There’s a stillness at the heart of An-My Lê’s photographs, no matter what turmoil they record. The hubbub of cities, the pantomimed passions of street protests, the frenzy of a neighbourhood soccer game — all freeze theatrically, as in a diorama. Her work, now in a viscerally satisfying exhibition at the Museum of Modern Art in New York, transforms everyday reality into a sequence of set pieces that seem archetypal even when they’re just pictures of people hanging out on a street corner or clouds scudding across the sky. The action orbits around a central hush, as if the world were never too busy to pause its rounds for her camera.

Lê’s first New York survey covers three decades of her peripatetic career. Born in Vietnam in 1960, she fled with her family to California in 1975, after the fall of Saigon. They alighted in Sacramento, and two years later she enrolled at Stanford. While working towards a masters in biology, she took a photography class, a choice that set her down on the rocky road of art.

Her timing was perfect: in 1994, the year after she graduated from Yale’s masters of fine art programme, President Bill Clinton lifted the US trade embargo on Vietnam. Lê travelled to her native country for the first time in 19 years. The show opens with what she calls a “self-portrait” but is actually a Vietnamese girl roughly the same age as the photographer was when she left. We see her in profile, her face unlined but sombre, already marked by sorrow. 

This wistful, tender photo stands out in a body of work that generally plays down feeling in favour of fact. It reminds me of Lewis Hine’s angry yet resoundingly humane portraits of child workers, which bared the wrongs inflicted on America’s youngest citizens. Lê does something similar, balancing dignity and compassion.

In another photo of the same girl — not in the exhibition but reproduced in the catalogue — we get a more inclusive view of her life: dirty, ill-fitting clothes, weathered hands, bare feet treading tall, prickly grass. 

It’s less a study of an individual than a report on existence constricted by poverty and labour, closer to Walker Evans’s sober, forensic portraits of Alabama sharecroppers in their tumbledown homes, pinned in place by circumstances beyond their control. Like Evans, Lê favours a large-format camera with a long exposure, which allows her to pack the view with detail and produce images of static monumentality. 

Her Vietnam homecoming left her disoriented: “I felt I didn’t recognise anything in Vietnam.” She alludes to that feeling obliquely in a street scene taken in Ho Chi Minh City. A knot of men in white shirts, dark pants, and sandals (plus one woman and one child) shield their eyes to gaze up at a solar eclipse. Uncle Ho himself looks benevolently down on his people from a banner at their backs. The past has become two-dimensional, the future is blinding.

Rattled by the country’s rapid urban change, she ventured to the Mekong Delta to shoot deep-focus views that have an ageless, idyllic quality. A farming family poses in the middle distance, haloed by a circle of palm trees and a pen full of ducks. Another household, shaded by lush vegetation, dwells by waters so still and glossy they could be a sheet of marble.

When she returned to Vietnam again in 2011, having exchanged black and white for colour, Lê seemed less startled and more analytical. Her Delta series juxtaposes the experiences of teenage girls near the Mekong and the Mississippi. Even though 9,000 miles and vastly different cultures separate the adolescents of Ho Chi Minh City and New Orleans, we watch both groups on parallel tracks, slipping into adult gravity.

War threads its way through her work, but indirectly, in pictures of exercises, games, civil-war statues and fake soldiers. “Small Wars” (1999-2002) features Vietnam war re-enactors in Virginia and North Carolina. Most of the participants had never been in combat but enjoyed the fantasy. In exchange for permission to photograph these events, Lê agreed to play the role of a South Vietnamese Viet Cong fighter. 

The make-believe gives her photos of a downed fighter jet shrouded in mist, or pretend GIs crouching in the foliage, a movie-like look of authenticity. “My pictures stand in complete opposition to combat photography,” she has said. “We are dealing with parallel subjects, but the outcome — the meaning — is completely different.” Her work doesn’t read as anti-war messaging, either, but as a comment on conflict as spectacle.

Even the real military concocts fictional battles. She shot the series 29 Palms in 2003-04 at a base in California where Marines trained for the invasions of Iraq and Afghanistan. The desert and the smoke are genuine; the danger isn’t. These photos lack crackle, maybe because Lê positioned herself too far from the action to reproduce much excitement or emotional depth.

Since 2015, disparate projects scattered around the US have cohered into Silent General, a panoramic portrait of a country riven by fear, political chasms and incompatible visions of the future. “I’ve been making this series to relieve anxiety about what’s been going on in the past few years — division, chaos, racial tensions, all stuff I would not have felt so deeply five years ago,” she has said. “What makes America America? The wilderness, the vastness, our sense of history.”

