Inspired by gorgeous photographs posted to a popular social media website, one designer has reversed the normal narrative of movie marketing, creating publicity posters for speculative films, their scripts yet unwritten.

This dedicated redditor goes by Your_Post_As_A_Movie (YPAAM) and has made over 800 such creations to date, each one complete with titles, taglines, casts and credits, not to mention topic-appropriate typographies.

The genre-spanning array is inspiring, featuring action films, romantic comedies, environmental documentaries, science fictions and far-out fantasies.

Some of these picks are inspired by comments left by other redditors, cueing a possible direction or tagline from which the rest of the artistic adaption evolves.

Meanwhile, the identity of the anonymous creator remains an intentional mystery, but his fans seem pleased to leave it that way, as long as the creative work keeps on showing up from his account.

Among the winners and honorable mentions from the 2018 Travel Photographer of the Year Contest are an expected array of wilderness scenes and animal portraits, but also a surprising number of unnatural environments.

Over 12,000 submissions for this year’s competition included mesmerizing images of art installations, aerial views of urban architecture, suspenseful shots of elegant bridges and window-reflected construction scenes.

Even some photographs of purely natural places seem strikingly architectural, like this photo of rocks carefully perched on eroding earthen columns.

Above: People’s Choice, “The Girl Who Leapt Through Time” by Daniel Cheung; Honorable Mention, “Alone in the Crowds” by Gary Cummins; Third Place Winner, “Reflection” by Gaanesh Prasad; Nature:Third Place Winner, “Mars” by Marco Grassi.

Even rather mundane settings can make for wonderful photos. Above and below: People’s Choice, “Traveling to Heaven” by Trikansh Sharma; Cities: First Place Winner, “Another Rainy Day in Nagasaki” by Hiro Kurashina.  (via Colossal).

Circling drones cast soft light on landscapes below (and create UFO-style patterns in the skies over) gorgeous natural settings in this series of surreal nature images by photographer Reuben Wu.

Dubbed LUX NOCTIS II, this series follows up on a previous set of ground-illuminated works created in a similar vein. But in this case, the use of drone technology adds a fresh dimension to the sequel imagery, both in terms of the quality and source of light as well as the figures created by the aerial micro-vehicles giving it off.

The photographer has traveled around the world to capture sandstone mountains, bubbling volcanoes, gorgeous lakes and rivers, often employing (natural or artificial) light to set the scene.

“Each image is a carefully planned scene consisting of multiple lighting positions,” he explains, “layered to produce a theatrically lit composition. Using the GPS-enabled aerial light/drone in specific positions in space, I am able to create moods of drama and tension through chiaroscuro, and the ability to illuminate isolated features of a scene and exclude unwanted elements.”

“It’s so easy to become numb to conventional depictions of beautiful nature. In casting a new, unfamiliar light, I want people to see that while other planets are fascinating and incredible to us through the eyes of spacecraft and rovers, it is our own planet which has so much grandeur and beauty which is both accessible to us and worthy of preservation and protection.”

Light other time-lapse light art, his works trace patterns that are only fully visible once a photograph is taken, which in turn highlights the exposure time in play within each piece (sometimes also visible through star patterns in the backgrounds).

More about his project and its creator: “Reuben Wu is an artist with a profound interest in the ways that advancing technology can foster new forms of creative expression. Using a Fiilex AL250 in tandem with the 3DR Solo drone and Phase One XF camera system, Reuben has developed a method for selectively ‘painting’ nocturnal landscapes with light via multiple exposures.”

A lone Ukrainian park bench has become the unlikely star of a decade-long drama, much more by chance than by design, thanks to a photographer’s unplanned project to document the lives of those who use it.

Yevgeniy Kotenko never meant On the Bench to be a series or body of work. He simply began to take pictures of people on and around a bench outside his parents’ window, capturing everyday scenes — people picnicking, children playing and old men sitting. He also photographed more fraught encounters —  lovers quarreling, drunks passing out and emergency service workers tending to an injured man.

“I wasn’t thinking of making a series or a project,” Kotenko told Colossal. “I didn’t select any particular time frame or set of situations to capture. Not until 2012 did my friends tell me that I should put together an exhibition of these photos.

“I never invested the photos with any particular intention or idea of what I wanted my audience to see,” Kotenko says. “They will see what they want to see. These photographs are more like a documentary.” And they document everything under the sun (and moon), showing what Kiev life is like from day to day and season to season.

In a way, the project recounts works of found or everyday-object art, or series like People of New York, where normal passersby become parts of a grander narrative about city life. Kotenko has since moved out of the neighborhood, but says that his experiences looking at the window and documenting life shaped his perspective growing up, showing him examples of who he might want to become, or not become.

The built environment becomes the backdrop from all kinds of imaginative (if improbable) scenes when this London photographer adds a single layer to each of his images: a black piece of cut paper.

Rich McCor, also known as “paperboyo,” transforms landmark architecture and urban design elements, sometimes turning them into other structures (like roller coasters) or something else entirely (the fire under a rocket ship).

These interventions often transform the scale of their subjects, reducing them for human use as, say, a stand for a telescope or a prop for a gymnast.

In each frame, the hand also adds another dimension, for a net effect of three different scales — the background, cutout and photographer.

More broadly, these images suggest work our own imagination can do while traveling — patterns that can be revealed by squinting our eyes and thinking just a bit outside the box about familiar structures.

Fans can follow McCor’s adventures in Around the World in Cut-Outs.