N.C. Dezendorf, wife of the general manager of the Electro-Motive division of General Motors, christens the new lightweight “Aerotrain” at the company's locomotive works in La Grange, Ill. on August 22, 1955. (Photo by Edward Kitch/AP Photo)

Dancers from the Tareikura Academy dance on stage during The Power Of Inclusion Summit 2019 at Aotea Centre on October 03, 2019 in Auckland, New Zealand. The Power of Inclusion is a global summit where international and local voices share their stories, experiences and expertise to generate momentum for a future where representation and inclusion are the new screen industry standards. The Power of Inclusion summit is hosted by New Zealand Film Commission and Women in Film and Television International, with support from The Walt Disney Studios. (Photo by Michael Bradley/Getty Images for New Zealand Film Commission)

American paratroopers from the the 82nd Expeditionary Rescue Squadron take part in training for rescue operations in East Africa in the last decade of April 2024. (Photo by Senior Airman Olivia Gibson/US Air Force/CMA)

Sarah Paulson and Amanda Peet arrive at the 20th annual Screen Actors Guild Awards. (Photo by Jordan Strauss/AP Photo/Invision)

Children admire the work “Little Lost Boy” by Australian artist Paul Trefry is seen on Tamarama Beach as part of the Sculptures By The Sea outdoor art exhibition on November 10, 2009 in Sydney, Australia. (Photo by Ryan Pierse/Getty Images)

We all have our own ways of passing time on our daily commutes. Some people read, others try to sleep, and many listen to music or play on their phones. But one creative commuter has a simple and highly entertaining way that hopefully more people will embrace. By placing a face from a newspaper in front of a person at just the right angle, they transform other commuters into recognizable celebrities while keeping the unbeknownst participant obscured.

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.