and mane. The background is softly blurred, featuring earthy tones and hints of trees, creating a serene and natural setting. The zebra's expression is calm, with its eyes and ears alert, adding to the peaceful mood of the image. — Backlighting does something ordinary daylight can’t: it turns stripes into something almost architectural. The mane catches first, then the ears, then a thin gold line along the jaw. Everything else stays exactly as striped and stubborn as it should.

The Backlit Portrait: Retaining Subject Detail

Getting a backlit portrait that keeps detail in the subject is harder. You’re asking your camera to capture both the bright rim light and the much darker front of the animal at the same time, which is tough for most sensors.

Use Manual mode. If you rely on automatic metering in backlit scenes, the camera will expose for the bright sky and your subject will be too dark. Take control of your settings.

Spot-meter the shadow side of the subject’s face, the part facing you that only gets reflected or ambient light. This is what you want to expose for. Set your exposure so this area looks right, and accept that the sky and rim light will be overexposed. The sky will blow out, and the rim light may clip at the edges. That’s the right trade-off.

Use ETTR (Expose To The Right) based on your shadow-side reading; raise the exposure as much as you can without losing detail in the subject’s face. Watch your camera’s highlight warning and make sure it only shows in the sky or background, not on the subject. If the subject’s face blinks, lower the exposure until it stops.

Here’s a helpful tip: most new mirrorless cameras have a real-time highlight alert in the viewfinder, like a zebra pattern, that shows which areas are overexposed as you shoot. In backlit situations, this is more useful than checking the histogram later, since the light changes fast and each shot is a bit different.

When editing, focus on recovering shadows on the subject’s face. RAW files from modern mirrorless cameras hold more shadow detail than you might expect from the LCD preview. Pull the Highlights slider back a lot, sometimes to -70 or -100, and raise the Shadows. Use Lightroom’s Subject mask to adjust the subject and background separately. The Dehaze slider, used gently, can bring back contrast lost to haze from backlighting.

For subjects with complex edges, like fine feathers or the hairs of a rim-lit mane, use Photoshop’s Select and Mask tool with the Refine Edge brush along those areas. This gives you more precision than Lightroom’s AI mask sometimes can. If an image is worth editing, it’s worth doing it right.

The Pure Silhouette: Letting the Subject Become a Shape

Silhouettes are easier to expose for, but harder to compose well.

Kangaroo Island Kangaroos (Macropus fuliginosus fuliginosus)_This photo depicts two kangaroos standing side by side against a stunning sunset in the Australian outback. The kangaroos, with their muscular tails and reddish-brown fur, are silhouetted against a vibrant sky painted with hues of orange, pink, and deep purple as the sun dips below the horizon. The foreground features a scattering of dry grass and low shrubs, their details softened by the golden light, while the distant landscape fades into a hazy blend of earthy tones. The scene captures a serene moment, with the kangaroos’ upright postures adding a sense of calm majesty to the twilight ambiance. — *Kangaroos, Kangaroo Island, South Australia. No detail left to work with, and none needed. Two shapes on a horizon that’s doing all the emotional heavy lifting*.

Exposure is simple: meter for the background, not the subject, and let the subject go dark. In Aperture Priority, use minus one or two stops of exposure compensation, or in Manual mode, set exposure for the sky. The subject will naturally underexpose, sometimes a lot. That’s the goal. You’re creating a graphic image, not a portrait. The subject’s surface details don’t matter, its outline does.

That’s where the challenge comes in. A silhouette depends completely on its outline. The shape should be instantly recognizable and look elegant. For example, a warthog from the front doesn’t work well, but a profile with its tusks lit up looks great. A giraffe from the side makes a classic silhouette, but head-on it just looks like a blob.

Before you go for a silhouette, check the subject’s profile. Are the limbs clearly separated from the body, or does everything blend into one dark shape at the bottom? Is the sky behind the subject clear and colorful, or is it messy with branches and distractions? Do you have enough space in the frame to show the whole animal without cutting off its feet or ears?

White rhinoceros (Ceratotherium simum)_A tender scene of a rhinoceros and its sleeping baby in a grassy savanna at sunset. The adult rhino, with its thick grey skin and prominent horn, stands protectively beside the calf, which is curled up in the grass, its small body relaxed in slumber. The golden hues of the setting sun cast a warm glow over the pair, highlighting the texture of the grass and the rhino's rugged hide. The background fades into a soft blend of orange and purple skies, creating a serene and intimate moment in the wild. — A rhino doesn’t need texture to read as a rhino, the horn alone gives it away. Here the whole animal dissolves into a single dark form against the haze, which is either humbling or a little bit funny, depending on the day.

