The Royal Castle is seen a veil of heavy winter smog in Budapest, Hungary on January 30, 2017. (Photo by Laszlo Balogh/Reuters)

A couple wears face masks as they share a moment during sunset on January 31, 2020 in Hong Kong, China. With over 9800 confirmed cases of Novel coronavirus (2019-nCoV) around the world, the virus has so far claimed over 200 lives. (Photo by Anthony Kwan/Getty Images)

Woman on phone in hotel room. (Photo by DreamPictures/Getty Images)

A comedic photo of a cheetah appearing to find something hilarious by Dutton Robert for the Comedy Wildlife Photo Awards 2016, South Africa, April, 2012. (Photo by Dutton Robert/Barcroft Images/Comedy Wildlife Photo Awards)

Sunrise over a moor viewed from Littaford Tor, Dartmoor, UK, 2016. Autumn visits the windswept moors and granite tors of Dartmoor earlier than the rest of the south-west. While there aren’t many trees here, autumn shades appear in golden ferns and tan heather. Littaford Tors, near Two Bridges and a mile from Princetown, is a short walk and can be combined with a visit to the adjacent Wistman’s Wood. (Photo by Stuart Holmes)

People hold umbrellas as they walk past a flooded street in Taiyuan, Shanxi Province, China, July 19, 2016. (Photo by Reuters/China Daily)

Richard Silver's photographs show us the world's biggest sights like Machu Picchu in Peru or Copacabana in Brazil. His photos, however, are not simply depictions of the landmarks but planned, artistic visual constructions that, with their playful combinations of sharpness and blur, create new worlds of experience. Photo: Coliseum, Rome. (Photo by Richard Silver)

“Woman with Umbrella in Rain” by Raimund von Stillfried. Artist: Kusakabe Kimbei (Japanese, 1841–1934), 1870s. Commercial photography studios in Meiji-era Japan were renowned for the subtlety and refinement of their coloring techniques. This hand-tinted image of a young woman caught in a heavy rainstorm achieved its naturalistic effect by knitting together multiple strands of artifice: the greenery in the foreground was a studio prop; the flaps of the kimono were suspended by thin wires to create the impression of a strong wind; and long, diagonal marks were made on the negative to suggest streaks of rain. (Photo courtesy of The Metropolitan Museum of Art)