Mark Henderson: The Beautiful Male Image

July 1, 2025
JACK

Mark Henderson: The Beautiful Male Image

The identity of gay male culture, and really of gayness itself, is our deep fascination and admiration of the beautiful male form. One of, if not THE most popular and respected image-maker of male beauty is photographer Mark Henderson. Mark's photography has become almost a rite of passage for any gay male adult performer looking to share his image with the world. If you follow any part of the world of male erotica, you have encountered the work of Mark Henderson. His images have appeared in countless magazines and books, and websites. Now, in this exclusive interview, we learn how Mark created his signature style and how his artistry has recently gone international and may soon evolve into videography.

Photo courtesy of Mark Henderson

How is 2025 going for Mark Henderson? What is the latest?

2025 has been an unusual — and unexpectedly exciting — year for me. For most of my career, I’ve done the majority of my shooting at home in Texas, where I have full control over lighting, props, backdrops, and wardrobe. But this year, I’ve branched out and begun shooting on location, which has been both creatively invigorating and, at times, a bit daunting. Adapting to unfamiliar spaces without my usual tools presents new challenges, but it has also opened up fresh creative possibilities. That said, I’ve continued to shoot at home as well and have worked with some truly breathtaking models in Texas this year. The combination of familiar and new environments has allowed me to experiment with my aesthetic in new ways. I’m also in the process of assembling two new books, which I’m incredibly excited about — both will showcase some of my most recent work alongside images from years past that no one has ever seen.

Another major highlight of the year was receiving the Lifetime Achievement Award at the inaugural International Content Creator Awards in Puerto Vallarta. It was a sincere honor to be recognized by my peers, and an absolute joy to run into so many models I’ve photographed over the years. The entire experience was deeply affirming and reminded me how grateful I am to do what I love.

How has your photography been growing?

As I mentioned earlier, it’s been a fantastic year creatively. I’ve had the opportunity to work with some truly incredible models — a mix of established adult film performers and what I like to call “civilians,” or non-industry men who are just as compelling in front of the camera. Traveling has opened doors to collaborations I wouldn’t have been able to arrange from Texas alone. For example, I’ve recently photographed Ruslan Angelo from Sweden, MrDeepVoice from the UK, Mika Ayden from France, Diego Platano from Mexico, Victor Vivone from Brazil, and Marcus McNeill from Canada. These are performers I likely never would’ve had the opportunity to work with had I stayed home. I have a few more trips on the calendar this year, and I’m genuinely excited to continue expanding my portfolio with more international talent that would otherwise be difficult to bring to Texas.

Tell us about your journey to becoming an erotic photographer.

As a young gay man in the ’70s and ’80s, I would occasionally visit the gay bookstore in Dallas, flipping through magazines and admiring the nude pictorials. Of course, the models were great looking, but I quickly developed a fascination with the photography itself. I found myself gravitating toward the work of certain photographers, and I began imagining how I would shoot those same models: what lighting I’d use, what costumes, what mood I’d try to create. That creative spark struck early, and from that point on, I knew this was something I wanted to explore. But life had other plans for a while. School and career had to come first, and the idea of pursuing erotic photography seemed impractical at the time, especially without access to a darkroom or a way to develop that kind of work discreetly. So the dream was pushed to the back burner. It wasn’t until many years later, once digital photography made the process more accessible, that I finally gave myself permission to try. And once I did, I was hooked.

I began by photographing the go-go dancers who performed at local gay bars in Los Angeles. That’s really where it all started. On weekends and days off, I’d shoot whenever I could, slowly building connections with other artists and photographers in the scene. Not long after, I was approached by the publishers of Men, Freshmen, and Unzipped magazines, and I spent several years shooting layouts and covers for those publications. That work gave me invaluable on-set experience that laid the groundwork for everything that followed.

At around the same time, a scout for the distinguished German publisher Bruno Gmünder found my work, and they contacted me about producing a coffee table book devoted to my work. To be published by Gmünder had been an almost laughably unreachable dream. I had collected all of their books over the years, and I always hoped someday I’d be part of their roster of published photographers. Of course, I readily accepted their offer despite not having nearly enough images to fill a book, and I hit the ground running, photographing as many models as I could — which wasn’t easy in those pre-social media days, when fewer men were willing to pose fully nude and communication was far more labor-intensive.

Thankfully, that first book sold out quickly, and they went on to publish six more of my books over the years, along with featuring my work in a number of anthologies and magazines. Though the company has since dissolved, I’ve continued publishing my own books, now with the help of some very talented former Gmünder collaborators based in Berlin.

Photo courtesy of Mark Henderson Photography

Tell us about your background in art history studies.

Art has been a constant in my life for as long as I can remember. From childhood on, I was captivated by the visual art of various media (painting, sculpture, drawing, etc) and could spend entire days wandering through museums, completely absorbed. That passion eventually led me to earn a Master’s degree in Art History, and I went on to work for many years at a major art institution in Los Angeles. My academic and professional background gave me an extensive foundation in visual culture, from Renaissance painting to contemporary art. Interestingly, though, I rarely think about specific artists or artworks when I’m photographing. The influence is more intuitive than deliberate. But when I step back and analyze my images, I often recognize subtle visual echoes — the pose of a model recalling a figure from an Italian fresco, or the hand gesture of a model channeling something from a Gilded Age portrait. That kind of visual memory runs deep, even when it’s not conscious. Still, many of my biggest creative influences fall outside the traditional canon. I’m especially drawn to the mid-20th-century world of physique photography — Bruce of LA, Bob Mizer, Jim French, Fred Bisonnes, and early Playgirl Magazine pictorials. I also find endless inspiration in vintage fashion photography and classic Hollywood portraiture, particularly from the 1940s to the 1960s. The use of color, the styling, the lighting — all of it continues to inform the work I do today.