Shooting from a lower angle often helps, putting the subject fully against the sky instead of the mixed tones of the horizon. On a game vehicle, get as low as you can; even a small drop can make the background cleaner behind a standing animal.

For the sky, set your white balance to a warm setting like Shade or Cloudy before you shoot. This will make the golden and orange tones of sunrise or sunset look richer and more accurate on screen, giving you a better starting point for editing. The subject will be dark no matter what, so white balance mainly affects the sky.

When editing a silhouette, focus on two things: the quality of the sky and making the subject dark and clean. In the HSL panel, boost the orange and red saturation and adjust the blue luminance in the upper sky. Use the Subject mask to make the subject nearly pure black, adjusting Exposure, Shadows, and Blacks as needed. Check the mask edge at 100% zoom. In silhouettes, the border between the dark subject and bright sky stands out most, so any halo or unwanted blur will show right away.

The Overlap: Rim Light

Two boxing Kangaroo Island kangaroos (Macropus fuliginosus fuliginosus), silhouetted against a warm, golden-orange background during sunset. — This is what rim light is for: not illuminating the subject, just tracing it. Two kangaroos reduced to outline and motion, the low sun doing all the talking along their backs and paws while the rest goes dark.

There’s a third option between a backlit portrait and a pure silhouette, and it might be the most beautiful. This is the rim-lit image: the subject’s face is partly visible in shadow, while its edges glow with backlight. It’s not a full portrait or just a shape—more like a subject emerging from darkness, outlined by light.

To get a good rim-lit image, you need the darkest background possible behind your subject. The rim light stands out best against deep shadow or a dark tree line, not a bright sky, which can overpower the effect. The key is to move the vehicle so the subject’s glowing edges are set against the darkest background you can find.

The image captures a solitary Chacma baboon (Papio ursinus) from the chest up, viewed from its left side. The baboon is seated, with its face turned to the right, looking into the golden haze of the setting sun. Its fur appears thick and coarse, with shades of gray and brown, and is dramatically illuminated by the backlighting, creating a halo effect around its head and shoulders. The sunlight highlights the texture of its fur, particularly on its back and the right side of its face. The baboon's eyes are a striking amber color, and they seem to catch the light. Its muzzle is dark, and the contours of its face are softened by the warm light and shadow. Only a portion of its body is visible, sitting on a dark, rocky. To the left of the baboon, there is dense foliage, appearing as dark silhouettes against the glowing background. A branch with some blurred golden or orange leaves hangs from the upper left corner, adding to the atmospheric quality. The background is a soft, diffused haze of warm colors – oranges, yellows, and browns – with subtle hints of light and shadow. The overall atmosphere is serene and contemplative, with a touch of wildness. The mood is tranquil, almost ethereal, due to the soft focus and the warm, glowing light. — He’s not posing. He’s just sitting where the light happens to find the edge of him, shoulder, arm, the curve of his back, while his face stays mostly in its own thoughts, lit just enough to notice the eyes.

The exposure sits between the two extremes: not as bright as a backlit portrait, not as dark as a silhouette. Spot-meter on the front face and apply minus one stop. The rim will likely clip at its brightest edges; that is acceptable. What you are protecting is the transitional zone between the rim and the shadow — the place where the light falls off across the body — because that gradation is where the three-dimensionality of the image lives.

In my experience, the last twenty minutes of low light on a safari are when you get the most memorable photos; and make the biggest mistakes. The light is amazing, but it changes fast. You need to get your camera settings right straight away, since there’s no time to rethink your exposure from scratch.

It’s worth learning this logic ahead of time. When the engine stops, and the animal stands against the glowing sky, you want to know right away if you’re making a portrait, a silhouette, or something in between. After that, it’s just a matter of adjusting your settings.

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How To Shoot and Edit Black-and-White Wildlife Photos

11th June 2026 Mihaela Limberea

Photography

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Ansel Adams Art Wolfe Black & White Giraffe Lion Nick Brandt Zebra

This is the third of four posts about shooting and editing wildlife photos for different creative results on safari. We’ll look at high-key, low-key, black-and-white, backlit & silhouette. Each style offers a unique way to see and a different set of choices, both when you’re out in the field and when you’re editing. While I’m focusing on a South African safari, these ideas work anywhere you’re photographing wild animals.

Today, we’ll continue with the black-and-white style.

