From fashion to photography: Natalya details what clicks with her

With more than 15 years of extensive background in the fashion industry working with luxury brands such as Louis Vuitton, Prada and Saint Laurent, photographer Natalya Urmanova has had a long innings in the UAE too. A resident of the Emirates for nearly two decades, she took a decision to leave fashion and take up photography. She describes why and how this happened. “The decision to leave fashion,” she says, “was in search of inner freedom and a desire to understand how I could live my life outside of someone else’s direction. I wanted to pave my own path fundamentally, based on my own vision.”

Happenstance made her reach out for a camera. “As soon as I looked through the viewfinder,” Urmanova says, “I was captivated by the ability to capture people’s emotions and stories inside a single frame. It was a portal where my vision and perception of the world, could be matched by a visual proof in the shape of a photograph.” It was a sensational experience. After initially resisting what she calls an “irrational idea”, she eventually embraced her destiny as a photographer.

Natalya Urmanova's people.

Not that she was a stranger to photography. She grew up as the daughter of a photographer, in a house with a darkroom, where her father mysteriously brought pieces of film to life.

Urmanova thought it was pure magic. “My house was full of film cameras, umbrellas, tests and prints of people who I felt lived with us — so vivid were the portraits that my dad took,” Urmanova says.

Drawn to the black and white aesthetics of classic era movies, she prefers b/w visuals. She recently presented her extensive collection of black and white portraits as part of her first solo exhibition, debuting in ME Dubai, the architectural icon designed by Zaha Hadid. The show was titled ‘Power of Seeing’ and Urmanova was mobbed by dozens of viewers and well-wishers on the occasion. She now frames her answers for Gulf Today

A portrait eyes the world.

Why do you like b/w photography?

It is purely intuitive, like all my work. Inspired by the golden age of cinema and such legends of portrait photography as Avedon, Irving Penn, Lindbergh, Rodney Smith and my father’s first b/w pictures, I guess there was not even a doubt when I converted my first image into black and white. I do portraits, where the essence of a person is captured. As a photographer, I feel nothing should distract you from the contemplation of an emotion that a portrait carries. A hero or heroine is the centre of it all.

What aspects of the UAE do you think are photo-worthy?

I like through my portraits, to record the invisible connection between a city and a person’s life. It’s interesting, but I haven’t photographed twice in the same place. A fishing harbour, Al Yaqoub Tower, unfinished facades, bridges, Zaha Hadid’s Opus - I always first close my eyes and see where this story of a hero best belongs to and what its inner state is. I call it “architecture of a soul”. The city becomes more alive when you perceive it through the life of every soul living here.

A portrait, close-up.

In your show, why did you focus on women mainly?

I guess it was my own need to explore the portrait of a woman. As a woman, I feel it is one of the most important divine missions.

In your eyes, women are powerful while men are only for decoration. Is this true?

You are probably referring to a ballet artist I photographed for ‘Power of Seeing’. I think the right definition would be not a “decoration”, but art. Because he is a piece of art by himself, in his professional absolute. Women are powerful indeed and represent perpetual beauty, like the values I keep.

Which is the camera you like best? Do you photoshop?

I have used Sony camera, and now Leica. But I am convinced it is not the camera which creates magic. I don’t photoshop; but l do use Lightroom for high contrast and b/w adjustments.

What are the challenges you have faced as a woman photographer in the Middle East?

Absolutely no challenges. Woman here is sacred.

Natalya Urmanova with her camera.

Do you like to use fantasy in your work?

I always do. All the shoots are driven by my creative direction, and I like to imagine my heroines in certain stylistics that better reflects their inner states. I guess my fashion background plays big role in this.

Your work seems staged than spontaneous. Can you please comment on this?

I do have street moments that I captured that are powerful. Most of the others are result of my interaction with a muse. I like to feel intense energy rather than just shoot suddenly. In my session, I get something sacred from my muse: she is ready to open to me most of the time, subconsciously. I look for that sincere yet grand beauty in each woman, so she herself can see it and embrace it.

What is the secret of your popularity?

Ha, ha, I don’t measure it this way! I have people with whom my vision resonates. I like to capture a woman who may not be trendy, but also not in the way of contemporary art, where truth is often shown through pain. I believe that as women, we are here to nurture beauty and love.