An animal rights activist washes herself with red dye to mimic blood during a protest against the testing of shampoo on animals in Barcelona. April 24, 2012. (Photo by Raul Albaledo/AFP Photo)

Animal rights activist, stained with fake blood, perform during a protest against the use of animal skins in the clothes and fashion industry, in Madrid, Sunday, December 10, 2017. (Photo by Francisco Seco/AP Photo)

Photographer’s Pol Ubeda Hervas perspective in his “I’m not There” series, is going against the flow. While the focus of modern photography is set on the human interaction with his surroundings, Hervas changes thing up by capturing the human absence from said surroundings. The concept behind the series is deeply metaphorical, visual food for though reflecting the situations where the change is irreversible and we cannot even recognize ourselves.

A craftsman works on making human anatomy mannequins on April 23, 2014 in Depok, West Java, Indonesia. The mannequins are made from fiberglass and will be used in schools, hospitals and laboratories. (Photo by Nurcholis Anhari Lubis/Getty Images)

On the November 24, 2025, children are making human faces by collecting fallen leaves in the forest in front of the Yuseong-gu Office in Daejeon. (Photo by Shin Hyeon-jong)

Italian artist Marcello Barenghi draws incredibly realistic everyday objects that appear almost three dimensional with the help of colored pencils and occasional enhancements using markers or watercolor. Each work appears ever so slightly stylized which I think sets these apart from similar hyperrealistic drawings that are meant to ‘trick’ a viewer. If you want to see more, Barenghi runs a YouTube channel where he documents the process of almost every drawing.

In this March 14, 2015 photo, tourists take pictures from a viewing area at Iguazu Falls in Brazil. From walkways and bridges, viewers can count 270 water falls almost 100 meters (330 feet) high. (Photo by Jorge Saenz/AP Photo)

Public Space series, 2015. This series by Morteza Niknahad and Behnam Zakeri tends toward cinema, taking an almost cartoonish view of modern life in Iran. This work was inspired by the social life of dolphins. (Photo by Morteza Niknahad and Behnam Zakeri/The Guardian)