Portrait of a lion (Panthera leo) in black-and-white — *Lion*, *South Africa*. *Side light carves out every ridge in this mane, the kind of texture a color photo would let you skim past. In monochrome, there’s nowhere else to look.*

I have to admit something about black-and-white photography. For a long time, I only used it to save photos that didn’t work in color. If the sky looked dull, the background was distracting, or the colors just clashed, I would switch to monochrome. It was always a last-minute fix, not a choice I made from the start. The photos turned out okay, and sometimes even better than okay, but they never felt quite right because I was working in reverse.

Everything changed when I began studying photographers who chose black-and-white from the beginning, not as a backup. Ansel Adams, Nick Brandt, Art Wolfe, to name just a few. What stood out wasn’t just the lack of color, but a special focus on light, shape, and texture that color photos don’t always require. These photographers weren’t just taking color away; they were seeing the world without it from the very beginning.

This difference, between taking color out and not needing it at all, is what I want to talk about here. It sets the stage for everything that follows.

This photo depicts a young lioness in the midst of a hunt on a sunlit savanna. Her lean, muscular frame is poised low to the ground, with her coat blending into the dry grass as she stalks prey. Her eyes are intensely focused, ears slightly back, and her mouth is open, revealing sharp teeth. — *Lioness, South Africa*. The high-key processing did what a backdrop rarely does on its own: flattened everything behind her into a single pale tone, so the eye has nowhere to go but her face. This is the kind of scene the black-and-white questions are built for — not “is the light good,” but “is there enough here without color.”

Why Monochrome Is a Different Way of Seeing

Color does a lot in a photo. It helps the subject stand out, sets the mood, catches your attention, and even tells you about the species, season, or time of day. When you take color away, all that work shifts to other things, like how the light falls, the range of tones, the shapes in the picture, and how they relate to each other.

That’s why turning a so-so color photo into black-and-white rarely works well. If color was doing most of the work, removing it leaves nothing behind. A good black-and-white photo needs to be strong in the ways that matter for monochrome, and those qualities have to be there in the scene itself, not added later.

When you’re on safari, you have to start asking new questions when you see something interesting. Instead of just asking if the light is good, ask if the scene has what black-and-white needs. Is there enough contrast between the subject and the background, even without color? Does the light bring out shapes and textures? Is there something graphic in the composition, like a bold silhouette, a repeating pattern, or a strong line, that will stand out without color?

These questions are tougher than those you ask with color photography, and they take some practice. But the photos you get are different in more ways than just color. That difference is important, especially when we start talking about light.

Close-up of a lioness in black-and-white

Lioness, South Africa. A quieter version of the same idea — flatter light, softer shadows, but the eyes still hold the frame as in the lion portrait. Two lions, two different kinds of light, and the same lesson: monochrome asks the most of a face.

The Light That Works

Not every kind of light works the same in black-and-white. The best light for striking black-and-white wildlife photos is often the same light that makes color photos dramatic, but for different reasons. I’ll explain why as we look at different types of light.

Side light from the low sun in the early morning or late afternoon creates strong shadows that show off a subject’s shape. On a lion’s mane, an elephant’s wrinkles, or a bird’s feathers, this kind of light creates rich tones that look great in black-and-white. The texture you see isn’t added later, it’s captured by the light itself.

Backlighting and rim lighting work in their own way, but they’re just as effective. When a subject is outlined by bright light against a dark background, it creates a bold, graphic look that suits black-and-white perfectly. The color of the rim light doesn’t matter; what counts is how the bright edge stands out against the dark.

Overcast light, which I’ve discussed before when talking about flat light, is especially useful for black-and-white portraits. This soft, even light shows off every detail and texture on your subject. Close-up portraits of animals—where you can see every hair and whisker—often look better in black-and-white because color can distract from the texture that overcast light brings out.

Stormy skies also work well. The contrast between a bright subject and a dark, heavy sky stands out even more in black-and-white. Clouds that look dramatic in color can feel truly powerful in monochrome.

A Tool Worth Using in the Field

Most new mirrorless cameras have a monochrome preview mode. This setting lets you see the scene in black-and-white through the viewfinder and on the screen, but the camera still saves a full-color RAW file. The RAW file keeps all the color data for editing later, but you get to see the scene in black-and-white as you shoot.

This is a great tool for learning to see in black-and-white, but many people don’t use it enough. With the monochrome preview on, you can check the contrast between your subject and the background before you take the shot. You can see if the light brings out shapes and textures, and decide if the sky helps or hurts the picture based on tone, not color. This way, you can decide about black-and-white right there in the field, not just later on your computer.

