Mateo de la Rioja

Millie

2025-11-22T13:14:24+00:00

On a recent weekend, during a cold, rainy, and foggy November morning, Millie and I got together at her place for this photo shoot. We worked with what little natural light there was, embracing the cooler tones against the warm scene.

You don’t have to look too hard to notice that Millie is not only a horror buff, but also a great model to collaborate with.

Some Thoughts on the Craft: A Recent Interview

2025-06-08T12:03:09+00:00

It has been some time since I last did an interview, but Shunga Gallery recently reached out with some questions about my work, and I thought it would be a good opportunity to talk a bit more about my process, influences, and how I approach this genre of photography, among other things.

You can read the original interview as it appeared on their site, but I have also shared my full responses below.

How did your journey in photography begin and develop towards the erotic genre?

You know, for millennia, as a species, we’ve been striving to create technologies that allow us to freeze time, to hold onto visual representations of specific moments, of certain occasions. We started by painting the shadows of lovers on a wall, and that drive has evolved to where we now have photography. To me, that’s almost like a magical superpower, isn’t it? We’ve achieved this incredible ability to do what we’ve been trying to do for thousands of years.

And with any superpower, you think, ‘Okay, if I had this, what would I use it for? What moments would I want to revisit?’ For me, it was always clear, right from the start, that high on that list would be those private, intimate moments of eroticism. So, in a way, the idea was always there. The actual first opportunity to explore it came within the context of my personal relationship. My partner was truly foundational in allowing me to start that exploration.

Can you describe your first session and any stereotypes or preconceptions you observed within yourself?

It’s true that as a photographer, especially early on, you can get really wrapped up in the technicalities – aperture, ISO, lighting, the pose. Your attention is pulled towards getting the shot right. It’s easy to forget that there’s a human being in front of the camera, someone who might be feeling quite vulnerable. So, a key thing I learned is the importance of getting out of your own head a bit during a shoot, to really connect with the person you’re photographing.

How do you help models feel confident when you photograph them?

Professionalism is paramount. Clarity is key. Both the model and I need to have a solid understanding of the vision for the final images. I really value an open line of communication; I see these photoshoots as collaborations, a chance to bring different perspectives together. Practically speaking, showing them a couple of shots straight out of the camera during the shoot can be incredibly effective. When they see how it looks from my end, often something just clicks for them, and they go, ‘Oh, wow, okay!’ It builds trust and helps them connect with the process.

When preparing for a photoshoot, what steps do you typically take to create a mood?

I like to have an exchange with the models beforehand. We’ll look at examples of aesthetics they’re drawn to, whether it’s the setting, props, specific scenes, or an overall vibe. Again, it goes back to that collaborative approach. We bring different elements to the table and come to an agreement on how to best approach the shoot and achieve the mood we’re aiming for.

Which artists and photographers do you find inspiring?

These days, I find myself going back to the classics. I really enjoy the work of Nobuyoshi Araki, for example. Helmut Newton’s work is also a constant source of inspiration. And I also like to revisit photographers who inspired me early on. Clayton Cubit, especially his work for Nerve back in the late 2000s, was really foundational in sparking that initial interest and curiosity in me to explore this genre more deeply.

Have you faced criticism and how have you grown as a result?

I think it’s crucial to connect with the right audience when you’re creating this type of work. It’s important to understand and respect that not everybody wants to be exposed to certain types of photography, certain levels of eroticism, or nudity. What I’m most interested in is the movement towards less centralized media, where artists have more direct pathways to find the people who appreciate their specific vision. It’s about finding your tribe, so to speak.

Which camera do you typically use, and what aperture, filter, or settings do you favor for creating a specific mood or emotional effect in your photographs?

I’m a bit of a Luddite when it comes to gear, actually. I primarily use a Canon Rebel camera, probably from around 2009, and a “nifty fifty” – a 50mm prime lens. Those two have been my main tools. I think that speaks to my overall approach, which is fairly minimalistic and less focused on having the latest technology. It’s more about the connection and the moment.

Could you share your views on pornography?

I’m always mistrustful of attempts to create rigid boundaries around what’s acceptable or not, especially when trying to apply objective criteria to things that are inherently subjective. Often, what we find is that certain terms are imposed through various structures of power, and I think ‘pornography’ is a prime example of that. It’s frequently used in a derogatory way, to dismiss work as unworthy, certainly not worthy of being considered art.

Ultimately, it often comes down to imposing one’s views on others. I think the term itself needs to be reinvented because it carries so much negative baggage. It’s more productive to talk about the intent, the artistry, and the connection within the work itself, rather than getting bogged down in labels that often serve to shut down conversation rather than open it up.

