A dog, at the behest of his owner, rides a skatebaord on April 3, 2017 in Berlin, Germany. The dog's owner, who looked like he might be homeless, coaxed the dog to ride the skatebaord and asked passersby who stopped to watch for money. (Photo by Sean Gallup/Getty Images)

In this Monday, June 10, 2019 photo, an Indian Rabha tribal Hindu priest pours traditional rice beer to a Rabha girl to perform rituals during Baikho festival at Pantan village, west of Gauhati, India. Every year, the community in India’s northeastern state of Assam celebrates the festival, to please a deity of wealth and ask for good rains and a good harvest. (Photo by Anupam Nath/AP Photo)

Police officers wield their batons against a man as a punishment for breaking the lockdown rules after India ordered a 21-day nationwide lockdown to limit the spread of coronavirus in New Delhi, India, March 25, 2020. (Photo by Adnan Abidi/Reuters)

A photo from Madonna’s high school yearbook at her childhood home in Rochester, Michigan, circa 1973. (Photo by Rebel Images/Rex Features/Shutterstock)

The Oshkosh M-ATV – MRAP (Mine Resistant Ambush Protected) vehicle developed by the Oshkosh Corporation of Oshkosh, Wisconsin. It is designed to provide the same levels of protection as the larger and heavier previous MRAPs but with improved mobility and it is intended to replace M1114 HMMWVs. (wikipedia) (Photo by Alex Wong/Getty Images)

Do tears of joy look the same as ones of woe—or ones from chopping onions? In “The Topography of Tears,” the Los Angeles-based photographer Rose-Lynn Fisher explores the physical terrain of one hundred tears emitted during a range of emotional states and physical reactions. Using a Zeiss microscope with an attached digital camera, she captures the composition of tears enclosed in glass slides, magnified between 10x and 40x. “There are many factors that determine the look of each tear image, including the viscosity of the tear, the chemistry of the weeper, the settings of the microscope, and the way I process the images afterwards,” she says.

Projectionist Antonio Feliciano, 75, checks his projector before showing a film in Monforte, Portugal May 16, 2015. Shades of Oscar-winning classic "Cinema Paradiso" run through the life of Feliciano, a sprightly 75-year-old who fears he may be the last of Portugal's travelling film projectionists.After six decades travelling four million km (2.5 million miles) to screen 4,000 films in Portugal's far-flung villages, Feliciano does not plan to retire just yet. But he is resigned to the fact that the Internet, digital TV and distribution monopolies have made his craft obsolete. (Photo by Rafael Marchante/Reuters)