Try leaving the monochrome preview on for a whole game drive, especially on days when the light isn’t great, when it’s overcast or flat, and not what you wanted. You might discover that without color to distract you, you start to see things in a new way.

In the Field

Besides using the preview mode, there are a few camera settings you should adjust if you plan to turn your photos into black-and-white later.

*Zebra, South Africa*. Stripes are already halfway to black-and-white before you press the shutter. Backlit and dusted with the dry haze of the road, this one barely needed the conversion — the graphic pattern was always the point.

Expose to the right, just like you would for high-key shots. Move the histogram as far right as you can without losing detail in the subject. A well-exposed RAW file gives you more tones to work with when you convert to black-and-white. While monochrome can forgive some mistakes, it’s best to start with a clean, well-exposed image.

For autofocus, Animal Detection works well with black-and-white photos. The contrast between a well-lit subject and a dark background helps the autofocus system find clear edges. Take advantage of this feature.

One setting to switch off is Auto Lighting Optimizer, for the same reasons that apply across all the posts in this series. It compresses the tonal range, the very range you will need intact for a meaningful conversion.

Post-Processing

The most important tip for editing black-and-white photos: don’t just desaturate the image or switch to greyscale. Both methods throw away the color channel information you need to control how each color turns into a shade of grey.

The right way is to use the Black and White panel in Lightroom or the Black and White adjustment layer in Photoshop. These tools let you control how each color channel appears in greyscale. This isn’t just a technical detail, it’s what separates a flat, lifeless image from one with real depth and contrast.

In Lightroom’s Black and White panel, eight color sliders control how each color in the original image is translated to grey. The ones that matter most for safari photography are these:

The image features a detailed, black and white, close-up depiction of a giraffe's head and neck. The giraffe is positioned in the lower left of the frame, with its head tilted and turned towards the viewer, creating a comical expression. Its mouth is open, with its tongue visible and curled upwards, and its lips appear to be puckered or pursed, giving the impression of it making a silly face or sticking its tongue out. — *Giraffe, South Africa*. Overcast light does its best work on close portraits like this one — soft and even, with nothing to distract from the texture. Every hair on this giraffe’s neck holds up because the light gave it something to hold.

The Green slider affects vegetation like grass, leaves, and bushes. If you move it down, the background gets much darker, which helps your warm-toned subject stand out from the green background. This is one of the best adjustments for safari black-and-white photos, and you can’t get this effect by just desaturating.

The Blue slider controls the sky. Move it down, and the sky gets much darker, just like using red or orange filters in film photography. Clouds that were hard to see in color become bold shapes against the dark sky. Even a flat, overcast sky can look more dramatic.

The Orange and Yellow sliders adjust warm-toned subjects like lions, cheetahs, sandy-colored antelopes, and golden grasses. Raise these sliders to make warm subjects stand out against a background darkened with the green and blue sliders.

This separation between subject and background in monochrome works like a well-exposed color photo: the subject is clear, the background supports it, and nothing distracts.

Once you’ve converted the image, go back to the Basic panel and take another look. You’ll usually need to boost Contrast, Clarity, and Texture more in black-and-white than in color. Black-and-white photos handle these changes well, and the result is an image with rich tones and lots of detail.

For the final touches, try dodging and burning. In Photoshop, use a 50% grey Overlay layer and apply the Dodge and Burn tools at low opacity, building up the effect gradually. This method comes from traditional darkroom work and has been adapted for digital editing. It takes time and patience, but it gives results you can’t get with global adjustments. If the photo is important, it’s worth the effort.

The question I began with, what’s left when you remove color, actually has a clear answer. What’s left is light. Not light as warmth, color, or mood, but light as information: how it falls on a surface, the shadows it makes, the edges it shapes, and the textures it shows. That’s what black-and-white photography explores. At its core, it’s about studying light without the usual distractions.

That is a narrower subject than color photography. It is also, in the right hands, a more demanding focus. This focus is narrower than color photography, but in the right hands, it’s also more challenging and more revealing.

Celebrating International Zebra Day!

31st January 2026 Mihaela Limberea

Photography Wildlife

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Lapalala Zebra

Happy International Zebra Day! 🦓 Every year on January 31, people worldwide join in to raise awareness about zebra conservation and support efforts to protect their populations and habitats. This day highlights the challenges zebras face, including habitat loss, poaching, human conflict, and climate change. Because of these threats, species like the Grévy’s zebra are now listed as endangered by the IUCN. In the last decade, their population has declined by over 50%, underscoring the urgent need for conservation efforts.

