Do tears of joy look the same as ones of woe—or ones from chopping onions? In “The Topography of Tears,” the Los Angeles-based photographer Rose-Lynn Fisher explores the physical terrain of one hundred tears emitted during a range of emotional states and physical reactions. Using a Zeiss microscope with an attached digital camera, she captures the composition of tears enclosed in glass slides, magnified between 10x and 40x. “There are many factors that determine the look of each tear image, including the viscosity of the tear, the chemistry of the weeper, the settings of the microscope, and the way I process the images afterwards,” she says.

The Cliff Promenade in Netanya is considered to be one of the most beautiful in Israel. It's a nice place for walk, there are marvelous lawns, magnificent observation points, romantic sitting areas in front of the sea, paragliding sites and playgrounds for children. One of the specific features of the promenade, which attracts many people, is mosaic sculpture project "New Wave" created by the sculptor and designer Ruslan Sergeev. At the end of the film you can see The Victory Monument, located next to the promenade.

At the end of a six-year relationship, photographer Laura Stevens needed to find a creative, external outlet for all the complicated feelings she was processing internally. “Another November” is the end product, a photo series that aims to mirror those agonizing emotions that Stevens felt at the time of the breakup – and the subsequent healing process. Here: “Jessica” is photographed at her Paris home in this scene staged by photographer Laura Stevens. (Photo by Laura Stevens)

Allyson Anne Lamb is a Brooklyn based fine artist primarily working in photography. Her work uses the body to explore the complexity of human emotions and the continuous invisible transformations we experience, revealing them as monstrosities or fantastical beings. Through the assembling of body parts, bright colors and fictional spaces that exist in Lamb's magical realm where sexual anxiety, female identity and altered sensorial perceptions are explored, Lamb invites us to participate in an altered state of consciousness. We step in to quaint fragmented realities where we are welcomed to engage in lucid dreaming populated by colorful mutations.

The photography duo of Floto+Warner created the series, “Colorant”, from an idea that stemmed out of a previous series and the fascination of landscapes, with results that leave one in awe. Creating shapes, not experienced in nature, they tossed colored water in the air to capture “a momentary graffiti of air and space”. Using a high shutter speed to capture these fleeting moments, Floto/Warner has produced a multi-medium series with jaw-dropping results. Photo: “Orange Salt Flats”. (Photo by Floto/Warner)

With their affinity for hunting, sneaking, and hidden blade-like retractable claw, cats are really the assassins of the animal world. They're not as intimidating when they're kittens dressed up as assassins from the upcoming Assassin's Creed Unity, but what they lack in deadliness they more than make up for in cuteness. YouTube user Mr.TVCow posted the video, in which four hooded kittens hunt down a french soldier, much like like in a number of trailers for Assassin's Creed Unity. They use their eagle vision ability, parkour after their target, and perform lethal aerial assassinations, and yes, it's as unbearably adorable as it sounds.

The Mano de Desierto is a large-scale sculpture of a hand located in the Atacama Desert in Chile, 75 km to the south of the city of Antofagasta, on the Panamerican Highway. The nearest point of reference is the “Ciudad Empresarial La Negra” (La Negra Business City). The sculpture was constructed by the Chilean sculptor Mario Irarrázabal at an altitude of 1,100 meters above sea level. Irarrázabal used the human figure to express emotions like injustice, loneliness, sorrow and torture. Its exaggerated size is said to emphasize human vulnerability and helplessness. The work has a base of iron and cement, and stands 11 metres (36 ft) tall. Funded by Corporación Pro Antofagasta, a local booster organization, the sculpture was inaugurated on March 28, 1992.