| I was born in Germany in the heart of the Ruhr-district in 1951. In 1985, I already wanted to create the kind of erotic photography I do today, but the time was not ripe for it then: I didn’t find any models who were willing to work out particular photographic interpretations together with me nor did I evoke any viewer’s comprehension. At that time, not having been very successful for five years, I decided to quit my photographic work entirely. |  |
Ben Marcato
I was born in Germany in the heart of the Ruhr-district in 1951. In 1985, I already wanted to create the kind of erotic photography I do today, but the time was not ripe for it then: I didn’t find any models who were willing to work out particular photographic interpretations together with me nor did I evoke any viewer’s comprehension. At that time, not having been very successful for five years, I decided to quit my photographic work entirely.
After 10 years of total photographic "abstinence" (I even refused to take holiday pictures for remembrance) I again started to pursue that special issue in the year 2000, because there was something left undone in my life and I longed for its completion.
Today I really feel young peoples´ desire to present themselves in an erotic way—just to document their independence, freedom and autonomy again and again, durable and everlasting.
I am deeply dedicated to love and eroticism because I am convinced there is no other field of activity where people set free so much emotion and feeling. It is the number one subject for people and absolutely essential for their life.
My photos stand for my individual perception of contemporary and modern erotic photography. It develops itself out of my inner self based on intuition concerning the instant and also based on a profound interest in people’s lives and behaviour, especially in my models’ lives. During every single photo shoot, I have the same tantalizing question: Do the models remain themselves in front of the camera, or does it change them, maybe even bringing to the fore criterias and behaviors that were unknown to the models themselves before we started.
Furthermore, I am fascinated and provoked by developing and retaining moods and instants, which by far exceed classical posing in terms of impressiveness and emotions. Neither model nor photographer know right from the start where and how far we will be led. This way of working with the models spontaneously develops a dramaturgy of its own.
My photos are never staged—they are moments of time and reflect a real situation. They tell erotic stories and reveal moods, emotions and elusive instants. They become everlasting. Maybe I could characterize myself as a reportage photographer of erotic moments.