Zebras play a key role in African ecosystems. By grazing, they help keep grasslands healthy and spread seeds through their droppings. This natural mowing promotes the growth of diverse plant species, which in turn supports soil health and increases the land’s ability to store carbon, contributing to climate change mitigation. The process can uplift local communities by enhancing eco-tourism and sustainable agriculture. When we protect zebras, we are not only safeguarding biodiversity but also fostering ecosystem restoration and resilience. This creates a hopeful recovery story that benefits both nature and people, aligning with the broader rewilding movement. When we protect zebras, we also help many other species that live in savannas and dry areas.

A close-up of a zabra in black and white

Here are a few fun facts about zebras:

Each zebra’s stripe pattern is as unique as a human fingerprint. Scientists believe these patterns help zebras recognize each other.
Their stripes also help them blend in, making it harder for predators to single out one zebra from the group.
The bold black-and-white stripes mostly keep away biting flies like horseflies and tsetse flies, which can spread disease. This is actually a bigger reason for their stripes than camouflage.
Zebras can run up to 65 km/h (40 mph) and use powerful kicks to defend themselves from predators.
There are three living zebra species: the plains zebra, the mountain zebra, and the Grévy’s zebra, the largest and also the most endangered.

By supporting protected areas, anti-poaching work, and sustainable practices, we can help zebras survive for future generations.

🦓 Zebra (Equus quagga)

📸 Canon R5 & Canon RF100-500mm F4.5-7.1 L IS USM

📍Lapalala Wilderness Reserve, South Africa

How The Zebra Got Its Stripes

Favorite Photos: August 2025

4th September 2025 Mihaela Limberea

Photography Wildlife

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Cheetah Favorite Photos Jackal Lion Rhino Safari South Africa Zebra

This is post 35 of 48 in the series “Favorite Photos”

This series contains my favorite photos processed in a particular month.

This photo showcases a black-backed jackal (Lupulella mesomelas) basking in the soft morning light on a savanna. The jackal’s sleek, tan coat with subtle grey and brown hues glows warmly as the first rays of sunlight filter through the scattered acacia trees. Its alert ears are perked, and its golden eyes catch the light, giving it a sharp, inquisitive expression. The background features a misty expanse of golden grass and distant hills, blurred to emphasize the jackal’s solitary figure against the tranquil, dew-kissed landscape.

Culling is finally complete, and I’ve begun processing the photos from my trip to South Africa in June! Here’s a striking image of a black-backed jackal (Lupulella mesomelas) basking in the gentle morning light. Doesn’t it pose beautifully?

The black-backed jackal is native to South Africa, easily recognized by its distinctive black and silver saddle-like markings. This adaptable species thrives in various habitats, from grasslands to deserts, and is commonly found in Kruger National Park. Notably, these jackals are monogamous, forming strong pair bonds, with both parents actively involved in raising their pups, which are typically born in litters of 2 to 6.

This photo features a baby Southern white rhinoceros (Ceratotherium simum simum) standing close to its mother on a misty savanna. The calf’s light grey skin, still soft and slightly wrinkled, contrasts with the mother’s broader, more weathered hide, both glistening with morning dew under the gentle dawn light. The baby presses against its mother’s sturdy side, its small horn just beginning to emerge. The background is a soft blur of golden grass, the mist lending an ethereal glow that enhances the tender bond between the pair in this serene wilderness setting.

How adorable is this Southern white rhinoceros calf?

Southern white rhinoceros (Ceratotherium simum simum) calves are capable of standing and walking within just hours of their birth. They remain with their mothers for 2 to 3 years, during which they learn vital survival skills, including foraging for food and evading predators.

This photo features a zebra standing gracefully on a misty savanna. The zebra’s bold black-and-white stripes gleam with a soft sheen as the early morning light filters through the haze, illuminating its sleek form against a backdrop of golden grass and scattered acacia trees. Its head is slightly turned, revealing a curious eye and flared nostrils, while its mane stands upright, adding texture to the scene. The background is a gentle blur of muted greens and browns, with the mist lending an ethereal quality that enhances the zebra’s striking pattern and serene presence in the dawn stillness

Say “Cheese!” This zebra certainly doesn’t seem to need a dentist, does it?

Zebras (Equus quagga), native to South Africa and other regions of eastern and southern Africa, are famous for their unique black-and-white striped patterns, which are as distinctive as human fingerprints. These stripes are thought to help deter biting flies and may also confuse predators, such as lions, when zebras move in herds. When they run together, their stripes create a visual “motion dazzle” effect, making it more challenging for predators to single out an individual zebra.

