Statement: As one of the foremost representatives of the Republic Period photography as well as one of the leading and belatedly appreciated female photographers, Yıldız Moran is distinguished through the unconventional angles in her Anatolian photographs. Though human figures often lack in these images, human labour is intensely felt. The photographs are almost like a timeless spirit, representing abundance within scarcity. According to Moran, anything with inherent poetry is worthy of photographing. Light and composition are necessary elements but the essence is the presence of meaning and content. Moran's photographs are open-ended. It also appears to reach a language of depiction that allows the viewer to communicate with the subject matter. In an interview, she describes her approach as follows: "The issue was to find the concept of photography - to find and bring it out. Humanity's battle is against itself. Anatolia is an extraordinarily vivid paradise. Its people are simple and easy to reach. However, as long as we do not bind the colour in Anatolia to the universal and to the perpetually valid concepts, I don't believe that photography would reach its goal [...] You must think and predetermine what to do and what to shoot. It's so much so that each technical problem would recede with your subject matter. You must master it for them to do so. You must seek the newest developments and the best opportunities."
Yıldız Moran is Turkey's first academy-graduate female photographer. After graduating from Robert College in 1951, she continued her education at Bloomsbury Technical College and Ealing Technical College. At the age of 18, she travelled to the United Kingdom and was taught in photography by John Wicker, the photographer of the Shakespearean Company. She opened her first photography exhibition in 1953, at the age of 21, in Cambridge. Having opened an exhibition in Cambridge and four in London during her stay, Moran continued her work in İstanbul, Ankara and Edinburgh. Yıldız Moran has performed shootings during her travels to Spain, Austria and Portugal. Following her return to İstanbul, she rented a studio above Maya Art Gallery in Beyoğlu, where she displayed her works.
During her stay in Turkey, she shot portraits of Cemal Gürsel, Muhsin Ertuğrul, Haldun Taner, Mücap Ofluoğlu, Adalet Cimcoz and Haldun Dormen, amongst other. Moran gave up photography following her marriage to Özdemir Asaf in 1963. Moran has four children from her marriage. Due to her command of English, Moran has translated Özdemir Asaf's poetry into English and worked in the field of Turkish-English lexicography. Moran has lost her husband Özdemir Asaf in 1981. In 1982, she has served as Honorary Member in İstanbul Academy of Fine Arts Institute of Photography.