Villagers from the Porto Novo community load into their canoes arapaima or pirarucu, the largest freshwater fish species in South America and one of the largest in the world, while fishing in Poco Fundo lake along a branch of the Solimoes river, one of the main tributaries of the Amazon, in the Mamiraua nature reserve near Fonte Boa about 600 km (373 miles) west of Manaus, November 26, 2013. Catching the arapaima, a fish that is sought after for its meat and is considered by biologists to be a living fossil, is only allowed once a year by Brazil's environmental protection agency. The minimum size allowed for a fisherman to keep an arapaima is 1.5 meters (4.9 feet). (Photo by Bruno Kelly/Reuters)

Mikhail Kalashnikov, the father of the world's most popular assault rifle, is handed an AK-74 November 23, 2002 in Izhevsk,1000 East km. from Moscow. November 23 marked the 55th anniversary of the release of the first Kalashnikov gun. According to the Moscow-based Center for Analysis of Strategic and Technologies some 70 million to 100 million Kalashnikovs have been built worldwide since 1947, compared about 7 million to Kalashnikov's Western rival the M-16 assault rifles. (Photo by Oleg Nikishin/Getty Images)

Kumbuka, a male silverback gorilla sits next to the keeper's chalk board in his enclosure at London Zoo, Thursday, January 2, 2014. Home to more than 850 different species, zoo keepers welcomed in the New Year armed with clipboards as they made a note of every single animal. The compulsory annual count is required as part of ZSL London Zoo's zoo license, and every creature, from the tiny leaf cutter ants to the huge silverback gorilla is duly noted and accounted for. (Photo by Kirsty Wigglesworth/AP Photo)

Sinabung mount spews ash to the air during an eruption near from Karo, North Sumatra on January 7, 2014. An Indonesian volcano that has erupted relentlessly for months shot volcanic ash into the air 30 times on January 4, forcing further evacuations with more than 20,000 people now displaced, an official said. (Photo by Sutanta Aditya/AFP Photo)

Young revelers take part in a parade called "La Calabiuza" on November 1, 2015, on the eve of the Day of the Dead in Tonacatepeque, 20 kms (13 miles) north of San Salvador. During the celebration, the residents of Tonacatepeque, originally an indigenous community, recall the characters from the mythology of Cuscatlan – pre-Columbian west and central regions of El Salvador – and their dead relatives. (Photo by Marvin Recinos/AFP Photo)

Kurdish guard women from the civilian protection unit which supports the Democratic Forces of Syria, cheer near the Syrian town of al Houl in Hasaka province, after the Democratic Forces of Syria took control of the area, November 14, 2015. A U.S.-backed Syrian rebel alliance on Friday captured the town of al Houl in Hasaka province, which had been held by Islamic State militants, a spokesman for the Kurdish fighters, part of the grouping, said. It was the first significant advance against IS by the Democratic Forces of Syria, which was formed last month. (Photo by Rodi Said/Reuters)

A woman tries to protect her daughter as refugees scuffle with the Greek police in their effort to reach the borderline with Macedonia, near the Greek village of Idomeni, Sunday, November 22, 2015. Over 1,000 migrants gathered in the Greek town Idomeni protested Saturday against the decision by Macedonian authorities across the border to turn away migrants who are not from war zones such as Syria, Afghanistan and Iraq. (Photo by Giannis Papanikos/AP Photo)

A poster by street artist Aaron Li-Hill as part of the "Brandalism" project is displayed at a bus stop in Paris, France, November 28, 2015, ahead of the United Nations COP21 Climate Change conference in Paris. Brandalism is a revolt against corporate control of the visual realm. Following on in the guerilla art traditions of the 20th Century and taking inspiration from Agitprop, Situationist and Street Art movements, the Brandalism project sees artists from around the world collaborate to challenge the authority and legitimacy of commercial images within public space and within our culture. (Photo by Benoit Tessier/Reuters)