Men selling sheep wait for customers at a local livestock market, ahead of the Eid al-Adha festival, in Lagos, Nigeria September 11, 2016. (Photo by Akintunde Akinleye/Reuters)

Revellers dressed as zombies take part in an enactment of the running of the bulls a day before the start of the San Fermin festival in Pamplona, northern Spain, July 5, 2016. (Photo by Eloy Alonso/Reuters)

A man looks at the body of a man killed at a residential building damaged by a Russian military strike, as a journalist looks at the scene in Kharkiv, Ukraine, July 11, 2022. (Photo by Nacho Doce/Reuters)

English television personality and model Sam Faiers seen attending The Box BRIT Awards 2020 afterparty on February 18, 2020 in London, England. (Photo by Splash News and Pictures)

Kaia Gerber walks the runway during the Moschino fashion show as part of Milan Fashion Week Fall/Winter 2020-2021 on February 20, 2020 in Milan, Italy. (Photo by Pietro D'Aprano/Getty Images)

An iguana rests on a man's head during a pet blessing ceremony a day after World Animal Day, at a mall in Quezon City, Metro Manila, Philippines on October 5, 2025. (Photo by Noel Celis/Reuters)

At the beginning of the 20th century, Edward S. Curtis set out to document what he saw as a disappearing race: the Native American. From 1907 to 1930, Curtis took more than 2,000 photos of 80 tribes stretching from the Great Plains to the Pacific Northwest and Alaska. He then published and sold these photos, along with narrative text, in 20 volumes of work known as “The North American Indian”. It is one of the most significant collections of its kind, “probably the most important photographic document of its age and its topic,” said Jeffrey Garrett, associate university librarian for Special Libraries at Northwestern University. (Photo by Edward S. Curtis)

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.