Pensioner Karl Szmolinsky, who raises a breed of rabbits called giant grays, shows Robert 2, an 8.5kg giant grey who is 74cm long and has ears 25.5cm long, in the backyard of his house on January 15, 2006 in Eberswalde, Germany. In November Szmolinsky sold eight giant greys to a delegation from North Korea, whom he said want to raise the breed as a source of meat for the North Korean population. Szmolinsky said his rabbits reach a maximum weight of 10.5 kg (23.1lbs.). (Photo by Sean Gallup/Getty Images)

The characters fighting for Westeros in Game of Thrones are fighting mostly for CGI backdrops. Like many others TV series and movies, visual effects is a huge part of the production process as it handles details both great and small. A great credit to Game of Thrones is that the story is so good that we forget about the effects, and another great credit goes to the VFX team because their work is seamless. If you want to see the seams, you have to get a visual breakdown of how the shots are put together.

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.

A member of the Fuerza Civil (Civil Force) police unit takes part in a simulated crime situation during a media presentation to show the police model that the federal government wants for the rest of the country, at the police academy in Monterrey December 17, 2014. Fuerza Civil, a tactical team of the police unit trained by the army, was created by the Nuevo Leon government in 2011 to curb down corruption and infiltration by drug gangs in the police corps, local media reported. Promising a new law to stop the infiltration of local governments by organized crime, President Enrique Pena Nieto pledged to reform the penal system and send an proposal to Congress to unify multi-layered police forces in Mexico's 31 states. (Photo by Daniel Becerril/Reuters)

Wide-angle category winner. Part of the Illusion by Marcus Blatchford (UK). Location: National Dive & Activity Centre, Chepstow, Wales. “This is the deepest inland dive centre in the UK. The dive plan was to explore the deep end, but this time I dived ‘unplugged’ (without my strobes). With the exception of this change to my camera technique, there were no planned shots I wanted to achieve – just a fun dive with ad-hoc photos along the way. Shortly after this photo was captured, in 6C water and two hours of decompression ahead of us, we turned and started the long ascent back to the surface”. (Photo by Marcus Blatchford/Underwater Photographer of the Year 2016)

This photo taken on February 1, 2018 shows a worker trimming the skin imperfections of a silicone doll at a factory of EXDOLL, a firm based in the northeastern Chinese port city of Dalian. With China facing a massive gender gap and a greying population, a company wants to hook up lonely men and retirees with a new kind of companion: “Smart” sеx dolls that can talk, play music and turn on dishwashers. (Photo by Fred Dufour/AFP Photo)

These eye-catching photographs capture the special relationship between a group of farmers and elephants – with a gorgeous sunset in the background. Vithun Khamsong, a civil engineer, shot the images earlier this year while visiting Surin, Thailand. (Photo by Vithun Khamsong/Caters News Agency)

At first, British photographer Martin Usborne just wanted to do some reporting on people who leave their dogs locked up in cars. But as he went around scouring parking lots, “making barking noises to try and awaken sleeping dogs that were not actually there,” his project took on a new artistic direction. “The Silence of Dogs in Cars” was inspired by a “childhood memory of waiting in a car whilst his parents were shopping in a supermarket, and the youthful fear that they would not return.”