Heidi Klum direct a photoshoot for “Germany's Next Top Model” on set filming on Hollywood Boulevard, Los Angeles, USA on January 25, 2017. (Photo by Splash News and Picture)

A Syrian Democratic Forces (SDF) female fighter adjusts a mortar in northern Deir al-Zor province ahead of an offensive against Islamic State militants, Syria February 21, 2017. (Photo by Rodi Said/Reuters)

Popular Mobilization Forces (PMF) fires towards Islamic State militants during a battle with Islamic State militants, west of Mosul, Iraq February 22, 2017. (Photo by Reuters/Stringer)

A woman takes pictures with the Kawazu cherry blossom trees, one of the earliest blooming cherry blossoms in Japan, in Tokyo's Sumida district on March 11, 2024. (Photo by Philip Fong/AFP Photo)

Do tears of joy look the same as ones of woe—or ones from chopping onions? In “The Topography of Tears,” the Los Angeles-based photographer Rose-Lynn Fisher explores the physical terrain of one hundred tears emitted during a range of emotional states and physical reactions. Using a Zeiss microscope with an attached digital camera, she captures the composition of tears enclosed in glass slides, magnified between 10x and 40x. “There are many factors that determine the look of each tear image, including the viscosity of the tear, the chemistry of the weeper, the settings of the microscope, and the way I process the images afterwards,” she says.

By making use of digital colour grading and composites, Romanian photographer Caras Ionut created these dreamy blue-themed landscapes. The work is even more impressive when you consider that Caras, who has been a mariner for the last 24 years, only picked up an interest in photography a few years ago. For more of his work, including fashion composites and semi-surrealist scapes.

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.