Reuters photographer Carlos Barria recently spent time in Shanghai, China, the fastest-growing city in the world. A week ago, he took this amazing shot, recreating the same framing and perspective as a photograph taken in 1987, showing what a difference 26 years can make. (Photo by Carlos Barria/Reuters/Stringer via The Atlantic)

Police take part in a role play exercise as they clear a protest on top of a train during training on March 6, 2012 in Oxenhope, England. A new team of specialist officers set up to deal with searches and policing at a height, such as on top of a train, undergo training exercise in Oxenhope, West Yorkshire. (Photo by Bethany Clarke/Getty Images)

Participants dance during the West Indian Day Parade in the Brooklyn borough of New York September 5, 2016. The Labor Day Carnival (or West Indian Carnival) is an annual celebration held on American Labor Day (the first Monday in September) in Crown Heights, Brooklyn, in New York City. (Photo by Eric Thayer/Reuters)

Karim Nafatni is an Airline Captain and photography enthusiast. He seriously got into the Art when he got his first DSLR 3 years ago. Addicted to height and fan of architecture,he climbs the highest skyscrapers of Dubai to take his pictures ,sometimes more than 300 meters above ground. As the top of the biggest buildings in the world is not high enough for him,he carries his camera with him during work to document his daily routine in"his Office" and shoots from his flight deck.

Mirko Hanák was born in 1921 in Prague, Czech Republic and worked as a painter, graphic designer and illustrator. His specialties were animals and human figures that were full of life and fun. He also had a firm grasp on composition as his paintings were so well balanced despite his casual fluid line. He was working on “Charlotte's Web” the movie when he tragically died at the height of his career from leukemia in 1971.

From a height of three meters, porcelain figurines are dropped on the ground, and the sound they make when they hit trips the shutter release. The result: razor-sharp images of disturbing beauty—temporary sculptures made visible to the human eye by high-speed photography technology. The porcelain statuette bursting into pieces isn't what really captures the attention; the fascination lies in the genesis of a dynamic figure that replaces the static pose. In contrast to the inertness of the intact kitsch figurines Klimas started out with, the photographs of their destruction possess a powerfully narrative character.