There is no such thing as "natural voice" in singing, like there is no "natural movement" in sports or "natural look" in makeup. In all of that cases, "natural" is a particularly hard to pull off artificial creation that has to become a second nature to pull off convincingly.
Now if you write stuff like
Then I try to shape up my voice consciously to sound better using nasal techniques or increase head voice or fry register.
then it looks like you are experimenting around with stuff that is far out of your comfort zone and not likely to go where you want.
Now one thing you have to be really aware of is that stuff sounds different to the listener than to yourself. What you hear yourself is mostly bone conductance. But that's not what the listener hears. An efficient use of the voice places your larynx in a relaxed and lowered position. When your neck muscles are relaxed and the larynx is basically suspended, there is little to pick off the sound into your head. Your throat and mouth act like a megaphone, meaning that you get quite a bit of volume out of moderate cord vibration.
I don't know what you mean with "nasal techniques". When singing efficiently, you typically feel resonances and try slightly modifying your vowels depending on pitch when you get off-resonance otherwise.
Note that all this is basically about unamplified singing (which in some respects is most "natural" and in other respects obviously isn't as we are talking about volumes unsuitable for lullabies). With amplified singing, and in particular studio singing or decent-volume singing, you have a lot more leeway regarding using your voice only lightly. Light voice use makes it a lot easier to go smoothly across the vocal break, but has its own difficulties if you want to avoid sounding inconsistent or wheezy. Out of studio settings, you basically have to develop it in lockstep with microphone technique as there is a complete interdependence of the two.
For some examples of what you can pull off with training and microphone technique, check out something like "where the roses never fade" by J.D. Sumner. While he, of course, has a naturally low voice, he is singing far below the pitches supported by the resonances of chest and mouth, employing vocal fry and using microphone technique to get the volume into useful range.