Black and white close-up photo of a young lioness, gazing directly at the viewer.

I captured this image of a young lioness during my stay at Lepogo Lodges/Noka.

Lionesses (Panthera leo) are the primary hunters in a pride, working cooperatively in groups to take down prey like wildebeest and zebra. They are highly social, forming the core of the pride and raising cubs communally, with females often nursing each other’s young.

Lionesses are incredibly strong, capable of running at speeds up to 50 km/h (31 mph) in short bursts to chase prey.

This photo portrays a cheetah (Acinonyx jubatus) in a misty, pre-sunrise setting. The cheetah stands alert on a grassy plain, its sleek, spotted coat faintly illuminated by the soft, dim light. The fog creates a dreamy haze, obscuring the background and lending a mysterious aura, with only vague outlines of distant trees visible. The cheetah’s piercing eyes and streamlined form are highlighted against the muted grey tones, capturing a moment of stillness and anticipation as dawn approaches.

One of the two cheetah brothers (Acinonyx jubatus) we followed while they were patrolling their territory on a misty morning. They would stop every now and then to check their surrounding and mark the territory.

Cheetahs patrol their territory by marking it with urine and claw scratches, signaling ownership to other cheetahs. Males often form coalitions to patrol larger territories, which can cover up to 1,500 square kilometers, while females patrol smaller, overlapping ranges to safeguard their cubs. They utilize elevated spots, such as termite mounds, to survey their territory, scanning for intruders or prey, especially during early morning or late afternoon patrols.

This patrolling behavior helps cheetahs avoid conflicts with larger predators, such as lions, as they adapt their routes to steer clear of overlapping territories. During these patrols, cheetahs can cover vast distances at speeds of up to 60-70 km/h (37-43 mph) in short bursts, relying on their keen eyesight to monitor their domain.

📸 All photos were taken with Canon R5 Mark II & Canon RF100-500mm F4.5-7.1 L IS USM.

Happy International Zebra Day!

31st January 2025 Mihaela Limberea

Wildlife

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Zebra

Happy International Zebra Day!

🦓Zebra (Equus quagga)

📸 Canon R5 & Canon RF100-500mm F4.5-7.1 L IS USM

📍Lapalala Wilderness Reserve, South Africa

How The Zebra Got Its Stripes

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My 2024 Favorite Photos

16th December 2024 Mihaela Limberea

Photography

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Elephant Favorite Photos Kangaroo Kangaroo Island Lapalala Lidingö Lion Marataba Sea Lion Seal Bay Squirrel Woodpecker Zebra

This is post 26 of 48 in the series “Favorite Photos”

This series contains my favorite photos processed in a particular month.

As 2024 comes to a close, it’s natural to reflect on the past year. Let’s take a look, shall we?

Unwavering Gaze: this is my absolute favorite photo this year, by far.

I photographed this four-year-old lion in the Lapalala Wilderness Reserve a few months ago, and it is possibly the most beautiful lion I’ve ever seen. Being just a few meters away from this magnificent animal as it looked at me sent shivers down my spine. I still feel that thrill whenever I look at the photo.

🦁Lion (Panthera leo)

📸 Canon R5 & Canon RF100-500mm F4.5-7.1 L IS USM

📍Lapalala Wilderness Reserve, South Africa

Did you know that a zebra’s stripe pattern is as unique as human fingerprints? Scientists believe that this helps zebras recognize each other. The stripes also aid in camouflage, making it more difficult for predators to distinguish individual zebras by obscuring their silhouettes.

🦓Zebra (Equus quagga)

📸 Canon R5 & Canon RF100-500mm F4.5-7.1 L IS USM

📍Lapalala Wilderness Reserve, South Africa

Sometimes, simple is best—just a few grazing sheep and the beauty of the rising sun. There’s something about that golden light that makes everything—sheep butts included—look fabulous!

We were on our way to Seal Bay for a 7am appointment with the research team when we came across these sheep grazing peacefully as the sun rose. Everything was bathed in gold; it was breathtaking.

Unfortunately, we were in a hurry and couldn’t afford to stop for too long. I literally jumped out of the car and quickly took a few photos, hoping some would be good enough 😅.

📸 Canon R5 & Canon RF100-500mm F4.5-7.1 L IS USM

📍Kangaroo Island, South Australia

A zebra walks leisurely ahead of its harem in the Marakele National Park, South Africa.

A zebra walks leisurely ahead of its harem in the Marataba Game Reserve, South Africa. In zoology, a harem is a group of zebras consisting of one stallion, several mares, and their offspring. I love that soft morning light.

