Pantu Naga

Manju Kumar Shrestha is a Nepali cinematographer who played an important role in the early technical development of Nepal’s film industry. In 2029 B.S., he joined the Royal Nepal Film Corporation (then known as Shahi Nepali Chalchitra Sansthan).In 2030 B.S., he worked as a film photographer for the corporation’s first production, Man Ko Bandh. At that time, most technical experts in Nepali filmmaking—such as directors, cameramen, and lighting technicians—had to be brought from India due to the lack of local professionals.During the shooting of Man Ko Bandh, the Indian cinematographer fell ill, and Shrestha stepped in to operate the camera himself. Although he carried out much of the filming, he was credited only as an assistant cameraman when the film was released. This experience marked the beginning of his career as a cinematographer.He later went on to shoot many Nepali films, including Kumari, recognized as Nepal’s first color film, and Jeevan Rekha. Over the course of his career, Manju Kumar Shrestha has worked as a cinematographer on more than 70 films, making a significant contribution to the growth and technical progress of Nepali cinema.

Ram Shanker Pradhan is a highly respected Nepali cinematographer who contributed to the film industry for several decades with his refined visual style and technical mastery. He began his career at the former Royal Nepal Film Corporation and later traveled to Pune, India, where he completed a three‑year cinematography course. After returning to Nepal, he worked on documentaries before moving into feature films, quickly becoming known for his sensitive use of natural light, expressive framing, and storytelling‑driven camera movement.Pradhan enriched Nepali cinema through his cinematography in Chot, Manakamana, Tapasya, Milan, Sauta, Mahadevi, Naata, Shree Swasthani, Sannani, Cheli, Ragat, Chhoro, Pheri Timro Yaad Aayo, Lagan Gatho, Chakrabyuha, Pooja, Anmol, Karnaveer, Ajambari Naata, Parkhi Base, Jeevan‑Mrityu, Sundar Mero Naam, Man‑Mutu Ra Maya, Khushi, Preetiko Phool, Jyan Hajir Chha, Angalo Angaloma, Damini and many other films.He also shot over half a dozen Bhojpuri films, expanding his influence beyond Nepali cinema. His work remains admired for elevating the visual language of Nepali filmmaking and inspiring a new generation of cinematographers.

Narendra Pradhan is a Nepali cinematographer and freelance visual artist known for his work across feature films, independent projects, and photography. Active since the early 1990s, he has contributed to Nepali cinema through a grounded visual style shaped by practical lighting, clean framing, and narrative-focused camerawork. His film credits include Arpan (1993) as script analyst and cinematographer roles in Aama Ko Maya (1996), Sakkali Nakkali (1996), Bandhan (1997), and Mato Bolcha (1999), reflecting his presence during a formative era of modern Nepali filmmaking.Alongside film work, Pradhan has built a parallel career as a freelance cinematographer and photographer, working on diverse visual assignments ranging from documentaries and music videos to still photography. His adaptability and hands-on technical approach have made him a reliable creative collaborator for directors seeking naturalistic, story-driven imagery.Recognized for his steady contribution across decades, Narendra Pradhan remains part of the generation that strengthened Nepali cinema’s visual identity through disciplined craft and quiet consistency.