You sense those tremors most powerfully in her pictures of teens, who are never wild or dissipated, just numbly rehearsing for their next chapter. They flop on the ground after a Black Lives Matter protest in Washington, DC, mill around during a gun control rally in New York, enjoy a Fourth of July picnic in New Orleans in ways she can massage into formal compositions.

In the Fourth of July scene, the arrangement of young bodies on the riverbank soon gels into a mash-up of Manet’s “Déjeuner sur l’herbe” and Seurat’s “Île de la Grande Jatte”. The Impressionists, too, chronicled moments of serenity amid shudders of change. Lê has found her great subject in that ongoing subterranean struggle, the tension between the mundane and the seismic that Baudelaire called “the heroism of modern life”.

To March 16, moma.org

Sabrina Carter, center-right, Marki Olson, center-left, Lanessa Boone, right, and Austin Patton, left, demonstrate how to use a laparoscopic instrument, a surgical instrument used to perform minimally invasive surgeries, at Missoula College on Thursday, Dec. 14. The students are part of Missoula College’s Surgical Technology Sprint Program and are the first cohort to complete the accelerated training program, giving them the certification and paid clinical experience in just 12 months.

Kali Wexler always brings his camera when he ventures out on the water.

During one evening earlier this year, he captured a rare moment off Hornby Island.

The professional photographer was on his small boat fishing in late August when he was notified about orcas swimming nearby. 

“We were kind of just hanging out, engines off, viewing the pod from pretty far away,” he says.

To his surprise, one of the transient killer whales popped up right beside his boat.

“There was definitely some playful behaviour in the water and then this big, beautiful visual spy-hop with the seal in its mouth,” says Wexler. “It was pretty exciting.”

He explains how the experience felt like a suspended moment in time and how the whale came up really slow. 

“You can actually see in some of the images, its teeth and it’s biting into the seal. So it was holding on quite well,” he says. 

Wexler was able to capture the spy-hop and the whale, named Jack, showing off. 

“I guess he’s a bit notorious for showing off his prey … he likes to play around and he’s a very big male bull orca so he’s amazing to see in person,” says Wexler, who used his 600-millimetre telephoto lens.

“It’s one of those just amazing natural moments and luckily, we got to witness it.” 

He decided to post the photograph to his Instagram and Facebook pages where he shares a lot of his work, and not surprisingly, it took off. Orca Rescue Foundation shared his photograph, which garnered more than 700 comments and 15,000 likes. 

“It was special, and I was holding on to it for a while,” he says. 

Wexler says he shares his photographs with conservation groups that spread awareness about wildlife. 

“Killer whales are always amazing in any capacity,” he says. “You never know what you’re gonna get.”

To view the photographs of Jack or more of Wexler’s work, visit his Instagram or his website. 

In photography, rules are like guideposts that offer us a path to creating visually appealing images.

We’ve all heard of the Rule of Thirds, a fundamental principle that divides our frame into nine equal parts to help us compose our shots with balance and harmony. But what if I told you that another rule can take your photography to a new level? Enter the Rule of Odds!

Why the Rule of Odds?

Picture this: A serene landscape with a lone tree standing tall or a portrait where three people surround the subject. These odd-numbered compositions add a dynamic quality to your photos that can make them truly exceptional.

Here’s why you should embrace the Rule of Odds

1. Dynamic Balance

In photography, the concept of dynamic balance serves as a transformative tool that unfurls the doors to creativity. It captivates the imagination of both photographers and viewers alike. The art of achieving dynamic balance hinges on the deliberate inclusion of odd numbers, such as three or five elements, within the intricate tapestry of your compositions.

This deliberate choice transcends the ordinary. It introduces a captivating interplay of elements that invites viewers to embark on a visual journey of discovery. By embracing odd numbers, you infuse your images with an electrifying energy that kindles an invigorating tension within the frame, instantly seizing your audience’s attention. It draws viewers into the heart of your visual narrative, igniting their curiosity and encouraging them to explore the intricate details within the scene.

Odd numbers, in their inherent unpredictability, become the cornerstone of surprise in your compositions. It adds an element of intrigue that elevates your photography to a higher plane. Picture, for instance, a serene lakeside sunset captured with three gracefully swaying reeds in the foreground. The odd number of reeds creates a dynamic balance and injects a sense of rhythm and harmony into the image. The subtle variation in their height and position beckons viewers to contemplate the beauty of the setting sun, inviting them to engage with the scene on a profound level.

In essence, the Rule of Odds is your artistic passport to a world where visual storytelling is a symphony of dynamic balance, surprise, and captivating tension. It’s an opportunity to unleash your creative spirit and craft photographs that resonate deeply with those who behold them. It becomes a testament to the power of odd numbers in shaping the emotions and experiences of your viewers. This way, your work becomes a timeless and evocative journey into the heart of your photographic vision.

