While photographer Thomas Herbrich is not a smoker, he said he has always been fascinated by cigarette smoke. These photographs have been featured in arts fairs such as ART Cologne, ART Karlsruhe, Art Fair Hong Kong, as well as several exhibitions. (Photo by Thomas Herbrich)

Thomas Barbèy grew up in Geneva, Switzerland, across the street from the “Caran D'ache” factory, the largest manufacturer of art supplies. He started drawing seriously at the age of 13, using black “encre de Chine” and gouaches for color. His influences were Philippe Druillet, Roger Dean and H.R. Giger. After living in Geneva for 17 years and designing posters for musical bands, he decided to move to Italy, where he lived in Milan for 15 years making a living as a successful recording artist, lyricist and fashion photographer.

French artist Thomas Lamadieu, also know as Roots Art, must really love looking at the sky. Every time he looks up, Thomas sees a potential canvas where the building rooftops frame the sky. He photographs it and uses the odd sky shapes to create whimsical line drawings. “My artistic aim is to show a different perception of urban architecture and the everyday environment around us, what we can construct with a boundless imagination,” says Thomas. (Photo by Thomas Lamadieu)

Thomas Thwaites, a 34-year-old researcher from London, has spent the past year creating prosthetics that allow him to roam around on all fours like goat.

A collaboration between creative director Anna Burns and the photographer Thomas Brown. Through the use of various mediums the pair have curated an exhibition that explores the masculine world of B-Movies and juxtaposed it with the traditional British landscape. Using the themes of said movies – girls, guns and explosives – and twisting it against a very British backdrop these two challenge not only the premise of each subject but also the use of their chosen medias. The duo created a wall of umbrellas displaying elements of the classic B-Movie and located them within three landscapes – one being the forest, then London’s docklands and finally the grounds of Suffolk Manor house.

While communism, collectivism, worms, dry rot and casual looting failed to destroy the majestic wooden churches of Russia, it may be ordinary neglect that finally does them in. Dwindled now to several hundred remaining examples, these glories of vernacular architecture lie scattered amid the vastness of the world’s largest country. Just over a decade ago, Richard Davies, a British architectural photographer, struck out on a mission to record the fragile and poetic structures. Austerely beautiful and haunting, “Wooden Churches: Traveling in the Russian North” (White Sea Publishing; $132) is the result. Covering thousands of miles, Mr. Davies described how he and the writer Matilda Moreton tracked down the survivors from among the thousands of onion-domed structures built after Prince Vladimir converted to Christianity in 988.