🦓Zebra (Equus quagga)

📸 Canon R5 & Canon RF100-500mm F4.5-7.1 L IS USM

📍Marataba Game Reserve, South Africa

Boxing practice: two young kangaroos sparring at sunset. This is how they learn to fight, first with their mother and then with other young males. As they grow, sparring with other males helps them establish their position within the mob. With experience, the sparring sessions become longer and more intense.

Kangaroos use their sharp claws, strong back legs, and muscular tails —capable of supporting their entire body weight — to deliver powerful kicks that could disembowel a human.

However, these youngsters were only playing and started grooming each other shortly afterward.

🦘Kangaroo Island Kangaroos (Macropus fuliginosus fuliginosus)

📸 Canon R5 & Canon RF100-500mm F4.5-7.1 L IS USM

📍Kangaroo Island, South Australia

I had a wonderful time watching this young Australian sea lion carefully inspect every stone, stick, and shell on the beach at Seal Bay. It was a beautiful display of innocence and curiosity. Kids, whether human or animal, are always curious! 😍

🦭Australian sea lion (Neophoca cinerea)

📸 Canon R5 & Canon RF100-500mm F4.5-7.1 L IS USM

📍Seal Bay, Kangaroo Island, South Australia

Moments like these are why I love wildlife photography, even more so when knowing how few of these animals are left in the world.

Unique to South and Western Australia, Australian sea lions are one of the rarest animals in the world, with a total population of around 6.500. Australian sea lions are on the endangered species list today, having been hunted to near extension in the 19th century.

🦭Australian sea lion (Neophoca cinerea)

📸 Canon R5 & Canon RF100-500mm F4.5-7.1 L IS USM

📍Seal Bay, Kangaroo Island, South Australia

African elephant photographed in Marataba Game Reserve, South Africa. Many people commented on the elephant’s long lashes on Instagram, but most missed just how long they really were. Take another look. Yes, they are long and thick near the eye, but if you look closer, you’ll see that they are even longer than you think!

🐘African bush elephant (Loxodonta africana)

📸 Canon R5 & Canon RF100-500mm F4.5-7.1 L IS USM

📍Marataba Game Reserve, South Africa

Did you know that woodpeckers store seeds, berries, and acorns in the hollows of trees to prepare for the winter? In late autumn, these resourceful birds not only stash food for the colder months but also occasionally utilize these tree hollows as shelter for resting.

Great spotted woodpecker (Dendrocopos major)

📸 Canon R5 & Canon RF100-500mm F4.5-7.1 L IS USM

📍Lidingö, Stockholm (Sweden)

This is how you pose 👌! When I took this photo in June, I was confident this would be one of my favorite images of the year. A quick glance at the back of the camera confirmed it.

This year’s Halloween card, I love it!

🐿 Red Squirrel (Sciurus vulgaris)

📸 Canon R5 & Canon RF100-500mm F4.5-7.1 L IS USM

📍Lidingö, Sweden

A red squirrel digs through the snow in search of hidden nuts. Squirrels have an excellent sense of smell and can detect food buried under 30 centimeters (one foot) of snow!

🐿 Red Squirrel (Sciurus vulgaris)

📸 Canon R5 & Canon RF100-500mm F4.5-7.1 L IS USM

📍Lidingö, Sweden

I hope you enjoyed looking at the photos. Here’s to more, better images to come in 2025! Cheers!

I wish you a very, very Happy New Year! Gott Nytt År as we say in Swedish.

Favorite Photos: November 2024

1st December 2024 Mihaela Limberea

Photography Wildlife

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Favorite Photos Lapalala Lion Zebra

This is post 25 of 48 in the series “Favorite Photos”

This series contains my favorite photos processed in a particular month.

Unwavering gaze. I photographed this four-year-old lion in the Lapalala Wilderness Reserve a few months ago, and it is possibly the most beautiful lion I’ve ever seen. Being just a few meters away from this magnificent animal as it looked at me sent shivers down my spine. I still feel that thrill whenever I look at the photo.

This is one of my top favorite photos this year, likely one of the 2024 top ten. Maybe THE 2024 favorite? We’ll see, we’ll see … only a few weeks to go.

🦁Lion (Panthera leo)

📸 Canon R5 & Canon RF100-500mm F4.5-7.1 L IS USM

📍Lapalala Wilderness Reserve, South Africa

Same lion, now in color. It’s interesting how some photos can look better in black-and-white, as is the case with this lion …

… or in color, as it’s the case with this zebra.

