Any horror fan knows hinting at a larger evil with teaser visuals is a classic trick, like letting viewers imagine, for instance, what kind of hideous invader might be putting feelers out the window of this old warehouse in Philadelphia’s Navy Yard.

Titled simply Sea Monsters HERE, the inflatable installation was created by artists Filthy Luker and Pedro Estrellas in partnership with Group X, an anonymous collective of local artists and curators.

The arching purple limbs span up to 40 feet and feature blue surfaces with green suckers on the bottom to add some additional nightmare fuel. Readers (or watchers) of Stephen King’s The Mist may find the foggy images particularly compelling.

This is not the team’s first giant inflatable either: they have also made huge floating octopus sculptures and other creatures, though this one seems particularly well-suited to the Halloween season (via Colossal).

It’s almost a cliche at this point to highlight the beauty that can be found in everyday items, like that scene in the movie ‘American Beauty’ where Wes Bentley and Thora Birch stare at a plastic bag waving around on a sidewalk like it’s the Mona Lisa. But sometimes, it just can’t be helped. Have you ever gazed at a traffic light and marveled at the accidental art it was producing? You’re about to.

Being such a humble and unremarkable object, installed at countless intersections in countless cities, the traffic signal is an unlikely subject of the internet’s flighty attentions, but the magic here is really in photographer Lucas Zimmermann’s vision – and in the fog that clings to the town of Weimar, Germany.

Zimmermann first captured his ‘Traffic Lights’ series on a particularly hazy night, noting that the light streaming from the red, yellow and green lamps was stretching out into rainbows. He wondered how the effect would be enhanced by long-exposure photography, and the results show the streams of light almost seeming to take physical form.

“I have been waiting for two long years to finally go out again and progress on my traffic lights series,” says Zimmermann. “It was worth the wait.”

The new addition to the series is just as striking as the first, supporting Zimmerman’s belief that photography can show us things we might otherwise overlook, “such as a simple traffic light on the street.”

Home to the tallest building in the world, Dubai is a city rich in skyscrapers that seem almost otherworldly when seen piercing through seasonal layers of urban fog.

Photographer Daniel Cheong resides in this surreal desert city and has taken to capturing images of it from above, particularly during times when the weather is transitioning from warm to cool and producing the effects seen in these shots.

In some cases the viewer can see glimpses of the streets, buildings and marina below, but in others the entire built landscape appears perched on a layer of clouds.

While his photographs do represent reality, they also employ digital blending techniques that combine multiple exposures to make them seem almost more real than reality (but without the stretched effects sometimes seen in overly-processed HDR).

In doing so, he emphasizes “this slight element of the surreal, or hyper-reality often found in painting.” A world traveler, Cheong was “born in Mauritius, originally of Chinese descent, and French by nationality.” Of his picture-taking prowess, he writes: “I’ve always loved photography, but only became serious about it when I bought my first DSLR in Singapore, back in 2006.”

“I then aimed to perfect the technique of Digital Blending, which consists of manually blending multiple bracketed exposures in order to obtain the maximum dynamic range, while trying to keep a very natural look and avoiding the common mistake of many ‘overcooked’ HDR images. This slight element of the surreal, or hyper reality often found in painting is what I am trying to achieve”

The right place, proper timing and a keen eye conspired to help a photographer capture this eerie nighttime phenomena at a crossroads outside of Weimar, Germany.

German photographer Lucas Zimmermann found and shot this intersection at each stage of the its cyclical change, capturing green, yellow and red.

He also went a step beyond the sequential with one particularly impressive shot spanning the entire cycle, creating a rainbow in the mist.

His other work spans from the rural United States to the streets of Beijing, but usually focuses on people over places – this set, however, proved a worthy exception.