People line up to pay inside a Makro supermarket in Caracas, January 9, 2015. Venezuela's socialist government decreed an “economic emergency” on Friday that will expand its powers and published the first data in a year that shows the depth of a recession fueled by low oil prices and a sputtering state-led model. (Photo by Jorge Silva/Reuters)

A boy runs next to a portrait of Thailand's King Bhumibol Adulyadej, placed in celebration of the King's 88th birthday, in Bangkok, Thailand, December 5, 2015. (Photo by Jorge Silva/Reuters)

Russian communists lay flowers at Soviet leader Joseph Stalin's tomb on Red Square next to the Kremlin wall in Moscow, Russia, December 21, 2015. Russian communists are marking the 136th anniversary of Josef Stalin's birthday. (Photo by Sergei Ilnitsky/EPA)

This photo taken on April 16, 2014 shows ethnic Kayan women wearing traditional clothes and bronze rings around tbeir neck in Panpet village, Demoso township in Kayah state, eastern Myanmar. Some ethnic Kayan women, also known as Padaung, begin wearing the bronze rings on their neck and legs from a young age. Usually they start wearing six to ten rings when they are five to ten-years-old and then they put on one more ring a year for years after then. (Photo by Ye Aung Thu/AFP Photo)

A woman sits next to a dog during the fifth edition of the “Mi Mascota” (My Pet) fair in Malaga, southern Spain, November 27, 2016. (Photo by Jon Nazca/Reuters)

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.

Igor Shpilenok works in the reserve at Kamchatka, Russia. Igor is a fellow of the International League of Conservation Photographers and a winner of the 2006 BBC Wildlife Photographer Competition. Igor’s work has been published in numerous international and Russian magazines, including Smithsonian, National Wildlife, Geo, and BBC Wildlife.

“How does a bear behave when encounter a human? In most cases he runs away. But before running he almost always would rise to stand on his rear feet. And this behavior does not indicate the attack, as many people think...” – Igor Shpilenok. (Photo by Igor Shpilenok via Wildlife Photo Russia)