Vanity Fair magazine gave Astor the plum assignment of photographing world-class architects wearing their buildings. Since Astor hadn't yet learned digital techniques, he contracted a model builder to construct a scale model of César Pelli's Carnegie Tower, a 60-story skyscraper in New York City, which could be worn. To place Pelli into the desert scene, Astor commissioned a trompe l'oeil painting backdrop. (1996)

Brooke Shaden wanted to take the often clichéd subject matter of ballet photography and teach it some new steps. In creating this photograph, Shaden was interested in the “in-between moments” in dance. Shaden’s photographs are often self-portraits, as here, where she used Photoshop to clone herself seven times. She often takes more inspiration from painting, film and literature than from traditional photography.

Normally, one might expect that evolution and progress would have an upward arc as time goes by. Over the past few years, however, Vives has come to quite the opposite conclusion, that his children will have a harder, less happy life. This idea is expressed within the context of a photograph taken for the environmental group Nicolas Hulot Fondation, with which Vives frequently works.

The orangutan was shot separately and digitally dropped into an image taken at the Palais Brongniart, the old Paris Stock Exchange.

While driving from Boulder to Golden in Colorado, Lhotka hit a freezing fog. She pulled over to the side of the road, pulled out her camera, and started shooting. The trees were encased in ice, and the air was filled with frozen mist. When Lhotka first loaded this photograph into Photoshop, the tree was almost completely white. Then she began experimenting. "I accidentally did something that allowed these hidden textures and colors to emerge out of the fog," Lhotka says. "When I saw that, I really went for it.