A receptionist dinosaur robot performs at the new robot hotel, aptly called Henn na Hotel or Weird Hotel, in Sasebo, southwestern Japan, Wednesday, July 15, 2015. From the receptionist that does the check-in and check-out to the porter that’s a stand-on-wheels taking luggage up to the room, the hotel, that is run as part of Huis Ten Bosch amusement park, is “manned” almost totally by robots to save labor costs. (Photo by Shizuo Kambayashi/AP Photo)

A masked reveller parades through the streets on the first day of the carnival season in Lucerne, Switzerland, 12 February 2015. In the background the well known Kappellbruecke bridge. (Photo by Alexandra Wey/EPA)

A woman walks behind the installation “Wandering boy is forever attractive” (1985) by Tetsumi Kudo during the press preview at the exhibition “Tetsumi Kudo – Retrospective” in the Fridericianum in Kassel, Germany, Friday, September 23, 2016. The exhibition offers an in-depth, comprehensive view of works by the Japanese artist Kudo. It starts on Sept. 25, 2016 and lasts until Jan. 1, 2017. (Photo by Jens Meyer/AP Photo)

Participants of the “Lady in red“ procession, marking the day of the Summer Solstice, walk on a promenade of the Yenisei River in Krasnoyarsk, Russia on June 22, 2019. (Photo by Ilya Naymushin/Reuters)

A photo from Madonna’s high school yearbook at her childhood home in Rochester, Michigan, circa 1973. (Photo by Rebel Images/Rex Features/Shutterstock)

A leg of a “diablito” frog (Oophaga sylvatica) is photographed in a laboratory at a laboratory in the zoo of Cali, Colombia, on July 19, 2019. Colombia is the second country with the largest number of amphibians in the world after Brazil. More than 40% of amphibian species worldwide are in danger of extinction. (Photo by Luis Robayo/AFP Photo)

Women take part in Glowork exhibition in Riyadh, Saudi Arabia on September 28, 2017. (Photo by Faisal Al Nasser/Reuters)

Joshua Hoffine, based in Kansas City, Mo., and a self-proclaimed “Horror Photographer”, is interested in the psychology of fear. In his project “After Dark, My Sweet”, Hoffine’s surreal and staged images render these fears visible with the “visual grammar of a child”. Through elaborate sets, costumes, makeup and fog machines, Hoffine’s children act out these terrifying scenes in front of his camera. Here: “Basement”. (Photo by Joshua Hoffine/The Washington Post)