Known as the photographer who captures the souls of his subjects as well as their stories, Réhahn’s travel work depicts ethnic culture, landscapes, and emotive portraits. Through his inspirational images, Réhahn takes us on a unique journey with his visions of Vietnam and beyond.
Originally from Bayeux in Normandy, France, Réhahn has resided in Hoi An, Vietnam since 2011.
He is best known for his colourful and vibrant portraits of people from Vietnam, Cuba, India, Malaysia, and his other travel adventures.
In 2018, Réhahn’s ‘Hidden Smile’ photograph, featuring Vietnamese tour boat captain Madam Xong, was gifted by the late Nguyễn Phú Trọng, ex-general secretary of the Communist Party of Vietnam and former President of the country, to French President Emmanuel Macron during an official ceremony celebrating 45 years of friendship between France and Vietnam.
In 2019, the final copy of the portrait became the most expensive photo ever sold in Asia, fetching USD$150,000.
Réhahn’s work is displayed in the permanent collections of the Museo Nacional de Bellas Artes and the Asian House Museum in Havana, Cuba, as well as the Vietnamese Women’s Museum in Hanoi.
He has published a number of books showcasing his work, including Vietnam, Mosaic of Contrasts (Volumes I, II, and III), Precious Heritage, which documents all 54 ethnic groups in Vietnam, and 100 Iconic Portraits, a selection of his most celebrated photographs from Vietnam, Cuba, Malaysia, and India, including Hidden Smile. Réhahn also recently released Impressionism, From Photography to Painting – not merely an exploration of the history of Impressionism, but rather a journey through the soul of a photographer.
Réhahn’s work has gained significant attention and featured in international media, including over 50 television appearances and 600 articles in publications such as The New York Times, Condé Nast Traveller, and National Geographic. He has also collaborated with global brands including Louis Vuitton, Johnnie Walker, and Elie Bleu.
Q&A WITH RÉHAHN
Firstly, what drew you to travel photography and Vietnam in particular?
Réhahn (R): I’ve always been drawn to places with deep histories, layered cultures, and, in some ways, areas that have been misrepresented or misunderstood by the outside world. Beyond Vietnam, I’ve spent significant time in Cuba – another country outsiders often see through a narrow lens.
The first time I visited Vietnam, something just clicked. The colours, light, and way people interacted – it all felt natural to me. I kept returning, and with each trip, I formed deeper friendships and left a little more of myself behind. Eventually, I realised I wasn’t just visiting anymore – this place had become my home.
My work in Vietnam began with portraiture, particularly of Madame Xong, whose image became the foundation for my Hidden Smile and Ageless Beauty projects. That was when I truly began to understand the country through conversations with its elders.
Listening to their stories, I realised how much cultural knowledge was carried in their memories, hands, crafts, and songs. It was this awareness that led me to start the Precious Heritage Project.
Over the course of a decade, I travelled to meet and document Vietnam’s 54 ethnic groups, capturing their portraits, traditional clothing, and histories. The project shaped not only my understanding of Vietnam but also the way I approach my work today.
How would you describe your style of photography?
R: If I had to summarise, I’d say my photography is about capturing the intangible. My projects vary in style, which can sometimes throw people who are used to artists sticking with one marketable idea, but I’ve always been more interested in chasing ideas that challenge me rather than following what’s easy or expected.
Whether it’s a portrait or one of my newer Impressionist-style photographs, I want my images to feel immersive – like you’re stepping into a moment rather than just observing it. Lately, I’ve moved away from traditional documentary and fine art photography and started exploring abstraction in a way that feels closer to painting.
The common thread between this new direction and my past work is research. With Precious Heritage, that meant reading hundreds of books and papers on Vietnam’s ethnic groups then travelling to meet them, listening to their stories, and documenting their traditions.
With my Impressionist photography, it’s been a similar process, studying everything I can about the movement before experimenting in the field, learning through trial and error. It’s a long process, but it gives me a deeper understanding of what I’m working with, which ultimately shapes the work much more than just targeting what gets the most attention on social media.
What do you find most inspiring about this style of work?
