Rope access technicians carry out maintenance service on wind turbines including repairs, blade inspections and cleaning in Izmir, Turkey on February 19, 2021. In Turkey, where investments in renewable energy has increased, there are wind tribunes over 3,500. (Photo by Mahmut Serdar Alakus/Anadolu Agency via Getty Images)

Photographer Pierre-Louis Ferrer shows viewers the beauty of France in a whole new light, shooting the country in beautiful infrared. Ferrer’s images are as enchanting as they are intriguing, displaying a whole new variation of color in shrubs, grass and trees, as well as famous landmarks. In some of Ferrer’s works, the foliage is an eye-catching canary yellow – a stark contrast to the more normal shades in the remainder of the images. In other works, whole forests glow red, giving the French countryside an otherworldly look. (Photo by Pierre-Louis Ferrer/Caters News Agency)

Men work at a makeshift oil refinery site in Marchmarin town, southern countryside of Idlib, Syria December 16, 2015. The refinery site, owned by Yousef Ayoub, 34, has been active for 4 months. Ayoub says that he gets the crude oil from Islamic State-controlled areas in Deir al-Zor province and Iraq. The price for a barrel of crude oil varies and is controlled by the Islamic State, but it is currently at $44 dollars per barrel, he said. (Photo by Khalil Ashawi/Reuters)

A worker settles mud in a mold to make bricks at a brick factory in Tixtla, on the outskirts of Chilpancingo, in the Guerrero state, January 26, 2015. The worker earns a salary of 15 Mexican pesos, or one dollar, for every 100 bricks made on a working day of at least 5 hours. (Photo by Jorge Dan Lopez/Reuters)

A gallery staff member walks past Fleeting Monument (1985) by artist Cornelia Parker, one of the works on display at Yorkshire Sculpture Parks Longside Gallery as part of the “Making It: Sculpture in Britain 1977-1986” exhibition on March 27, 2015 in Barnsley, England. (Photo by Christopher Furlong/Getty Images)

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.