People gather as a crowd of sea lions lay on floating docks at Pier 39 in San Francisco, California May 4, 2015. Hundreds of sea lions began hauling out on the docks following the Loma Prieta earthquake of 1989, and face no natural predators at the pier. (Photo by Robert Galbraith/Reuters)

Scottish Fold cat is displayed during a cat exhibition in Bishkek, Kyrgyzstan, 26 November 2017. Cats owners from Kyrgyzstan and Kazakhstan gathered in Bishkek to show their pets. (Photo by Igor Kovalenko/EPA/EFE/Rex Features/Shutterstock)

“Lorenzo Quinn (born May 7, 1966) is an Italian artist and sculptor and the fifth son of the actor Anthony Quinn. By the age of 21 he gained the respect of the New York art community when he was commissioned to make an art work for the United Nations of which a stamp was later made. Quinn was later selected to head the Absolut Vodka ad campaign for which only top international artists are chosen”. – Wikipedia

Photo: Lorenzo Quinn's Vroom Vroom sculpture is installed in its new setting on Park Lane on January 23, 2011 in London, England. The four-metre high sculpture, consists of a vintage Fiat 500, the first car that the sculptor ever bought, grasped by an oversized aluminium child's hand modelled from Quinn's son. The exhibition has previously been displayed in Valencia and Abu Dhabi. (Photo by Matthew Lloyd/Getty Images for Halcyon Gallery)

Photographer Pierre-Louis Ferrer shows viewers the beauty of France in a whole new light, shooting the country in beautiful infrared. Ferrer’s images are as enchanting as they are intriguing, displaying a whole new variation of color in shrubs, grass and trees, as well as famous landmarks. In some of Ferrer’s works, the foliage is an eye-catching canary yellow – a stark contrast to the more normal shades in the remainder of the images. In other works, whole forests glow red, giving the French countryside an otherworldly look. (Photo by Pierre-Louis Ferrer/Caters News Agency)

A poster for the IMAX presentation of “The Hunger Games: Catching Fire” (left), and a teaser poster for “The Hunger Games: Mockingjay, Part I”, both created by the Los Angeles-based design firm IGNITION. Both are nominated for the 2014 Key Art Awards in the category of Theatrical Domestic One-Sheet. The Hollywood Reporter's annual competition for the best in film and TV advertising honors some of the most creative imagery used in movie posters. Here is a selection of some of this year's nominees. (Photo by Key Art Awards 2014)

David Yeo’s photography places naturally small species alongside animals that have been selectively bred to be tiny and cute. Here: “The most difficult aspect of this shoot was to get each African pygmy dormouse – also known as micro squirrels – on to a separate camera. Once in place, they needed to remain still long enough to get them both in the frame and looking at me. Often solitary, they naturally wanted to move away”. (Photo by David Yeo/Leica Studio Mayfair/The Guardian)

“Getting to see girls’ bedrooms must have been a teenage obsession for the members of the all-male photographic collective Riverboom. Now that they have more or less grown up, they have decided to transform that dream into a reality. Riverboom’s Gabriele Galimberti and Edoardo Delille are traveling the five continents to see where girls, between the ages of 18 and 30, sleep. They have discovered that girls’ bedrooms are much more then just places where they lay down their heads – they are the places where girls read, love, dream, work and play”. – Gabriele Galimberti. Photo: Katerinai, 27 – Athens, Greece. (Photo by Gabriele Galimberti/Riverboom Ltd)

In Dougie Wallace’s photos of Mumbai taxis, the chatter, yelling, and constant horns of the city are almost audible. A selection of his images is on show at Gayfield Creative Spaces, Edinburgh, as part of the Retina photography festival until 30 July. For four years, the Glasgow-born Wallace focused his photos on one kind of taxi in particular: the Premier Padmini, a 1960s workhorse painted in black and yellow. Locally known as “Kaali-Peeli”, there were once more than 60,000 of them in the Indian city. But thanks to laws restricting pollution, the cars now are fast disappearing from Mumbai’s streets. (Photo by Dougie Wallace/The Guardian)