Do you think your background in art history and passion for Hollywood glamour influence your photography? How so?

Absolutely — I approach every shoot as if I’m photographing a movie star or a high-fashion model — just one who happens to be nude. That sense of theatricality, elegance, and reverence for beauty is something I always try to bring to the image. I’m especially drawn to rich, dramatic lighting, bold color palettes, and luxurious settings — all of which harken back to the golden age of cinema and mid-century portraiture. Those visual traditions shaped my eye early on, and they continue to influence how I frame my subjects and build atmosphere. At the end of the day, I want my models to look and feel like icons — powerful, sexy, and unforgettable.

How would you describe your style(s)?

To be honest, I’m not sure I have a clearly definable style — at least not from my perspective. I think that’s something better left for others to decide. I tend to shoot based on how I feel on any given day, what inspires me in the moment, and what I find visually pleasing. It’s a very instinctive, personal process. I don’t often think about the “big picture” or where my work fits into the broader genre of male nude photography. The images I create are first and foremost meant to satisfy my own creative drive — to produce photographs that feel beautiful, seductive, and memorable to me. If others respond to them, I’m always honored and thrilled, but the process begins with what pleases my own eye.

That said, I do feel a connection to the legacy of the male nude pin-up photographers from the 1950s and ’60s. In many ways, I see myself continuing that tradition — creating explicitly nude images that are both visually striking and unabashedly erotic. For me, the goal is to create work that’s not only aesthetically engaging but also a genuine turn-on.

Photo courtesy of Mark Henderson Photography

Do you have a process? Take us through one of your shoots.

When I first started out many years ago, I was incredibly meticulous — I would plan everything down to the last detail, from the costume to the backdrop. But over time, my process became much more spontaneous. These days, I really fly by the seat of my pants — and I love it that way. I often get inspired by what the models bring with them to set. Sometimes it’s a splash of color, an unusual pattern, or a bold piece of clothing that sparks an idea. I’ll pull items from my own costume closet and mix them with what the model has brought, and somehow, it just clicks. That blend of improvisation and collaboration often leads to something unexpectedly magical. A big part of the fun is working together to piece it all together — choosing props, textiles, and backdrops that help us tell whatever story we want to tell. It’s a very fluid, creative process, and it’s almost always a fun time.

How do your models respond to this process? What do you want most from your models?

I always hope models show up feeling confident and looking their personal best, whatever that means for them. I don’t expect them to come in with a ton of posing experience; in fact, most of them don’t. What matters most to me is that they arrive with an open mind and a willingness to listen, because I do give a lot of direction during a shoot. One of the things I take the most pride in is hearing from models after the fact, telling me that something they learned during our shoot stuck with them. Maybe it was a certain pose or angle that really flattered their body, and they were able to bring that to another set. That, to me, is incredibly rewarding. I’m thrilled when models come away from my shoot with a better understanding of how their body photographs — what poses, expressions, and movements best highlight their features. If they leave feeling more confident and capable than when they arrived, then I’ve accomplished something beyond just creating a good set of photos.

Do you have ambitions to do videography in addition to your still photography?

Yes — and in fact, that may be my next major goal. I’ve been thinking a lot about how erotic content is filmed, and I have some strong opinions about it. One of my biggest frustrations is how often performers are directed to move too quickly, with an emphasis on time management rather than human connection. The focus seems to be on racing to the finish line, rather than letting real intimacy develop on camera. To me, sex on film should be something that’s savored. So much is lost when things move too fast, sometimes even before the camera has a chance to fully capture what’s happening. I’d love the opportunity to explore filming in a way that feels more sensual, deliberate, and emotionally connected — something that mirrors the pace and elegance I try to bring to my photography.

Tell us some more about you. Interests? Hobbies? Beliefs? Who is the real Mark?

I always joke that I have the greatest job in the world — so who needs a hobby? [laughs] But in all seriousness, outside of photography, I read a lot and still stay deeply engaged with the art world. That part of me never went away. I’m also a huge fan of classic Hollywood films and love documentaries, especially those that dive into historical figures and events, with a special interest in gay history and the history of photography.

And yes, I’m a true gay at heart — a devoted musical theatre lover through and through. I have a deep appreciation for classics like Gypsy and Follies, and I’m equally obsessed with mid-century pop vocalists: Frank Sinatra, Ella Fitzgerald, Sarah Vaughan, and of course… Judy Garland. That kind of music and storytelling has a richness and emotional depth that still resonates with me, and honestly, probably influences my work in ways I don’t even realize.

I also have a serious love for ’70s and ’80s disco — it’s fun, bold, and full of energy. I often play it on set while photographing models. It sets a great tone, loosens everyone up, and adds a bit of playful glamour to the whole experience. That vibe — joyful, sexy, a little nostalgic — is very much part of who I am and what I try to bring into my work.