In Weronika Gęsicka’s unsettling images, American archive photography gets distorted into scenes that are both nightmarish yet somehow entirely plausible. Gęsicka is a guest artist at the Circulations festival for young European photographers, Paris, until 5 March. Here: “Untitled #5”. (Photo by Weronika Gęsicka/The Guardian)

A dump truck carrying cleaning workers drives on Havana's malecon as a wave crashes on the sea wall, in Cuba, Tuesday, January 24, 2017. Due to high winds and tides, the sea pushed over the sea wall, flooding low parts of the Vedado neighborhood of Havana. (Photo by Desmond Boylan/AP Photo)

Members of Hashid Shaabi or Popular Mobilization Forces (PMF) fire towards Islamic State militant positions in west of Mosul, Iraq, December 28, 2016. (Photo by Reuters/Stringer)

Fishermen catch fish at Mao'er lake at the start of winter fishing season which is a local custom to welcome the new year on December 29, 2018 in Huaian, Jiangsu Province of China. (Photo by VCG/VCG via Getty Images)

A motorcyclist, Helton Garcia dressed as Santa Claus, rides his motorcycle before handing out gifts to children in a rural school in Santo Antonio do Descoberto, state of Goias, Brazil on December 10, 2023. (Photo by Adriano Machado/Reuters)

Santa Claus reacts as (L) Tami McEleney and (R) Patrice Conner whisper in his ear at the King of Prussia Mall, United States' largest retail shopping space, in King of Prussia, Pennsylvania, U.S., December 8, 2018. (Photo by Mark Makela/Reuters)

Models turned into “humanoid” robots pose on a train at Waterloo Station on October 2, 2016 in London, England for the launch of new Sky Atlantic TV drama Westworld. (Photo by Matt Alexander/PA Wire)

Randy Scott Slavin's photography is surrealism based in reality. His work portrays land and cityscapes in a 360 degree view, a perspective closer to that of the human eye than a 2D photograph, he says. Slavin's "Alternate Perspectives" is a series of photographs of a single location or landmark pieced together to create a 360 degree perspective in a flat image. The results are whimsical, and occasionally eerie, scenes that reflect the portion and scale of Slavin's surroundings when he took the photo.