Turning back the pages in the album of his life, the photographer Rainer Ehlert born in Mortsel, Belgium, in 1953 and today living in Mexico City remembers when his father gave him his first camera, an AGFA ISOLY using format 120 films with negatives measuring four centimeters in length and width.
Since then and up to the time when, because of his work, he had to travel to various continents, he considered that the activity developed through the lens of the camera was defined as a mere pastime. A curious case, as much as it is for some other photographers scattered here and there: in the first place, passing time with the help of a device whose mission is capturing instants; and, anyway, in capturing instants we kill time.
But the history was not going to stop at this point. 
When time had come, what was due to happen happened - after all, ?time kept passing? -, namely the conversion of a pastime into a ?career?, a term which refers to a new apparent contradiction: the career of capturing instants. However, with a clearly defined orientation which led this photographer among other themes of human expression, achieved in a beautiful way to becoming the paparazzi of Nature, a hunter of images not any longer of European nobility, but of their majesty, the scorpion in the desert, surprised, pondering under his stone; the grand heron
, lifting up his white wings to fly, the jet set of insects in a reunion of plant lice on a green branch, and others.
After numerous exhibitions in the Mexican cities of Puebla, Cholula, Mexico City and San Luis Potosí, not counting participations in Internet events, Rainer Ehlert keeps on taking pictures wherever he goes with his by now inseparable CANON, steeling time from other occupations not in order to kill it or label it with the term ?pass?, but to project to the 
world from Mexico onward images of a universe often unnoticed or ignored, most of all because of the urban egocentrism.
From a terraced roof, in a garden, from the sidewalk to the central reservation, behind a fence, from his van or at the side of a road we can find him in practically every place repeating once and again this peculiar click which unites the present with the 
past. Another great difference to the original paparazzi is that Rainer Ehlert´s photographs do not shape and are not inscribed or incorporated in family trees of some possible future noble or royal families: they are part of the common trunk of beings who have in common the existence, and who, at times, - due to what is commonly called the pillaging of the planet represent the bitter and at the same time sweet memory in life of what exists today and tomorrow ? Who knows ?.....