Hey, I’m Manish.

My earliest memories are shaped by rivers, endless fields and long afternoons where time moved gently. Those landscapes taught me that every place has its own rhythm and every moment rewards patience. Before I ever called it observation, I had already spent years learning to look closely, noticing light shifting across water, changing seasons, and the small details that quietly give a place its character.

It wasn’t long before that way of seeing found a companion in a camera. What began as a quiet curiosity slowly became a habit, giving me a way to preserve the moments that had always drawn my attention. I found myself wandering through familiar landscapes, chasing changing light, patient skies, and the quiet beauty of places that often asked for nothing more than to be noticed.

Books opened a world I had never known existed. I spent days reading, moving from one novel to the next, each one expanding the way I saw people, places, and myself.

When I found Dostoyevsky, and especially Crime and Punishment, something shifted. It showed me that art could reach beyond what is said, speaking through symbols, silences, and ideas that linger quietly in the subconscious. From then on, I became fascinated by the hidden language of art, by meanings that reveal themselves slowly, long after the final page has been turned.

Discovering Andrei Tarkovsky, especially Stalker, felt like finding everything I had been searching for. Its slow pace, poetic imagery, and quiet symbolism revealed a way of making art that trusted silence as much as dialogue. Every frame carried a sense of purpose, where mood, light, and composition spoke long before words did.

It was the first time literature, cinema, and visual storytelling came together into a single experience. Stalker didn’t just change the way I watched films. It changed the way I looked through a camera, inspiring me to pick one up again, this time with a deeper appreciation for atmosphere, symbolism, and the stories an image can tell without saying a word.

Photography became my way of exploring that feeling. Drawn to surrealism, I try to create images that feel less like records of reality and more like fragments of memory.

Today, I work at the intersection of design and technology, shaping interfaces through design, motion and code. I enjoy the process of making, exploring ideas, refining them and building experiences that feel clear, intentional and human. AI has become another tool in that process, helping me prototype, iterate and bring ideas to life faster.

Looking back, none of it feels separate anymore. Nature taught me to observe. Books taught me to feel. Cinema taught me to wait. Photography taught me to see. Design simply became the place where all of them could exist together.