It is amazing how much the humanity can change the face of the earth. Not only can it create huge craters, which look a lot like craters from meteors, they leave a big enough impact that it can be seen from space. Though this crater, caused by a massive explosion on 1 July 1916, looks large, being 90 feet deep and 300 feet across; it is nowhere big enough to be viewed for space. A common misconception is that the Great Wall of China can be seen from space. In reality, however, it is impossible. Not only is it of the same color as the earth near it, it is also not that wide. Deforestation, on the other hand, can be clearly seen from space. Also, at night, all the lights that the large cities produce are also very visible.

While communism, collectivism, worms, dry rot and casual looting failed to destroy the majestic wooden churches of Russia, it may be ordinary neglect that finally does them in. Dwindled now to several hundred remaining examples, these glories of vernacular architecture lie scattered amid the vastness of the world’s largest country. Just over a decade ago, Richard Davies, a British architectural photographer, struck out on a mission to record the fragile and poetic structures. Austerely beautiful and haunting, “Wooden Churches: Traveling in the Russian North” (White Sea Publishing; $132) is the result. Covering thousands of miles, Mr. Davies described how he and the writer Matilda Moreton tracked down the survivors from among the thousands of onion-domed structures built after Prince Vladimir converted to Christianity in 988.

James Kerr started his project “Scorpion Dagger” without any real direction, except for the intention to make one GIF everyday(ish) for one year. He had been making collages for some time and “Scorpion Dagger” started out to be a test of discipline and a way for him to learn how to animate. Making GIFs was a logical evolution to him. The project represents many different things to him, the works from which he draws upon are so powerful and inspirational to him, that he is now nearly obsessed with repurposing them to share his vision of the world, and perhaps inspire people to look at art differently. The project is tremendously personal to him, it’s a lot more than the humor that’s at its surface and he is still trying to work out what “Scorpion Dagger” really is.

Andrew Ferez, born and raised in Russia is an artist who inherited his creativity and interest in the arts early on and trained his artistic skills and knowledge ever since, in a never-ending process.
Andrew’s genre is a mix between macabre and horror with a poetic hint. His illustrations transports us into the deepest recesses of our mind, showing us impossible worlds that are both scary yet surprisingly familiar or enticing. Most of his artworks are two dimensional but in some of his latest artworks he used the help of some 3D software as well.

Photochromes are vibrant and nuanced prints hand-coloured from black-and-white negatives. Created using a process pioneered in the 1880s, these images offer a fascinating insight into the world when colour photography was still in its infancy. A Tour of the World in Photochromes is at the Swiss Camera Museum, Vevey, until 21 August. Here: Street food in the Strada del Porto in Naples, Italy, 1899. (Photo by Swiss Camera Museum/The Guardian)

A girl uses her mobile phone during the evening at the National Park in Khartoum, Sudan, April 24, 2015. (Photo by Mohamed Nureldin Abdallah/Reuters)

Boys play with a drainage culvert used for flood control in Las Pinas, Metro Manila February 28, 2016. (Photo by Erik De Castro/Reuters)