Since the sixteenth century, the term landscape was often used to depict scenery or inland paintings. After a century the term had subgenres and a landscape could be sometimes fantastic and fictional, the capriccios were born. Photography inherited the compositional rules of painting; therefore, the natural landscape is supposed to reflect its beauty. That concept has conflicted the author and for the past five years, she has been photographing different kinds of landscapes in different parts of the world to create an archive that can be deconstructed and put together based on unconventional compositions that are supposed to be beautiful and fantastic, her capriccios. The photographs have different languages of creation. Some are analogue positives from a lumen print, others are made with an infrared filter, some are digital double exposures and all of them have intense Photoshop work. Proving that enhancing one’s work often reflects on a beauty that does not necessarily come from a device but an intense postproduction process. The colours of the photographs are intense, artificial, as the abilities of photography are tested to tell a beautiful lie.