For Danil Usmanov, documentary photography is more than just art. Through his lens, he captures the atmosphere of Kyrgyzstan, focusing on everyday life, people, and the unnoticed changes happening around us.
In an interview with 24.kg, Danil shares his journey in the world of photography and discusses the challenges documentary photographers face today.
— What inspired you to become a photographer?
— While resting at a sports camp, I was involved in athletics and first picked up my brother's flip phone. I took photos with it, experimenting with settings, although I didn't notice any significant changes. When our coach asked about my dreams, I unexpectedly declared that I wanted to become a photographer. He lent me his camera and asked me to take some pictures with our athletes. Later, my parents gifted me a camera, and I started shooting at school and everywhere I could.
— When did you start practicing photography professionally?
— The problem was that there was nowhere to learn professional photography skills. I looked for photography clubs and found a children's creativity center. Classes were held twice a week, and one day they brought magazines and asked us to choose a photo series we liked. I was struck by the black-and-white images depicting a miners' strike in Donbas. I didn't know how it was shot, but I was told it was documentary photography. That's when I realized I wanted to pursue this.
My father often bought the newspaper "Evening Bishkek," and I was interested in studying the photographs and articles. I was impressed by how one photograph could completely convey the essence of an event. I went to the editorial office of "Evening Bishkek," met Vladimir Pirogov, who was then in charge of the illustration department, and asked for an internship. I showed my work for several months.
One day I was offered to go on a shoot by myself when everyone in the department was busy. I was very nervous, but despite that, I continued to get invitations. Soon I received a freelance correspondent's ID, and all evening and weekend shoots became mine. That's how I started working in photojournalism while simultaneously finishing a documentary photography school.
— What topics about Kyrgyzstan do you think remain uncovered?
— There are many topics in Kyrgyzstan that have not been explored and are rarely discussed. Central Asia is full of unique stories, but unfortunately, the culture of photo projects and photo stories in the media is weak. Most often, photographers work for foreign publications that are interested in a limited range of topics. Despite this, Kyrgyzstan remains amazing. You can simply travel and find interesting stories.
— What is the current state of the photography profession?
— I remember when Instagram and TikTok were just starting to gain popularity. People were happy when I came and didn't ask questions about why and where the photos would be published.
Now many are afraid to become "popular," possibly due to memes and jokes on the internet.
Danil Usmanov
Now there is distrust towards photographers. People may think there is some hidden motive behind the photos. It has become harder to work. Previously, people dreamed of getting into newspapers or on television, but now many take pictures with their phones themselves, creating the impression that photographers are no longer needed. Nevertheless, I am confident that this profession is important, as our photos can remain in archives and become a legacy for future generations.
— Have you ever worked in dangerous or emotionally challenging conditions?
— There have been various situations. For example, in January of the year before last, I found myself in the city of Muynak in Karakalpakstan and ended up at the Aral Sea during a storm. The captain warned that it was dangerous to go out to sea, but we decided to try anyway. We were in a rubber boat, and I thought we would capsize, but it all turned out fine, and I focused on shooting.
There were shoots during the pandemic when people were not concerned about me. They were worried about their loved ones, but I understood the importance of capturing those moments for history and showing the work of volunteers and doctors.
Danil Usmanov
Sometimes, when I arrive for a shoot, people are not happy to see me. But for a photo story, it is important to capture events, and I continue my work despite the sideways glances.
Recently, I was filming a documentary about drivers and found myself at the scene of an accident where one car had veered into oncoming traffic. Another driver stopped to help, and I started shooting him. People around were outraged, asking why I was doing this. I tried to explain that I was photographing not the accident itself, but the person who was helping, but they didn't understand me. It was clear that the situation was difficult, but my task is to show people who do not stand aside.
— What project do you consider the most important for yourself and why?
— I don't have one main project. I try to quickly finish one work and move on to the next, not to dwell on it. Each story is unique and interesting to me. Sometimes I don't want to look at my photos; I'm more interested in the process itself — negotiating for a shoot, finding myself in unusual conditions, gathering a story.
— What are you currently working on?
— I just returned from shooting a documentary film about the Silk Road. Recently, I held an exhibition of my works at the Gapar Aitiev National Museum of Fine Arts and at the House of Culture — a youth creative space. Soon, I am heading to Ust-Kamenogorsk to create photographs for a French magazine.
