The French graphic designer and photographer uses a method he calls “digital matte painting”, layering several photos on top of each other to create an incandescent composition that seems eerily familiar yet ultimately impossible. Filled with tumbling clouds and glowing focal points, the images possess a depth that stretches the two-dimensional canvases backward as violent skies seem to undulate before the viewers' eyes.

Since 2003, photographer Sergey Fomin has been shooting Russia’s most attractive natural, historical, and architectural objects from different aircrafts. Photo: “An Explosive Scene”. The 1,486-meter-high Karymskii Volcano in Kamchatka. (Photo by Sergey Fomin)

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)

“Senorita” – California-native fashion model Tiffany Keller heats up photographer Vladimir Marti’s lens for the April 2013 issue of Marie Claire Latin America. The dark-haired beauty poses in the city of San Miguel de Allende, Mexico, donning sultry styles from designer labels selected by fashion editor and stylist Gerard Angulo. (Photo by Vladimir Marti)

Kacper Kowalski was born in 1977. With a degree in architecture, he focuses on aerial photography. Both a pilot and a photographer, he has unique control over each shot. As a result he captures previously unseen natural environments and ordinarily inaccessible cityscapes. In this way unreal, almost graphic pictures come into being. They show patterns, symmetries and asymmetries created by humans and the nature.

These stunning color portraits, produced by the U.S. Office of War Information during World War II depict the role of women in the US war effort. All of the images were shot on 4x5 color transparency film by Howard R. Hollem and Alfred T. Palmer during 1942 and 1943 and were turned over to the Library of Congress Prints and Photographs Division in 1944. They are seen here with their original captions.