Known as a photographer who “captures the soul of his subjects”, Réhahn is renowned for his colorful portraits of local people around the world, including Vietnam, Cuba, India and Malaysia. Originally from Bayeux in Normandy, France, Réhahn’s lived in Hoi An, Vietnam since 2011, having first travelled to the country with the NGO Les Enfants du Vietnam. He spent more than a decade photographing all 54 of Vietnam’s ethnic tribes for his Precious Heritage Project. He also runs Réhahn Gallery in Ho Chi Minh City (Saigon) and the Precious Heritage Museum and Art Gallery in Hoi An, while his work is in the permanent displays of museums in Cuba and Vietnam.
Réhahn’s latest book, though, represents a very different creative journey for the photographer. Impressionism: From Photography To Painting is a deep exploration of the work of Impressionist and Post-Impressionist painters, including Monet, Boudin, Pissarro, Caillebotte, Van Gogh, Manet, Cézanne, Renoir and Degas, as well as a selection of Réhahn’s Impressionist photography, influenced by the master painters. Many of the new images were taken using creative techniques, including using reflections on water and shooting through fire.
Here, the celebrated photographer talks about his love of travel, the secret to a great portrait and how he creates an ‘impression’ of a moment in time…
Your new book Impression: From Photography To Painting is inspired by the great Impressionist and Post-Impressionist painters. Have you always loved their work?
Growing up in Normandy, the works of the Impressionists were always in the background of my daily life. When I went to Honfleur, I’d walk along the port where Monet and Eugene Boudin first started the movement. In Paris, there are all the Haussmannian buildings and Grande Boulevards painted by Pissarro and Caillebotte, and the opera that Degas loved so much. Personally, though, I always felt more connected to the French countryside, a subject that many Impressionists and Post-Impressionists, like Monet and Van Gogh, focused on. Even though Vietnam is on the other side of the world, there are some similarities in the colors and scenes you can find in the Vietnamese countryside.
How did your Impressionist Photography project come about?
In early 2020, I found myself at an intriguing crossroads. I’d just completed a monumental project, the Precious Heritage Project and Museum, where I spent 10 years documenting the 54 ethnic groups of Vietnam. I’d published two new books. I was ready to start something entirely new. Then the pandemic hit. Like everyone around the world, I was confined during this ‘Great Pause’. I’d spent so much of my life traveling for my work, and suddenly that whole part of my life was disrupted. I’m not the type of person to sit around watching Netflix and wait for time to pass, so I immediately embarked on a different type of journey: a journey into my books. Reading about the Impressionists made me realize I already shared many of their philosophies and aesthetic principles. When we were finally allowed a bit more freedom in Vietnam to move around in the areas near our homes, I decided to start experimenting with what Impressionism might look like within the photographic context.
Whereabouts in Vietnam are these Impressionist pictures taken?
Most of my Impressionist photos are taken in the countryside or on the beaches around Hoi An. But I’ve taken a few shots in Cuba, as well as the salt fields in Cam Ranh, Vietnam. Whenever I travel, I try to get a few shots in new locations.
Do you think the Impressionist style gives more of an emotional feeling of a place, person or landscape, rather than a straight documentary photo?
The emotion within both styles of my photography is very different. For example, I’ve been told that many of my portraits are quite emotional because of the eyes of the subjects. The Impressionist images are totally different. The subjects aren’t looking at the camera. They almost merge with their environments, and that’s intentional. I think this can blur the boundaries between humans and nature. The emotion comes from the movement and colors of the scene versus capturing the emotions in a person’s facial expression. Think of it as the difference you might feel emotionally when looking at an abstract or surreal painting versus hyper-realism. Each style has its place in the art world but they hit the human psyche in a different way.
In my Impressionist photos, I’m always trying to get away from reality and infuse a dreamlike atmosphere into my images. I want people to look at them and take in the colors, texture, light and shapes but not to think of them as documentation. Like the Impressionists, I hope to create images focused on an emotional quality - my personal ‘impression’ of a moment in time.
How do you produce these Impressionist images?
I’ve lived in Vietnam long enough to know what time the sun rises and sets. I know where to look for flooded fields after a storm or when fields will be burned after a harvest. The rest is trial and error. I might know a farmer will start burning her field at 5am and that the light is typically best at 5:45am, but that doesn’t mean all the elements will come together to create something I’m happy with. I’ve shot thousands of reflections over the years, and now I’m on the same path with my heat distortion photos. I’ve come to understand the relationship between work, technique, and chance.
You own the Precious Heritage Museum in Hoi An, which contains your photographs of all 54 of Vietnam's ethnic groups. How does it feel to look back on that vast project?
