Rays from the rising sun shine through the foliage of trees as fog covers the ground near the Guckler Karoly Observatory in Budapest, Hungary, 02 January 2017. (Photo by Balazs Mohai/EPA)

A couple watches the sunset over a sea of fog covering the Geneva Lake from Chardonne, Switzerland, 28 December 2015. (Photo by Jean-Christophe Bott/EPA)

Costumed participants of a lacquer and leather ship, the so-called “Torture Ship”, kiss before putting out to Lake Constance for a pleasure cruise at the harbor of Friedrichshafen, Germany, 29 June 2019. Hundreds of leather and rubber fans set sail for the boat trip through the night on Lake Constance. (Photo by Daniel Kopatsch/EPA/EFE)

Randy Scott Slavin's photography is surrealism based in reality. His work portrays land and cityscapes in a 360 degree view, a perspective closer to that of the human eye than a 2D photograph, he says. Slavin's "Alternate Perspectives" is a series of photographs of a single location or landmark pieced together to create a 360 degree perspective in a flat image. The results are whimsical, and occasionally eerie, scenes that reflect the portion and scale of Slavin's surroundings when he took the photo.

A ten days old South American sea lion pup sits next to its mother Lunita at the “Tiergarten Schoenbrunn” Zoo in Vienna, Austria, July 28, 2015. The pup was born in the zoo and weighs about 14 kilograms (30 pounds). (Photo by Leonhard Foeger/Reuters)

Emma Coburn (L) and Colleen Quigley of the U.S. look at the scoreboard after competing in the women's 3,000 metres steeplechase final during the 15th IAAF World Championships at the National Stadium in Beijing, China August 26, 2015. (Photo by David Gray/Reuters)

Randy Scott Slavin's photography is surrealism based in reality. His work portrays land and cityscapes in a 360 degree view, a perspective closer to that of the human eye than a 2D photograph, he says. Slavin's "Alternate Perspectives" is a series of photographs of a single location or landmark pieced together to create a 360 degree perspective in a flat image. The results are whimsical, and occasionally eerie, scenes that reflect the portion and scale of Slavin's surroundings when he took the photo.