The “Paolo Di Paolo: Lost World” exhibition presents more than 250 largely unseen images from the photographer’s archive. Di Paolo chronicled life in his country as an economic boom followed the destruction of the second world war. Although those were the years of la dolce vita he was an anti-paparazzo – he shunned the salacious and respected his subjects. The exhibition is at MAXXI, the National Museum of 21st Century Arts in Rome until 30 June. Here: Viareggio in 1959. (Photo by Paolo Di Paolo/National Museum of 21st Century Arts)

A member of the United Arab Emirates armed forces gestures as the first batch of UAE military personnel returns from Yemen in Abu Dhabi, November 7, 2015. (Photo by Reuters/United Arab Emirates News Agency WAM)

Fighters of the pro-government Popular Resistance Committees militia carry a cannon as they transport it in parts to Yemen's southwestern war-torn city of Taiz December 26, 2015. (Photo by Reuters/Stringer)

A girl carries a bag of recyclable items she collected from a landfill on the outskirts of Sanaa, Yemen November 16, 2016. (Photo by Mohamed al-Sayaghi/Reuters)

An artist shows her hands after working on a wall as part of a campaign to call for coexistence and the renouncement of violence through the painting of walls in Sanaa, Yemen March 15, 2015. (Photo by Mohamed al-Sayaghi/Reuters)

Children play on an abandoned car near a protest, which is against the dissolution of Yemen's parliament and the Shi'ite Muslim Houthi militia's tightening grip on power, in the southwestern city of Taiz, February 13, 2015. (Photo by Mohamed al-Sayaghi/Reuters)

Labourers stack dried bricks inside a kiln, where they will be fired, at a brick factory on the outskirt of Sanaa, Yemen, June 1, 2016. Traditional mud brick tower houses have always been a source of pride to Yemenis, and over a year into a devastating civil war, they are also providing some much-needed jobs in the ancient capital Sanaa. (Photo by Mohamed al-Sayaghi/Reuters)

Born with a rare condition, the artist has chronicled her life in portraits – capturing everything from her tattooed prosthetics to the tentacled creature she stitched together on the shores of Naoshima. Here: Ophelia (2013). From a series of photos of imagined women exhibited at the 2013 Aichi Triennale. Here, Katayama invokes Hamlet’s tragic heroine, after the painting by British pre-Raphaelite John Everett Millais. (Photo by Mari Katayama/The Guardian)