These portraits represent an entire decade of my life, filled with personal memories and meaningful connections. Naturally, there’s a sense of nostalgia when I look back at these experiences. But beyond that, each photo embodies generations of history: stories, songs, crafts, and traditions passed down through centuries. I founded the Precious Heritage Museum to ensure these cultures are celebrated and their historical artifacts are preserved. Seeing visitors engage with these stories and learn about Vietnam’s ethnic groups is profoundly rewarding.
As an artist, there’s always a sense of dissatisfaction with one’s work - it drives me to explore further. When I visit the museum, I engage with the photos on display, but I also imagine spaces for new research and subgroups. Some moments are deeply personal, like pausing in front of portraits of dear friends who are no longer with us but whose stories and wisdom I was fortunate to capture and share before their passing.
What are some of the most interesting traditional items, costumes or artefacts at the Precious Heritage Museum?
So many items in the museum are deeply meaningful to me, both personally and culturally. Each piece carries its own story and significance.
One of the most important artefacts in the museum is the tree bark garment from the Co Tu tribe. This remarkable piece was gifted to me by Mr. Bh’riu Liec, a representative of 94 Co Tu villages. It holds immense historical and cultural value, as it is the last known garment of its kind. Mr. Bh’riu Liec entrusted it to me to ensure it would be properly preserved, making it a priceless addition to the museum.
Another deeply meaningful item is an embroidered blanket given to me by the daughter of K’Long K’e, a regal matriarch of the Co Ho ethnic group. In her portrait, she wears the blanket draped around her shoulders. A year after I captured her portrait, I returned to pay my respects and learned of her passing. Her daughter handed me the blanket, saying she wanted it preserved in the museum, placed next to her mother’s portrait. It remains one of the most touching and personal stories in the collection.
As for ethnic attire, I am particularly drawn to the Red Dao’s traditional clothing. Their intricately embroidered tunics and elaborate headdresses are striking examples of craftsmanship and artistry and they were what inspired me to start my Precious Heritage Project in the first place.
You also recently opened Réhahn Gallery in Ho Chi Minh City (Saigon). What's the area around Réhahn Gallery like for travellers?
The gallery is located in District 1 on Dong Khoi Street, one of the most well-known shopping and tourism areas in the city. The Saigon Opera House and the famous Caravelle Hotel are both situated on this beautiful tree-lined boulevard, making it a great spot to admire historic colonial architecture while exploring luxury shops and upscale boutiques. I chose this area for my flagship gallery because I love the juxtaposition of modernity and tradition in the architecture. It perfectly reflects the spirit of Saigon, much like the vision I aim to convey through my gallery: bridging heritage and contemporary aesthetics.
You recently published another book called 100 Iconic Portraits. What’s the secret of a great portrait?
The secret of a great portrait is a great interaction. It goes beyond technical skill - it captures a moment of truth and intimacy. The core of my philosophy as an artist has always been to take my time with people and to get to know them. It’s the connection with the person that truly makes the difference. I carry with me many happy memories from times spent smoking cigars in the streets of Cuba, or spending time with Vietnamese grandmothers from the Highlands, and chatting about life and the world with strangers that are suddenly not strangers anymore.
100 Iconic Portraits was a way for me to share a selection of my favorite portraits and the stories behind them. It reflects a milestone in my journey as a photographer, but certainly not the end. I’ll continue to capture portraits that celebrate the diversity of our world.
Do you have a favorite portrait from the book?
Each portrait holds a special place in my heart, but perhaps the portrait of Madame Xong stands out. I think of her as my muse. Her strength and grace embody the resilience of Vietnamese women. This photo, Hidden Smile, is also my most well-known work – it really jump-started my career. Madame Xong is like my surrogate grandmother. She and I share the same birthday, and we spend the day together every year. Interestingly, the portrait of Madame Xong has also resonated deeply with many of my followers. Her story and her captivating presence seem to touch a universal chord.
You’ve travelled extensively throughout your life and career. How has travel influenced you as a person and as an artist?
Travel really opened up my eyes to the world. When people travel, they tend to look at things differently. Colors seem brighter and scenes appear to be more poignant. That’s why there’s so much literature written about travel and adventure. The same goes for Fine Art. I find a lot of inspiration in getting to know new people, hearing their stories and personal histories, and learning about their cultures. The more I travel, the more connected I feel to all of humanity.
Impressionism: From Photography to Painting by Réhahn is available from his website: www.rehahnphotographer.com. Other books, including 100 Iconic Portraits and Mosaic Of Contrasts, as well as prints of his work, are also available from his website. Follow Réhahn on Instagram at @rehahn_photography