Jazz

2024-05-01T20:04:08+00:00

Last summer, during a trip to Toronto, I managed to squeeze in a last-minute photoshoot with Jazz. When she reached out to me, she explained her reasons for wanting to do a shoot. In her words:

“I have struggled with body image issues most of my life. Through this photoshoot, I want to see how beautiful my body looks and it will help other women like me to get validation of their bodies.”

While these photos only scratch the surface, I am glad I got the chance to work with Jazz.

Zoé

2022-10-28T17:30:50+00:00

These nude portraits of Zoé Meyer were taken 10 years ago at her home in Montreal. I have previously shared some images from this set in social media, but I am publishing them here for the first time. To mark the occasion, I have given them a new coat of paint, and I am also publishing some previously unreleased photos from this photo shoot.

Lark: coda

2022-06-03T18:36:58+00:00

As I have done in the past (e.g., “Chloe: coda”, “Machinist: coda”), I am releasing another one of my “codas”—a second set of photos from a previous photoshoot—in this case, from my photoshoot with Lark.

Early Work

2021-11-26T19:28:32+00:00

A while back I added a new gallery featuring a selection of my early work. "The Garden" series is comprised of photographs dating back to the late 2000’s, and includes some previously unreleased work. It has taken some time, but I am now publishing in this blog some additional images from this series.

The photographs from “The Garden” were first published years before I built this website. The internet is an ephemeral medium, and some of the images that I published early on have, for better or for worse, mostly disappeared from the web (Tumblr’s porn ban played a large part in that). Giving them a home here is part of an effort to curate and preserve some of those photos.

Going through my early catalogue was also an excuse to do a bit of gardening: cropping a little here, shifting some tones there, etc. Most of these photographs were created using rudimentary tools, including a poorly calibrated monitor, so this was an opportunity to compensate for the technical limitations of the equipment I used at the time.

Here are a few additional selections from the garden.

La Fertilidad

2020-08-20T14:09:01+00:00

“Encuéntrame en el Parque de la Fertilidad a las cinco”, le había dicho a Beatrice en medio del ruido. Para llegar, había tomado un bus por la Avenida de los Urapanes, dejándolo en la entrada femenina del parque. En el otro extremo, se veía el imponente perfil del enorme falo, la textura de la roca invisible por la distancia.

Atravesó la vulva de piedra, sin poder evitar mirar hacia atrás, y tomó el conocido camino de las musas. Al llegar a la Fuente de los Amantes, quiso beber un trago de agua, pero para su decepción, la fuente estaba seca. Aún sediento y tratando de ignorar el augurio, prosiguió su camino hasta llegar al extremo masculino del parque. Cansado, apoyó su espalda contra el falo.

Es difícil decir cuánto tiempo pasó, pero desde su llegada, la sombra del falo se había trasladado lentamente de un lado al otro del suelo, marcando el pasar del tiempo como un reloj de sol. Ahora el viento traía retazos desechados de papel con inscripciones hechas a mano; una serie de versos escritos sobre el otrora calendario lunar que servía de folleto para los visitantes del parque. No fue necesario mirar dos veces para reconocer en ellos su puño y letra.

Fue entonces cuando comenzó a llover. Al principio, los truenos en el cielo solo habían logrado conjurar unas pocas gotas, pero lentamente, la tormenta se había erguido sobre su cabeza, escupiendo tanta lluvia que parecía que cayesen chorros. Resignado, abotonó su gabardina y comenzó su camino de regreso. Beatrice no había venido hoy tampoco.

Chloe: coda

2020-04-07T18:56:34+00:00

Experience has taught me that creative projects are rarely truly finished; rather, they most often simply get abandoned at some point. Deadlines, whether self-imposed or not, can be great for stimulating the creative process by limiting the canvas of choices. However, there is also something to be said for taking time away from projects, and approaching them with a fresh eye. Often, while looking at old photos, I discover gems that had previously gone unnoticed. Similarly, I sometimes question my previous creative choices, and come up with new ways of approaching the material.

This is what happened with the images from my photo shoot with Chloe, which resulted in a new series of photos titled “La Bruma”.

Ripples

2020-03-31T18:42:34+00:00

In 2015, during an unforgettable road trip that took us from California to Arizona, Utah, and Nevada. Along the way, we stopped in Lake Powell, where this set of underwater nudescapes was shot.

Thread

2019-10-21T23:49:52+00:00

Ropeybunny, Kosmick, and I got together in the cheapest and smallest motel room we could find to document one of their rope sessions. The poor light, mixed lighting conditions, and tiny space made this a challenging shoot, but it was nonetheless a blast to photograph these two doing their thing.

Cat

2019-07-09T22:07:29+00:00

Catalina had a list of things she wanted to do before reaching an important birthday, and lucky for me, one of them was having nude photos taken of her. This set was shot in her Los Angeles apartment during a sunny April morning. Happy (belated) birthday, Cat!

Updated on September 25, 2019 with some previously unreleased photographs.

