Macaque monkeys crowd together in their cage at a monkey farm on February 3, 2016 in Xinye county, Henan province, China. The area boasts a centuries-long and lucrative history of raising and training monkeys for performance. In Xinye, villagers are seeing an increase in business with the lunar calendar's “Year of the Monkey”. Farmers say most of the monkeys are bred and raised for domestic zoos, circuses, and performing groups, but add that some are also sold for medical research in China and the United States. Despite the popularity of the tradition, critics contend the training methods and conditions constitute animal cruelty. (Photo by Kevin Frayer/Getty Images)

A youth poses while holding two fishes before his face in Iraq's southern port city of al-Faw, 90 kilometres south of Basra near the Shatt al-Arab and the Gulf, on May 18, 2020. In Iraq, a national lockdown to halt the COVID-19 coronavirus pandemic has found some unexpected fans: local businesses who no longer have to compete with Turkish, Iranian or Chinese imports. Those countries, as well as Saudi Arabia, Jordan and Kuwait, typically flood Iraqi markets with inexpensive products at prices local producers can't compete with. (Photo by Hussein Faleh/AFP Photo)

Students wearing mask hold hands to surround the St. Stephen's Girls' College in Hong Kong, Monday, September 9, 2019. Thousands of demonstrators in Hong Kong urged President Donald Trump to “liberate” the semiautonomous Chinese territory during a peaceful march to the U.S. Consulate on Sunday, but violence broke out later in the business and retail district as police fired tear gas after protesters vandalized subway stations, set fires and blocked traffic. (Photo by Kin Cheung/AP Photo)

A man carries a television away from a fire in a slum area next to railway tracks in Kampung Bandan, North Jakarta, Indonesia January 26, 2016. According to local media, the fire destroyed approximately 100 wooden dwellings, built along a busy railway line. No casualties were reported. (Photo by Reuters/Beawiharta)

German artist Robert Rickhoff re-interprets the idea of public space with humor through a series of digitally manipulated photographs in a project entitled “out of place”. Rickhoff augments scenes within a seemingly commonplace environment to depict impractical yet lighthearted situations – including a playground slippery dip facing towards a busy road to a speed bump placed in an unassuming residential street that is actually a daredevil ramp. the visualizations are subtle yet provocative, forcing the audience to look twice to notice the unusual setting infused with tongue-in-cheek wit.

Labourers walk near trucks loaded with logs, which are trapped on a muddy road, near an unreserved forest in the village of Igbatoro, southwest Nigeria, August 28, 2014. Wood, a form of biomass, is the sole source of energy for hundreds of millions of Africans who lack access to modern sources of power, and logging, both legal and illegal, remains a lucrative business that has contributed to the rapid shrinking of Africa's rainforests and woodlands. (Photo by Akintunde Akinleye/Reuters)

If you were to meet this guy in the woods, especially if it’s nighttime, you’d probably think that it’s a local troll or a yeti. However, in reality, he’s no yeti. His name is Mick Dodge, and before deciding to live in the woods, he was a marine for six years at Fort Lewis. It is hard to tell what moved him to leave the busy life of the city and start living in the Hoh Rain Forest. It could have been that he decided the leave the stressful life of the city, or maybe he simply loves the solitary life of a hermit. Another thing that is peculiar about Mick Dodge is that most of the time he walks barefoot, hence the nickname “The Barefoot Sensei”.

The Mano de Desierto is a large-scale sculpture of a hand located in the Atacama Desert in Chile, 75 km to the south of the city of Antofagasta, on the Panamerican Highway. The nearest point of reference is the “Ciudad Empresarial La Negra” (La Negra Business City). The sculpture was constructed by the Chilean sculptor Mario Irarrázabal at an altitude of 1,100 meters above sea level. Irarrázabal used the human figure to express emotions like injustice, loneliness, sorrow and torture. Its exaggerated size is said to emphasize human vulnerability and helplessness. The work has a base of iron and cement, and stands 11 metres (36 ft) tall. Funded by Corporación Pro Antofagasta, a local booster organization, the sculpture was inaugurated on March 28, 1992.