Brazilian navy soldiers watch a woman as they patrol the area at the Copacabana Beach before carnival festivities in Rio de Janeiro, Brazil February 14, 2017. (Photo by Sergio Moraes/Reuters)

Madame Tussauds's wax figure of Audrey Hepburn sits at an empty table to comply with coronavirus disease (COVID-19) social distancing requirements in a dining room at Peter Luger Steak House in Brooklyn, New York U.S., February 26, 2021. (Photo by Brendan McDermid/Reuters)

A boy attends the “Bloco da Lama” (Block of Mud) group during the carnival festivities, in Paraty, Brazil on February 11, 2024. (Photo by Pilar Olivares/Reuters)

An Afghan girl makes a pile of unbaked bricks near the road passing through the Shamali Plains, about 10 kilometers (6 miles), west of Bagram, Afghanistan, Wednesay April 9, 2003. Children assist parents in their job to supplement family income. (Photo by Gurinder Osan/AP Photo)

The pedestrian zone on the banks of the “Parco della Pace” at Lake Maggiore is flooded due to flooding, on Thursday, October 24, 2019 in Locarno, Switzerland. (Photo by Samuel Golay/Ti-Press/Keystoen)

When Colin Garratt went to photograph the traditional sentinels of the British countryside, he found they ranged from the dapper to the downright sinister. “They are not from the anaesthetised world of the craft fair”, says Colin Garratt, “but are the direct descendants of the ancient spectres which have haunted the landscape for centuries”. The Scarecrow Exhibition is at Geddes Gallery, London, from 25 to 30 March. (Photo by Colin Garratt)

Born with a rare condition, the artist has chronicled her life in portraits – capturing everything from her tattooed prosthetics to the tentacled creature she stitched together on the shores of Naoshima. Here: Ophelia (2013). From a series of photos of imagined women exhibited at the 2013 Aichi Triennale. Here, Katayama invokes Hamlet’s tragic heroine, after the painting by British pre-Raphaelite John Everett Millais. (Photo by Mari Katayama/The Guardian)

Winner. “I took this vertical image in the Quarry Bay district of Hong Kong during the dusk ‘blue hour’, when there was a perfect balance between the ambient light in the sky and the artificial lights of the high-rise residential buildings”. (Photo by Jatinder Heer/The Guardian)