🦓Zebra (Equus quagga)

📸 Canon R5 & Canon RF100-500mm F4.5-7.1 L IS USM

📍Lapalala Wilderness Reserve, South Africa

Same zebra, now in black-and-white. It’s an OK photo, but I think I like the color version better.

Circle of life in the Lapalala Wilderness. After feasting on the remains of a roan antelope, a young lion scans its surroundings; truly a sight to behold.

(And, truth to be told, a bit nerve-wracking, standing just a few meters from the lion. “Not interested in your antelope, sir, I’m a vegetarian”!)

🦁Lion (Panthera leo)

📸 Canon R5 & Canon RF100-500mm F4.5-7.1 L IS USM

📍Lapalala Wilderness Reserve, South Africa

All photos were taken with Canon EOS R5 and Canon RF100-500mm F4.5-7.1 L IS USM.

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How The Zebra Got Its Stripes

26th August 2024 Mihaela Limberea

Travel Wildlife

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Zebra

This is a charming story said to come from the San people of the Namibian Kalahari Desert.

Long ago, when the sun was still new in the sky and shone too hot, the land had very little water. The little pools of water that did exist were so precious to the animals that they were willing to share, understanding the importance of this life-giving resource.

One of these pools was under the watchful eye of an arrogant Baboon. He declared himself the ‘master of the water,‘ his arrogance towering over the other creatures. He forbade any other creature from even approaching his pool, going as far as to light a fire near the pool during the cold winter nights to protect his ‘possession.’

One day, when the sun was very fierce, Zebra was searching for a drink. Now in those days of long ago, Zebra wore a coat of pure white. He came across the pool and was about to drink when the angry Baboon barked, “You dare to trespass! This is my pool, and I am the master of the water,” The Baboon barked in fury. “This water is for all of us,” Zebra retorted.

This angered Baboon even more, and he bared his sharp fangs and shouted, “If you want water, you must fight for it!” The battle began. The dust rose in clouds as they circled each other, their eyes blazing with fury. This way and that way they went, until with a mighty kick of Zebra’s hind legs, Baboon went flying high into the rocks behind them, landing smack on his behind.

Since that day, Baboon still shows the bare, red patch where he landed. Zebra, with the force of the kick, stumbled backward into Baboon’s fire. The hot sticks scorched stripes across his white fur. Shocked, he galloped away back to the dusty veld, where stripes and all he stays to this day.

The Baboon and his family remain high up among the rocks, where they bark in defiance at all strangers. When they walk around, they still hold up their tails to ease the sore rock burn of their bald patched bottoms.

The Origin of the Elephants
Favorite Photos: June 2024

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Favorite Photos: July 2024

2nd August 2024 Mihaela Limberea

Photography Wildlife

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Africa Elephant Favorite Photos Hornbill Marakele Marataba Safari South Africa Zebra

This is post 21 of 48 in the series “Favorite Photos”

This series contains my favorite photos processed in a particular month.

I didn’t do much photo processing this month, what with summer vacations, gardening, and the Olympics.

African elephant photographed in Marataba Marakele, South Africa. Many people commented on the elephant’s long lashes on Instagram, but most missed just how long they really were. Take another look. Yes, they are long and thick near the eye, but if you look closer, you’ll see that they are even longer than you think!

A zebra walking leisurely ahead of its harem in the Marakele National Park, South Africa

A zebra walks leisurely ahead of its harem in the Marakele National Park, South Africa. In zoology, a harem is a group of zebras consisting of one stallion, several mares, and their offspring.

Two Southern yellow-billed hornbills on a perch

Southern yellow-billed hornbills (Tockus leucomelas) are also called ‘flying bananas’ because of their huge bills. This bird’s bill is remarkably large in comparison to its body and can make up to 1/6th of its entire body length!

Interesting breeding behavior: Once a mating pair is established, they search for a nesting site, often in a tree facing northeast, and construct their nest using leaf litter and bark. The female enters the hole, seals it with her droppings, and leaves a small opening for the male to feed her while she tends to the eggs.

The female lays 3 or 4 eggs and incubates them for 25 days without leaving the nest. During this time, she sheds all her flight and tail feathers, becoming reliant on the male and vulnerable if he is absent or harmed. While in the nest, her feathers regrow, and she emerges with new plumage when the oldest chick is about 3 weeks old. Both parents take turns feeding the chicks for the next 6 weeks. When the chicks mature, hunger prompts them to break down the nest wall.

Stay tuned because I’m bursting with excitement to share more about this unforgettable adventure with all of you!

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Mihaela Limberea

Tag: Zebra

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