Sasha by Uranov

Sometimes a fresh eye behind the lens of a camera can reveal things you’d never before imagined. We’re proud to introduce Uranov, here with the perpetually adored Sasha.

We’re delighted to bring something new. We’re delighted to introduce you to a photographer who we’ve been boundlessly pleased to discover. We’re delighted with the work of Uravnov.

This talented new photographer has an eye for composition and a sense of light that you’ll be thrilled by. He’s chosen, for his first submission, the beautiful young Sasha. She’s been featured on Met Art before, but thanks to Uranov’s inventive new eye, you’ll see her here as you’ve never seen her before. You’ll see her as an object d’ art. You’ll see her in her entirety. Uranov has photographed her in two striking setting. In both, though, it’s the model who is highlighted. Uranov knows precisely how to encourage his women to pose for the maximum enjoyment of both subject and viewer.

It’s easy to see. The first images of this series feature a reclining Sasha, her body posed in the manner of those nudes painted by the greatest artists of the past. She relaxes languorously in various positions, one leg upraised, her head thrown back. Her expression is unreadable, and it is this hint of mystery and intrigue that truly establishes Uranov as an artist well worthy of this site. The contrast in these glittering first shots is stunning: the pitch-black darkness is lit only by the glow of Sasha’s pale beauty. These images are remarkable.

Uranov, though, is not content to stop at one sort of arrangement. Sasha is put on a literal pedestal, perched prettily atop a fabric-draped square. Here there are no shadows to hide her, yet she remains as comfortable as she did in repose. Here, though, she is available, her face and figure open for the taking. Uranov obviously knows how to put her at ease.

The best - dare we say it? - are saved for last. Uranov uses his studio expertise to shoot an entirely nude Sasha, her only prop an at-first surprising wood-framed stool. This allusion at portraiture could not be more perfect, though, as Uranov plays with elements of art, figure photography, and portrait shots. The end result is brilliant. Sasha’s body, arranged in various configurations atop an innocent stool, is treated by the camera with devoted admiration. The symmetry of her perfect breasts, the spread of her long legs, the mischievous glimmer in her eyes . . . these are all carefully attended to. Uranov has left nothing to change. You’ll love the results.

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