Profile: Réhahn

Australian Photography: How did you get started in photography?

Réhahn: I was first inspired by a colleague when I was working in printing back in France. I’ve always had a thing for real cameras over smartphones—I guess you could call it part of my old soul. Seeing his photos from a trip he’d taken was what finally pushed me into amateur photography. Then, when I took a trip to Cuba, that’s when I really started experimenting.

At first, I was more of a traveller with a camera than anything else, but I quickly realised that the real interest for me wasn’t just the places, it was the people I met along the way.

From that moment on, I couldn’t stop. I started taking as much time off as I could to travel and capture the world. Photography became this amazing way for me to connect with people on a deeper level and share stories that words just can’t quite convey.

AP: What made you think it could be something you could earn a living from?

R: In the beginning, I wasn’t really thinking about photography as a career. My focus was just on documenting the incredible cultures I came across while travelling. But a few things shifted—not the goal, but how I viewed my work.

An early photo I took of a little girl in Peru ended up winning a photography contest, and another shot of a man smoking in Vietnam got picked as an Editor’s Choice by National Geographic.

Then, of course, there was the portrait of Madame Xong, The Hidden Smile, which really connected with people and was published all over the world. I’ve always thought of her as my muse and one of my closest friends.

Once my work started getting noticed, I realised there was a genuine interest in what I was doing. Collectors started reaching out, journalists took an interest, and over time, it grew into something much bigger than just a passion project. Though, it must be said, that even after all of these years, my artistic passion is still there!

AP: You’re known for your striking images of people. What is it that draws you to photographing people?

R: People fascinate me. There’s so much depth in a person’s face, their eyes, the way they carry themselves. Every person has a story, and I love the challenge of trying to capture a little bit of that story in a single frame.

I’ve always been a big lover of classic French literature and I think the stories of Victor Hugo and other authors gave me a sense of the depth of experiences that might hide behind a person’s face.

The connection I get when I photograph someone feels almost sacred—it’s a brief but profound exchange between two people, and I think that’s what draws me to it.

AP: What do you look for in a subject?

R: I look for authenticity. I want to photograph people who are comfortable in their own skin, who have lived a life with stories to tell, even if they don’t use words. Sometimes it’s a certain look in the eyes or a quiet strength in their expression.

It’s not always easy to explain, but when I meet someone, I just know when they have that special something I want to capture.

I can’t fully define what draws me to one face rather than another but I know what I’m not looking for. I’m not interested in photographing youth in a way that portrays beauty in a stereotypical fashion. I don’t want to make work that resembles advertisements for anti-aging products.

I love wrinkles and asymmetry. I love talking to people who have lived through something and artisans who have knowledge to share. Experience makes its marks on us, and that is what I find to be beautiful.

When I photograph children, in contrast, it is their lack of experience and complete openness to the world that inspires me.

AP: Talk us through your process of photographing a subject. How do you build a rapport and get your subject comfortable behind the lens?

R: The relationship with the subject starts long before I even pick up the camera. I spend time with them, learn about their lives, their culture, their passions. There’s no rush. It’s important for me to understand them and for them to feel comfortable with me.

By the time we start shooting, it’s not really about photography anymore—it’s about trust. I like to show them the images as we go along so they can see how I’m portraying them. It’s a collaboration, really.

The process differs depending on the style I’m using. For my Precious Heritage Project, the lead-up to the actual portrait takes 20 times longer than the photograph.

There was always preliminary research and usually extensive discussions with the elders or chiefs of the villages, before finding and photographing a subject.

My portraits were typically of either the oldest members of the communities or artisans who owned some of the last examples of their traditional garments.

So just imagine the stories they had to share!

In Cuba, I usually walk around with a few cigars in my pockets and simply find people I would enjoy sharing a smoke with. We sit and smoke and talk and maybe a photo or a friendship comes out of it. When I photograph kids, the process is different. I play with them, let them see the images on the digital screen, and just keep things light.

Finally, for Impressionism, because the images are blurred and we can’t usually see the features of the subjects, I typically photograph farmers or artisans as they go about their work, so that it remains as natural as possible.

AP: There are many photos on your website of you with your subjects, showing them the photos you’ve captured of them. Why is this important?

R: It’s a way of giving something back. Often, the people I photograph don’t have access to cameras or might not have seen a photo of themselves in such a personal, detailed way.

It’s not just about taking something from them—it’s about making a connection and sharing the experience together. That mutual exchange is essential to my process.

AP: In an era of social media and connectivity, are people still as open to be photographed today, compared to when you began?

R: I think it depends on where you are. In some places, people are still very open and even excited to be photographed. In others, the constant barrage of cameras and social media has made people more hesitant. But for me, it’s about building trust and being respectful.

I always make sure my subjects know why I’m photographing them and how I plan to use the image. That kind of transparency goes a long way in getting people to feel comfortable.

One thing that makes me sad, however, is how certain people abuse that trust. There have been cases where people have tried to find the exact same subjects to photograph but without the relationship behind it. That is when it becomes invasive and disrespectful for the person in the image.

AP: Tell me about your new book 100 Iconic Portraits. Why now, and how did you refine the selection down that made the final 100?

R: The idea for my book began just before the pandemic. The idea was to create a collection that not only celebrated diverse cultures, but also captured the connections I’ve made with the people I’ve photographed.

The pandemic gave me the time to reflect on these connections and stories and how much they meant to me, which made the choices feel even more significant. It is an understatement to say that this book was years in the making—my whole career up until this point, really.

As for narrowing it down to the final 100, that was no easy task. I’ve taken tens of thousands of portraits over the years, and each one has its own unique story.

But ultimately, I focused on the images that had the strongest emotional pull—portraits that, for one reason or another, stayed with me long after I took them.

This is what made them “iconic”, for me. It wasn’t just about technical perfection; it was about the connection I felt with the subject and how that connection translated into the final image.

AP: From all the images you’ve captured, what’s your most memorable photo?

R: That’s a tough one. There’s one portrait that always stands out—The Hidden Smile of Madame Xong. She was 74 years old when I met her in Hoi An, Vietnam, and her smile, hidden behind her hand, became iconic.

There’s something about her shyness and strength combined that resonated with people all over the world. That photo changed everything for me. It connected with people in ways I never expected, and it’s still one of the most meaningful images I’ve ever taken.

AP: What gear do you use?

R: I use a Canon R5 for most of my work. It’s reliable, and it gives me the image quality I need, especially when I’m working in low-light conditions. I typically use an 85mm F1.4 for portraits, but I’ve also been using a 70-200mm F2.8 for my impressionist photographs.

But honestly, it’s not so much about the gear. I think the most important thing is how you see the world through the lens, not the equipment itself.

AP: What’s your hope with your photography?

R: I hope my photography can serve as a bridge between cultures and time periods. I want to inspire people to appreciate the beauty and diversity of humanity.

If my work can spark curiosity, compassion, or even just encourage people to question things, then I feel like I’ve done my job. ❂