R: The unpredictability – you never really control a moment, but just try to be present for it. Some days, everything aligns, and I come home with stories of the interesting people I met and maybe even a few good photos on my camera. Other days, I come home with nothing but dust on my shoes and a bunch of shots I’ll never use.
That’s the beauty of it; you learn to embrace the process, enjoy the waiting, and trust that the right moments will come. It’s made me more patient as a photographer and in life.
What are the biggest challenges you face?
R: The same unpredictability that makes it exciting also makes it difficult. You can spend hours, even days, trying to capture a single shot; sometimes, it just doesn’t happen. Weather changes, people get shy, and the light doesn’t cooperate, but it’s all part of the process.
Beyond that, working in remote areas, especially on long-term projects, comes with its own set of challenges. Travelling into the mountains of Vietnam for the Precious Heritage Project meant relying on the kindness of strangers, learning enough of their languages to communicate, and sometimes spending days building trust before I could even take out my camera.
I’ve had scooter accidents, exhaustion from the heat, and entire trips cancelled due to administrative red tape; that’s why keeping the long-term goal in mind is always important.
Of course, there’s always the challenge of continuing to find passion. Being an artist is about constantly forcing yourself to evolve, pushing yourself creatively, and finding new ways to see the world – even in places you’ve been a hundred times before.
I’ve taken thousands of photos of the same fields, ponds, streets, and farmers, but I have yet to lose inspiration.
You recently released your latest book – Impressionism, From Photography to Painting. How did this new chapter in your life develop?
R: It resulted from years of fascination with the Impressionist movement. I’ve always admired artists like Monet, Van Gogh, and Cézanne, and how they captured light, movement, and the fleeting nature of a moment.
After finishing my Precious Heritage Project, I wanted to step away from portraiture for a while. I started experimenting with ways to capture Vietnam’s artisans and farmers that went beyond documentation, focusing instead on the colours, textures, and energy surrounding them. I explored blurring details, embracing distortion, and capturing the essence of a scene rather than its exact representation.
Once I formally debuted my Memories of Impressionism series in my gallery, I decided to take all the research I’d been doing behind the scenes and translate it into something tangible for my audience.
I wanted to share some of the discoveries that had fuelled my fascination, such as the fact that even experts can’t agree on when the Impressionist movement began or ended, or how it disrupted the traditional rules of fine art in the 19th century.
The book explores the intersection of photography and painting, how they influence each other, and how the same artistic principles apply across different mediums. Writing it was a challenge, but I hope it brings something new to the movement – for example, understanding the history and philosophies from the viewpoint of a working artist.
Have you been involved in any interesting assignments or projects you’d like to highlight?
R: One of my most meaningful projects remains the Precious Heritage Museum in Hoi An, which contains portraits and traditional clothing from all 54 ethnic groups of Vietnam. It was years in the making, and yet it still feels like an ongoing journey as these cultures continue to evolve and adapt.
More recently, I’ve been focusing on my Impressionist photography – experimenting with fire, water reflections, and natural distortions to create images that feel more painterly. It’s a very different way of working than portraiture, but I love the freedom it gives me to capture emotions in a new way.
Finally, what’s next for the future? Are there any new destinations you’d like to explore or cultures you’d like to capture?
R: For now, I’m still deeply immersed in my Impressionist photography, and I want to push it even further by experimenting with new techniques and seeing how far I can take it.
As for travel, there are always new places I’d love to explore. I’ve spent a lot of time in Vietnam, Cuba, and India, but I’m also drawn to Cambodia and Laos, especially in relation to their shared cultural heritage with Vietnam.
I’d love to see how certain traditions carry across borders and how different landscapes influence my style. However, I honestly think the most exciting part of the future is the unknown.
10 or 15 years ago, I couldn’t have predicted how my work would change. So, I try not to plan too much – I follow inspiration when it appears.
HOW I GOT THIS PHOTO
R: I took this shot of a farmer burning her fields, drawn to the fire but unaware of how the heat waves would distort reality.
When I pressed the shutter, I had no idea I was capturing what would become one of my favourite images – the one that would define my Impressionist photography series.
This shot taught me that the most powerful moments as an artist are the ones you don’t see coming.