Bond

2019-02-21T03:45:42+00:00

Chloe

2018-10-22T01:40:33+00:00

A few weeks ago I received the following message from Chloe through my website:

I’m 22 and looking to build a portfolio. I looked through your gallery and your work really captivated me. I’d love to do some boudoir photography with you.

I’m glad I had the opportunity to collaborate with Chloe to create this set of photos.

April 2020 update: I have released a new set of photos from this photo shoot titled “La Bruma”.

High-Rise: coda

2018-09-14T20:43:00+00:00

I had the great pleasure of photographing the amazing Christiana Cinn and her friend Stephen in downtown LA. I released the first set from that photo shoot a few days ago, and I am excited to share the second set now.

Anna and Austin

2018-06-16T01:46:02+00:00

Anna and Austin welcomed me to their home in Los Angeles a few weeks ago and invited me to photograph them in the privacy of their bedroom. Below is how Anna described her vision for the shoot:

Basically, we’d like to do a shoot that focuses on the intimacy and connection of a relationship, both sexual and non-sexual. We’re also into BDSM, so perhaps that could play a part as well? Not by bringing loads of gear, or anything like that, but just by incorporating some shots that showcase his physical dominance, or the simple fact that he is significantly bigger and stronger than me. That’s something I’ve always really liked about the BDSM aesthetic, that there is the capacity for real hurt, but even when Austin does choose to hurt me (within the confines of “playing”, of course!) it’s coupled with extreme tenderness and care.

It was a pleasure being able to document this aspect of their relationship with my camera.

Interested in working with me? Get in touch!

Lark

2018-04-10T19:23:14+00:00

I’m excited to share the results of my recent photo-shoot in Downtown Los Angeles with Lark Terry!

Bonus GIF:

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Sexting

2018-02-02T13:37:03+00:00

Foreplay in the age of telespresence.

Machinist: coda

2017-12-28T10:58:03+00:00

Some previously unreleased photographs from my photo-shoot for the “Machinist” series with Miranda Scott:

Quite Lovely Interview

2017-12-11T00:21:59+00:00

Back in 2015, some of my photographs were published in Quite Lovely, issue two of the Quite Delightful Project's magazine (though at over 300 pages I think it would be more aptly described as a book). At the time, I was sent some interview questions to be printed with my images. To inaugurate this blog, I am publishing the full unedited interview for the first time below.

When did you start shooting erotic photography?

I discovered photography at an early age, but it was only about eight years ago that I started exploring this particular subject, which would not have been possible without the complicity of my partner, who is not only my muse, but also my main subject.

What is it about the human form that interests you?

I have a fascination with making private things public. I enjoy being able to uncover the stories that the human body conceals, and convey the innocence, desire, endearment, and vulnerability that I find in them.

And what do you try to achieve when you set out to create erotic photography?

The photographs that I appreciate the most are the ones that engage me on a psychological and emotional level. It’s the images that make me reflect upon my fantasies and desires that I find most rewarding. That’s what I strive to achieve when I shoot, although I can’t say that I always succeed.

At what point does a nude photograph become an erotic one?

Personally, I believe that tracing a line to differentiate the two is often done in an attempt to separate what is deemed vulgar and pornographic from what is considered art. Engaging in that discussion can alienate certain types of art and help enforce a kind of aesthetic that often reflects the taste of an influential minority.

There are a number of photographs in this essay that are shot with a Polaroid camera. Why did you choose this mode of shooting? How does it differ to using a digital camera?

The introduction of the Polaroid camera made it possible for many people to have access to their own intimate images without the need for any intermediaries. As such, the medium is largely responsible for bringing amateur photography into the bedroom. In that sense, images shot with a Polaroid camera have an important symbolic value, and evoke an important aspect of the history of the genre.

From a technical point of view, Polaroids have a tendency to produce unexpected results. When you have access to tools that allow you to transform images at the pixel level, it is nice to let go sometimes and leave the door open for serendipity.

Are the couples in your photographs hired models or actual couples?

Actual couples! Intimacy and complicity are the main ingredients of my work; I could never simulate that successfully in my images, nor do I have a desire to do so.

What do you look for in a potential model?

Enthusiasm, an open-mind, and some degree of creative affinity.

To what extent do the models play a part in the overall image-making process?

My partner, in particular, is heavily involved in the image-making process, from the initial conceptualization of the image, all the way to coming up with a title for the final photograph. Other models that I have worked with also bring invaluable ideas and suggestions to the table.

Your images are both frank and forthright in their treatment of sexuality, something that we celebrate at Quite Lovely. Do you think that explicit representations of sex are important in creating erotic photography?

I photograph explicit representations of sex because I find it aesthetically enthralling. The kind of movement, shapes, balance, and emotion that can be captured by photographing lovers is quite unique. Moreover, creating these images allows me to reflect upon my fantasies and desires; as such, they constitute a great exercise in self-exploration.