Kyrgyz men on horseback compete during their traditional game of “Oodarysh” during the celebrations of the 90th anniversary formation of the Chui region in the village of Kuntu some 20 kms from Bishkek on May 27, 2016. (Photo by Vyacheslav Oseledko/AFP Photo)

An elephant “kisses” a visitor during a show at an elephant training school in Xishuangbanna, Yunnan province, April 18, 2015. Some 16 elephants live at the school and give four 30-minute performances everyday for visitors. (Photo by Wong Campion/Reuters)

A woman stands in front of graffiti depicting Venezuela's late former President Hugo Chavez, right, and revolutionary hero Simon Bolivar, in downtown Caracas, Venezuela, Wednesday, October 25, 2017. (Photo by Rodrigo Abd/AP Photo)

Phuket, Thailand. The girl is in the pool, which is higher than the land, and the elephant is on the land behind the pool. The photographer used an underwater bag to get a half submerged image. (Photo by Justin Mott)

An employee controls the arms of a manned biped walking robot “METHOD-2” during a demonstration in Gunpo, South Korea, December 27, 2016. It stands 13-feet (3,96 m) tall, weighs 1.3 tons and wields a pair of 286-pound (129,73 kg), motion-tracking metal arms. (Photo by Kim Hong-Ji/Reuters)

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)

A general view of dried-up rivers in the Pilbara region of Western Australia December 2, 2013. Western Australia's Pilbara region, which is the size of Spain, has the world's largest known deposits of iron ore and supplies nearly 45 percent of global trade in the mineral. (Photo by David Gray/Reuters)

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)