A couple ride a motorcycle along a street during snow in Altay, Xinjiang Uighur Autonomous Region, China, November 8, 2015. Picture taken November 8, 2015. (Photo by Reuters/Stringer)

People carrying red umbrellas march through downtown Skopje, Macedonia, marking the International Day to End Violence against s*x Workers, Thursday, December 17, 2015. A group of s*x workers, supported by members of non-government organizations, rallied Thursday demanding rights for the s*x workers and destigmatization of their profession. The banner reads: The Stigma Kills. (Photo by Boris Grdanoski/AP Photo)

The photos were taken at the Piton de la Fournaise volcano on Reunion Island, a French island in the Indian Ocean one of the most active volcanoes in the world. Here: The powerful erupting volcano. (Photo by Luc Perrot/Caters News)

A florist waits for customers at the Piedra Liza flower market in Lima April 29, 2015. The market sells flowers that come from all over Peru. Peru is home to more than 25,000 varieties of flowering plants like geraniums, carnations, roses, hydrangeas and jasmine, according to local media. (Photo by Mariana Bazo/Reuters)

The “Dancing With Costica” series began when Australia-based photographer Jane Long decided to brush up on her retouching skills. After finding the Costica Acsinte Archive on Flickr, she became fascinated with the images and their subjects, wanting to bring them to life and give them a story. Here: the Costica photo on the left inspired Jane Long to create her version, titled “Innocence”. (Photo by Costica Acsinte Archive/Jane Long)

Sophie and Sarah, old English sheepdogs, watch the sea from their plastic chairs. Amateur photographer Cees Bol, from the Netherlands, documents the lives of his beloved pooches Sophie and Sarah by taking pictures of them every day. (Photo by Cees Bol/Caters News Agency/Mercury Press)

Moroccan photographer and filmmaker Achraf Baznani carries on the traditions of Surrealism with his wild, imaginative, and wholly impractical imagery. Among his inventive scenarios, small human figures—often the artist himself—appear trapped within glass jars or the size of a camera lens; in other works, Baznani more or less dissects his body, as for example, in one, he cleanly removes his brain from his cranium, or in another, twists off his hand, much as if it were a light bulb. Imparted throughout such works are strong senses of humor and wonder, and as such, Baznani’s art offers a Surrealistic take on life experience in the digital age.