Julia Marino of USA in action during the final run of the snowboard slopestyle competition at the Laax Open, in Laax, Switzerland, 17 January 2020. (Photo by Gian Ehrenzeller/EPA/EFE/Rex Features/Shutterstock)

Girls dressed in “Hanfu”, or Han clothing, prepare for an event to mark the traditional Qixi festival, the Chinese equivalent of Valentine's Day, at a park in Beijing, China, August 7, 2019. Chinese for “Han clothing”, “Hanfu” is based on the idea of donning costumes worn in bygone eras by China's dominant Han ethnicity. Some of the most popular styles are from the Ming, Song and Tang dynasties. Hanfu enthusiasts doubled to two million in 2018 from a year earlier, according to a survey by Hanfu Zixun, a popular community account on the Wechat social media platform. (Photo by Jason Lee/Reuters)

“Scott Linstead is an internationally published, freelance wildlife photographer/writer. His clients include Natural History Magazine, Hewlett Packard, Ranger Rick Magazine and a number of wildlife publications in North America and Europe. Scott's column on the techniques of bird photography appears in every issue of Outdoor Photography Canada”.

Photo: A veiled chameleon extends its tongue to catch a cricket. Canadian wildlife photographer Scott Linstead, formerly an aerospace engineer and high school teacher, uses a device called Phototrap “to not only photograph the elusive, but also the unimaginably quick”. (Photo by Scott Linstead)

On Dale A. Browne’s first trip to Yellowstone, he “got the best shot” he’d ever taken after chasing this weasel for 30 minutes. The trip for the 58-year-old from Manassas, Va., was a gift from his wife and an opportunity to improve his photography skills with the help of guide and professional photographer Tom Murphy. (Murphy did not assist in the taking of this photo). (Photo by Dale A. Browne)

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.