That's what sets Karsten apart from other figure photographers, I think: he really does love his models. That lets him capture the love in them, whatever form it may take.
Two adjacent photos of Susanne I drive that home. The pictures face each other across a two-page spread, very similar in composition and in Suasanne's frontal, arms-crossed pose. The left-hand image shows handsome woman, as nearly all women are, seemingly marred by a C-section scar. The next picture repeats, except that she has a large infant or toddler in her arms, and she's smiling. The baby and smile create a whole new context for the scar: not a flaw, but a price paid or a living illustration to one chapter of her life.
Chris and Conny present a different love, a happy couple at ease with each other and with their closeness. Hildegard demonstrates self-love in its least platonic sense. Manu and others show maternal love, in their swelling state of mother-to-be. Anke and Lia show affection that's quiet and happily ambiguous. Carola and Katharina combine physical intimacy with Kama Sutra geometry.
Partly through his respect for the models, Karsten conveys his own affection quite clearly. With Alexandria I, he disrupts the myth of the invisible photographer - it's clearly a human interaction between the people on the two sides of the lens. Eva reminds us that graying hair is one kind of beauty, equal to the Mira's gamine youth. There's more, too, but words can't do justice to these wonderful pictures. They just have to be seen to be loved.