Alex Prager is an American art photographer and filmmaker based in Los Angeles. Her photographs primarily use staged actors, models and extras to create “meticulously designed mise en scène”, often described as film-like and hyperreal. “Alex Prager: Silver Lake Drive” is at the Photographers’ Gallery, London, 15 June – 14 October 2018. Here: The Big Valley, Susie and Friends, 2008. (Photo by Alex Prager Studio/Lehmann Maupin Gallery)

Sandrine Kerfante has had a fascination with “doubles” ever since meeting her mother’s twin as a child. In 2012, this lifelong captivation inspired her to create a blog called twin-niwt, which celebrates photographs of doubles in all their forms. “I’m fascinated by the idea of the duo, repetition, symmetry, reflection, mirror games and all the symbolism associated with it”, she says. “I think it’s a topic often present in photography, more or less consciously”. (Photo by Sandrine Kerfante/The Guardian)

German artist Robert Rickhoff re-interprets the idea of public space with humor through a series of digitally manipulated photographs in a project entitled “out of place”. Rickhoff augments scenes within a seemingly commonplace environment to depict impractical yet lighthearted situations – including a playground slippery dip facing towards a busy road to a speed bump placed in an unassuming residential street that is actually a daredevil ramp. the visualizations are subtle yet provocative, forcing the audience to look twice to notice the unusual setting infused with tongue-in-cheek wit.

Buzludzha is a historical peak in the Central Stara Planina, Bulgaria and is 1441 metres high. In 1868 it was the place of the final battle between Bulgarian rebels led by Hadji Dimitar and Stefan Karadzha and the Ottoman Empire. The Buzludzha Monument on the peak was built by the Bulgarian communist regime to commemorate the events in 1891 when the socialists led by Dimitar Blagoev assembled secretly in the area to form an organised socialist movement with the founding of the Bulgarian Social Democratic Party, a fore-runner of the Bulgarian Communist Party. The Monument was opened in 1981. No longer maintained by the Bulgarian government, it has fallen into disuse. Buzludzha is reached by a 12 km side road from the Shipka Pass.

Two men help each other cross a street covered in deep mud in Copiapo, Chile, Thursday, March 26, 2015. Unusually heavy thunder storms and torrential rains that began on Tuesday have blocked roads, caused power outages and affected some 600 people on this normally dry region. (Photo by Aton Chile/Marcelo Hernandez/AP Photo)

The photography duo of Floto+Warner created the series, “Colorant”, from an idea that stemmed out of a previous series and the fascination of landscapes, with results that leave one in awe. Creating shapes, not experienced in nature, they tossed colored water in the air to capture “a momentary graffiti of air and space”. Using a high shutter speed to capture these fleeting moments, Floto/Warner has produced a multi-medium series with jaw-dropping results. Photo: “Orange Salt Flats”. (Photo by Floto/Warner)

For over 14 years, photographer Dane Shitagi has been photographing beautiful, strong, and powerful women dancing all over New York City. The juxtaposition of the incredible strength of the dancers’ bodies plus a seemingly devoid urban landscape creates a captivating visual experience. When social media emerged, Shitagi took advantage, creating pages for his photo series on Facebook, Instagram, Tumblr, Pinterest, and Twitter. Currently, it is the largest dance photography page on Facebook with 850,000 “likes” and its Instagram account has about 500,000 followers. (Photo by Dane Shitagi)

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.