2. Storytelling

The inherent allure of odd numbers in photography extends beyond mere compositional aesthetics, as it seamlessly weaves a captivating narrative into each frame. By naturally guiding the viewer’s gaze to the central element, odd numbers assume the role of an unspoken storyteller, directing attention to what matters most within the image.

In this process, they orchestrate a symphony of visual dynamics, harmonizing disparate elements into a coherent and compelling whole. This symphonic quality adds a rich depth and intrigue to your photographs. It effectively transforms them into immersive visual narratives that encourage viewers to delve deeper. As they engage with the carefully constructed storylines, they find themselves drawn into the scenes you’ve meticulously crafted. It can be a trio of musicians in a jazz club. Or, three generations of a family sharing a moment. Maybe even five solitary street performers in a bustling square. Odd numbers act as the conductor, orchestrating a chorus of emotions and interactions that resonate with the audience.

In essence, the Rule of Odds elevates photography beyond the realm of mere visual representation. It becomes a masterful tool for storytellers to captivate the imagination and invite viewers to become active participants in the narrative. Ultimately, it allows photographers to forge a profound and enduring connection between the image and its audience.

3. Emotional impact

The use of odd numbers in photography is a nuanced art form that possesses a remarkable capacity to stir profound emotions within viewers. It achieves this by masterfully crafting compositions that resonate with harmony and rhythm, profoundly engaging the audience’s visual senses. This engagement, fostered by the asymmetrical yet balanced arrangement of odd-numbered elements, leads to a lasting impact that etches the image into the viewer’s memory.

Moreover, the magic of odd numbers lies in their ability to convey a sense of unadulterated authenticity and emotional resonance. When viewers encounter an image with an odd number of elements, they are drawn to the subtle imperfections and variations within the scene, mirroring the intricate tapestry of human emotions.

In essence, the Rule of Odds in photography transcends mere composition. It conveys complex emotions and makes a lasting impression, forging a profound connection between the photograph and its audience. Through this artful use of odd numbers, photographers have a unique tool to create images that evoke authentic, resonant and enduring emotions.

Example: Imagine a close-up portrait of a musician playing a violin, with three tears rolling down the musician’s cheek. The odd number of tears adds emotional depth, emphasizing the musician’s connection to the music and evoking viewers’ empathy and a deep emotional response.

4. Breaking the mold

Embracing the Rule of Odds becomes a profound declaration of a photographer’s commitment to shaping a unique visual narrative. It stands as an artistic ethos that transcends the ordinary. It challenges the conventional norms that often dictate the composition of images. By intentionally incorporating an odd number of elements into their composition, photographers embark on a transformative journey of creativity and innovation.

This rule is more than just a guideline. It’s also an invitation to go beyond the boundaries of predictability and conformity and to explore the vast, uncharted territories that odd numbers offer. In doing so, photographers redefine the very essence of storytelling through visuals.

When you compose an image that features an unconventional number of elements, you are, in essence, declaring your commitment to the extraordinary. The Rule of Odds thus becomes the catalyst that fuels your innovative spirit, allowing you to craft images that defy expectations, provoke thought, and leave an indelible mark on the world of photography.

Mastering the Rule of Odds

Now that you’re convinced of its potential, here are some tips to help you master the Rule of Odds:

1. Choose your subjects wisely.

Seek out subjects that naturally come in odd numbers, such as trees, rocks, or people. These subjects will make it easier to compose your shot.

2. Experiment with perspective.

Change your perspective and angles to highlight your odd-numbered subjects. Get low, move up high – explore different viewpoints to find the most compelling composition.

3. Use depth of field.

Experiment with depth of field to isolate your main subject. A shallow depth of field can make your subject pop against a blurred background, creating a powerful visual impact.

4. Embrace the “Power of One.”

Refrain from filling your frame with odd elements. Sometimes, a single, striking subject can be more potent than a crowded scene. Embrace the simplicity of one.

5. Practice, practice, practice.

As with any photography technique, practice is key. Grab your camera and head outdoors to experiment with the Rule of Odds. Review and critique your shots to refine your skills.

6. Find inspiration.

Follow photographers who excel at using the Rule of Odds on social media. Their work can provide valuable insights and inspiration for your projects.

To put it in perspective, the Rule of Odds is your secret weapon to unlock a world of captivating, emotionally-charged photos that demand attention. It’s time to break free from the confines of convention and embrace the odd. So, grab your camera, start snapping, and embark on a creative journey that will take your photography to new heights. Let’s turn the photography world upside down together and create a visual revolution!