A volunteer operates a remote controlled disinfection robot to disinfect a residental area amid the COVID-19 coronavirus outbreak in Wuhan in China's central Hubei province on March 16, 2020. China tightened quarantine measures for international arrivals on March 16 as the country worries about a rise in imported cases of the deadly coronavirus and anger rages online at how Europe and the United States are handling the pandemic. (Photo by AFP Photo/China Stringer Network)

Kyaiktiyo, Burma, 1978. The Golden Rock at Shwe Pyi Daw (the Golden Country), the Buddhist holy place. Hiroji Kubota writes: “I was desperate to keep a distance from America for a while; luckily, I found Burma and its gentle and compassionate people. In the spring of 1978, on the top of the hill where I took this photo, I had two Leica bodies: the one with Tri-X and the other with Kodachrome 64. Soon after, I realised that the colour one looked very colourful and was more powerful. That was my decisive moment, to become a colour photographer”. (Photo by Hiroji Kubota/Magnum Photos)

Ismail Mustafa, seen in 2007. “I was collecting mushrooms on the hill near here. I didn’t see the mine. There was a huge explosion. When I woke up I saw that both my legs were gone; I thought my life was over. My brother and another guy were with me. They made a stretcher from sticks and tied it together with clothing. It took two hours to get off the mountain. ‘My daughter has also been injured. She found a shell and brought it into the house and put it on the fire. She didn’t know what she was doing at the time – she was only three. She is blind and has lost an arm”. (Photo by Sean Sutton for the Mines Advisory Group/The Guardian)

«After Presents», 1996. Siri Kaur: “I was 14 when Simran was born in 1990. We have different mothers, so we grew up separately and I made pictures with her whenever I saw her. The work of Sally Mann and Nan Goldin gave me permission to see my family as a valid art subject. This image shows the aftermath of Christmas morning. Simran is unselfconsciously lounging on the floor, melding into her beloved dog”. (Photo by Siri Kaur)

If you’ve had the unique privilege of witnessing bioluminescent plankton while diving at night, you know firsthand how beautiful the underwater light show can be. For those of us who haven’t experienced it, this unique phenomenon. So what makes this beautiful show possible? In a recent post at online scuba site AquaViews they share some insight we thought you all would find interesting.

The Dubai Miracle Garden is unique in that it was essentially built on a desert. Head landscaper Akar says that the grounds are a great example of how it is possible to “green the desert” by reusing waste water. Designers took additional precautions to protect the beautiful garden arrangements from the environment. For instance, the garden’s perimeter is lined with trees that are used as windbreakers. Unlike most of the gardens around the world, the Dubai Miracle Garden closes during the summer due to severe weather conditions.

Artist Johnson Tsang has been posting an amazing series of process photos over on his blog that demonstrate how he makes many of his bizarre ceramic creations. One piece that really stood out is called ‘A Painful Pot’, which is a functional teapot being squeezed by a dragon, its head functioning as the spout.