Arjun Tiwari

Baikuntha Man Maskey is honored as the first cinematographer of Nepali cinema, a pioneering figure who helped shape the visual foundation of early Nepali films. He earned a Diploma in Cinematography from the Film and Television Institute in Pune, India, in the 1960s, and began his career as the chief cinematographer for “Manko Baadh.” Maskey went on to shoot numerous films, including “Parivartan” and “Hijo Aaja Bholi,” along with extensive work in documentaries and television. He passed away at the age of 83, leaving behind a lasting technical and artistic legacy.

Shambhu Sapkota is a Nepali cinematographer from Panauti, active in Nepali cinema since 1994, known for his extensive body of work across commercial and dramatic films. He has shot more than 50 feature films, contributing to the visual style of late‑1990s and 2000s Kollywood. His early credit includes Sadak (1994), and he continued through major titles such as Thuldai (1999), A Mero Hajur (2002), Kismat (2007), Ma Timi Bina Marihalchu (2008), and Rhythm (2013). His career reflects consistency, technical reliability, and long‑term collaboration with leading directors of the era.

Krishna Shrestha is a Nepali cinematographer active since 2002, known for his versatile work across commercial, romantic, and action‑drama films in Kollywood. His career spans more than two decades, with credits in major productions such as Kranti (2002), Bhuttukai Bhaye Ni (2002), Pyari Bahini (2004), Kanoon (2007), Dhoom (2009), Dosti (2009), Man Manai Man Paraye (2011), Bodyguard (2012), Jodi No.1 (2014), Bhram (2015), Luv Sab (2015), Sakas (2017), Boyfriend (2018), and Eklavya (2019). His work is recognized for clean framing, commercial visual appeal, and consistent collaboration with mid‑2000s and 2010s Nepali film directors.

Mahesh Paudel is a Nepali cinematographer and Director of Photography known for his versatile visual style and his contributions to both Nepali and Indian film industries. His career began with a passion for visual storytelling, and his early works such as Nirankush (2013) and Manjari (2013) showcased his ability to create emotionally resonant imagery through light, composition, and grounded realism.Over the years, Paudel has collaborated with leading Nepali filmmakers and steadily built a reputation as one of the industry’s most reliable and visually expressive cinematographers. His acclaimed work in Ranveer (2019) earned praise for elevating the film’s emotional and cinematic impact through refined visual aesthetics.He continues to expand his portfolio with major projects including Rann (2022), Prema (2023), Chitra (2024), and the upcoming Balidan (2025), where he took over as the lead cinematographer for the final schedule.Mahesh Paudel has also worked extensively in India, serving as Director of Photography for multiple Mumbai‑based production houses between 2005–2018, further strengthening his technical range and industry experience.Known for his disciplined craft, adaptability across genres, and strong command of camera language, Paudel remains one of the prominent cinematographers shaping the visual identity of contemporary Nepali cinema.