A full size working replica of the pink limousine used by Parker to chauffeur Lady Penelope in Gerry Anderson's television series “Thunderbirds”, unveiled at Woburn Abbey. United Kingdom, 27th May 1968. (Photo by Jim Gray/Keystone/Getty Images)

Jill Olsen (R) has her picture taken inside a giant cocoon, from the “Falling Skies” TV series, during the 2014 Comic-Con International Convention in San Diego, California July 24, 2014. (Photo by Sandy Huffaker/Reuters)

Is it the surface of the Mars or Venus or an undiscovered planet? Not at all. These pictures aren’t what you think they are. Christopher Jonassen, a Norwegian photographer shot these beautiful and otherworldly series called ‘Devour of frying pan bottoms’, which are visually similar to craters and scars on a planet’s surface. In his series Jonassen refers to a quote of Jean-Paul Satre who said: ‘To eat is to appropriate destruction’ and the meaning of the word ‘devour’, which stands for eating up greedily, destroying, consuming, and wasting.

For her series “Dolce Vita in Hell”, Swiss photojournalist Stéphanie Buret headed to Eritrea and found a country struggling to haul itself out of oppression – but with its art deco buildings still looking stunning. (Photo by Stéphanie Buret/The Guardian)

Kyle Larson (42) flips as he makes contact with Jeffrey Earnhardt (81) on the back stretch during a NASCAR Cup Series auto race at Talladega Superspeedway, Sunday, April 28, 2019, in Talladega, Ala. (Photo by Greg McWilliams/AP Photo)

«Female Boxers», 2024. Julia Fullerton-Batten is a fine art photographer renowned for her cinematic visual storytelling. Her large-scale projects are based around specific themes, each image embellishing her subject matter in a series of thought-provoking “stories” using staged tableaux and sophisticated lighting techniques. (Photo by Julia Fullerton-Batten)

Here Goes River captures Japanese photographer Aya Fujioka’s home town of Hiroshima in 2017. The award-winning series documents the quiet, everyday spaces of the city – mundane, almost incidental scenes that are suffused with the invisible weight of the past. (Photo by Aya Fujioka)