Natasha Zubair’s photography is deeply observant, the kind of images that notice emotion in the smallest gestures and those ordinary, overlooked moments. Having lived between London, New Jersey, and Lahore, her work carries the perspective of someone shaped by multiple worlds at once, intimate yet detached, polished yet emotionally raw.
Over the past decade, Natasha has built a visual language that moves between fashion and portraiture, balancing precision with vulnerability in a way that is entirely her own. A graduate of the National College of Arts (NCA) and former Creative Head at Beechtree, she has spent years creating images that feel less like posed photographs and more like moments suspended in time. Now living in New Jersey again, Natasha speaks to FLWL in this exclusive conversation about identity, reinvention, illness, creativity, and why she’s been “craving unfamiliarity” in both life and art…
You’ve lived between London, New Jersey, and Lahore from a young age. How have these shifts shaped the way you see, and photograph, the world?
Each place has shaped me in a completely different way. Growing up, I didn’t feel strongly connected to a Pakistani identity but living there for so many years gave me a deep sense of pride in my roots and culture. Now, being back in the US, I feel more grounded and confident because I truly understand who I am and what I bring with me. That perspective naturally reflects in my photography, I’m drawn to nuance, emotion and the in-between moments, because I see the world as layered and complex, never just black and white.
Your work spans both fashion and portraiture. What draws you to these two forms, and how do they differ in the way you approach them?
They sit on completely opposite ends of the spectrum, which is exactly what draws me to both. Fashion really scratches my perfectionist itch. It’s constructed, intentional, and highly detailed. I love being on set, refining every detail and building an image that feels clean and precise. Portraiture, on the other hand, is much more raw and emotional. It’s less about the actual image and more about the experience leading up to the image. The conversations, the connection and the moments shared between me and the subject are what truly shape the photograph. I genuinely enjoy both, they balance each other out and allow me to explore different parts of myself creatively.
Portrait photography often requires a level of intimacy and trust. How do you create that connection with your subjects?
I think being naturally talkative really helps. I’m not always the most confident person but something shifts when I have a camera in my hand. I’ve seen even the most confident people feel vulnerable in front of the lens and I’m very aware of that dynamic. I try to use that moment to step into confidence, connect and really get to know the person I’m photographing. It’s all about building trust with your subject.
Fashion photography can sometimes feel staged, yet your work feels very alive and personal. How do you maintain authenticity within a constructed setting?
I’m honestly surprised to hear that because I’ve always felt the opposite about my work. I don’t think authenticity is something you can really plan for, it’s either there or it isn’t.
What has it been like being in New Jersey, do you feel you’re starting over in a way?
It’s strange being back in my childhood home. I’m at a point in my life that would’ve been completely unrecognizable to my 15-year-old self, who once left it all behind to move to Lahore. In many ways, I am starting over but I feel grateful for the opportunity and the growth that can come from it. I think I was craving a sense of feeling alive again and sometimes that means walking through fire just to feel it.
What kinds of stories or people are you most drawn to photographing right now?
Anything and everything new. I’ve been craving unfamiliarity for a while now and I’m most drawn to people and stories that feel different from what I already know, things that challenge my perspective and pull me out of my comfort zone.
What has been one of the most defining or memorable moments in your career so far?
I think it was the very first shoot I ever did. It set everything in motion for me and made me realize this was something I didn’t just enjoy but really wanted to pursue seriously.
How have you dealt with challenging clients? The photography business isn’t easy, I’m certain, particularly wedding photography. Do you think it has been stressful at time?
It’s definitely been stressful at times but I think that’s true for any people-facing field, especially weddings. You’re constantly managing emotions and high expectations in real time. I’ve learned to stay calm under pressure and focus on solutions in the moment. I also have a strong support system that helps me decompress afterward, which I’m really grateful for.
Photography often asks you to be present. Has your personal journey made you more attentive to certain emotions, details, or energies in a frame?
Absolutely. I think I naturally become very present when I’m behind the camera, almost to the point where I forget everything I’m personally going through in life. I’m a very hyper-aware person so I’m always reading the room, noticing body language, and responding to whatever is unfolding in real time.
Natasha, only if you feel comfortable, how has your experience with lupus impacted your outlook, both personally and creatively?
Since my lupus diagnosis, I feel like I’ve changed a lot as a person. I don’t share this often because it can feel a bit heavy to others but I’ve become much less afraid of death and more accepting of how temporary life really is. It’s made me detach from a lot of material things and not stress over the small stuff the way I used to. I even find myself slightly amused when I notice people getting caught up in things that, in the bigger picture, don’t really matter. Physically, it’s been something that has consistently affected me and at times held me back. With an invisible illness, it’s also not always easy for others to understand what I’m going through in a given moment. I’ve had to learn a lot of grace with myself in my 30s – resting when I need to and no longer pushing through the way I used to because I know what it costs me afterward. I’m still very much living with it rather than fighting against it and I’m just grateful that I’m able to continue working and creating for as long as my health allows me to.
You describe your photography as capturing the joy you feel in the moment. How do you translate something as intangible as joy into an image?
By making people feel comfortable in front of the lens. A big part of being a photographer is creating an environment where people can truly be themselves. Once that happens, joy stops feeling abstract and becomes something visible and honest. My role is simply to recognize those moments and preserve them in a way that stays true to how they were experienced.
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