Three secondary schoolboys smoking an illicit cigarette in Hyde Park, London. (Photo by Evening Standard/Getty Images). May 1972

These pictures, made by Joel Strong, look as if a giant hand is pinching the head of a poor Leo. Leo, however, is oblivious to this fact and continues on with his life, taking on a role of everyone from an old granny to a young lady. Thanks to Joel’s skill and sense of humor, the cut out heads of Leonardo DiCaprio, taken from 90s magazines, fit perfectly into the new scenes. If seeing young Leo with a body of an old granny or a fat, half-naked guy in the park doesn’t strike you as funny, we don’t know what will. (Photo by Joel Strong)

Women in traditional costumes wait for a statue of the El Carmen Virgin to be carried into the sea during a procession in Malaga July 16, 2015. Many seaside towns celebrate the annual feast of the El Carmen Virgin, who is worshipped as the patron saint of sailors. (Photo by Jon Nazca/Reuters)

New York-based Latvian photographer Kaija Straumanis has a series of funny, well-timed images that shows various objects being thrown at her head.

Rene Penia drives his VW Beetle 1995, locally called “Vocho”, through the streets of Monterrey April 22, 2015. The car was painted by a local artist to be part of an exhibition on the 1960s at the National History Museum in Monterrey where it was on display for five years. Pena bought the car for 25.000 Mexican Pesos (some USD 2,000 at that time) in 2013 during an auction and he then converted the car into an electrical vehicle. (Photo by Daniel Becerril/Reuters)

Glamour model and actress Sabrina seated on the knee of Arthur Askey. (Photo by Keystone/Getty Images). 1955

A woman sits next to a dog during the fifth edition of the “Mi Mascota” (My Pet) fair in Malaga, southern Spain, November 27, 2016. (Photo by Jon Nazca/Reuters)

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.