Photographer Wes Naman has created portraits of his friends using Scotch Tape to distort their features. The results are similar to Scottish artist Douglas Gordon's 1997 work, Monster, but Wes says he originally got the idea after applying tape to himself to test a lighting rig set-up. Wes Naman has been a self taught photographer of ten years before graduating from commercial photography in his home in North Carolina. (Photo by Wes Naman/Rex Features)

The Tree Projects team spent 67 days documenting one eucalyptus regnans in the Styx valley of Tasmania. Using a combination of tree-climbing and elaborate arboreal rigging techniques, they produced an intimate portrait from an impossible perspective of one of the world’s largest individual flowering trees, which goes by several common names. These photos document the process that resulted in an extraordinary ultra high-definition photograph. Here: Haley nears the top of the tree. (Photo by Steven Pearce/The Tree Projects/The Guardian)

The barren landscapes of the south-western US provided inspiration for photographer David Clapp. He visited Nevada, New Mexico, Utah and Arizona as part of his project on other-worldy locations, with surreal results. Here: An infrared image at dusk of strange clay rock formations in Ah-Shi-Sle-Pah Wilderness in Farmington, New Mexico. (Photo by David Clapp/Barcroft Images)

The Atlantic Puffin is definitely a curious-looking bird. The special coloring that this bird develops for the breeding season in the spring is very reminiscent of tropical birds. The bright colors of the beak and the markings around the eyes serve no particular advantage and have evolved as a result of sexual selection. However, Puffins don’t look that pretty all year round. They shed all these festive colors in partial moult after the breeding season is over. They lose the ornaments around their eyes, their face becomes darker, and their beak becomes very different. The natural habitat of these birds is the cold waters of the North Atlantic Ocean.

The kinetic sculptures created by Anthony Howe are nothing short of a miracle. You simply cannot wrap your mind around the fact that these creations are real. The magic comes from the fact that all the creations of Anthony Howe were first digitally modeled and only then wrought from metal. The resulting pieces of art are mystifying, entrancing, and sometimes even terrifying. For example, one of the earlier creations of Howe is an installation called “About Face”. It is a human face, pieces of which move from side to side, even if there is just a gentle breeze. However, most of his creations are mesmerizing, capturing your mind, as you marvel at their intricacy.

When you look at the picture of a furry pig that resembles a sheep from a distance, you may think that this may be the result of the work of some crazy scientist that tinkered with the pig’s genome. However, in this case, this is not true. Mangalica is a natural breed of pigs, which were bred in Europe for their lard. This breed of pigs is very unique, since the only other breed of pigs which had a long coat was Loncolnshire Curly Coat, which is now extinct. In the past, these pigs were quite popular, since they were able to produce a lot of lard. However, when the demand for pig lard dwindled, the population of these pigs rapidly decreased, making it a “rare breed”.

An artist has created a homage to cultural and historical figures – by immortalising them as Star Wars characters. Mike Leavitt wanted to “document the pulse of our times” through his sculpture by splicing non-fiction characters with famous faces. He chose the sci-fi trilogy as a basis for what he calls his “pop culture satirical mash-ups”, with many of the pieces hand-carved from wood. The hilarious results include Albert Einstein as R2D2, Michael Jackson as an Ewok and Angelina Jolie in Princess Leia's famous slave girl outfit. Photo: Gandhi as Yoda. (Photo by Mike Leavitt/Rex USA)

From a height of three meters, porcelain figurines are dropped on the ground, and the sound they make when they hit trips the shutter release. The result: razor-sharp images of disturbing beauty—temporary sculptures made visible to the human eye by high-speed photography technology. The porcelain statuette bursting into pieces isn't what really captures the attention; the fascination lies in the genesis of a dynamic figure that replaces the static pose. In contrast to the inertness of the intact kitsch figurines Klimas started out with, the photographs of their destruction possess a powerfully narrative character.