I'm here for the
Art &
Vision
Portraits · Landscapes · Architecture
Apurba Ghimire
Choose your entrance
I'm here for the
Portraits · Landscapes · Architecture
I'm here for the
Optics · Research · Collaboration
Portfolio 2025 — Available for Commissions
Photography rooted in precision.
Every frame is a system — light, geometry, timing —
engineered to say something true.
About
I'm Apurba Ghimire — a photographer drawn to the quiet geometries of the world. I shoot landscapes that breathe, portraits that hold their ground, and architecture that admits it's mostly shadow. My work lives in the space between what's there and what you almost missed.
Currently based in Kathmandu, Nepal. Available for portrait sessions, editorial work, event photography, and long-term collaborations.
Third-year Mechanical Engineering student at Kathmandu University, focusing on energy systems. Photography isn't a departure from engineering — it's the same problem stated differently.
Research interests: advancing renewable and sustainable energy technologies, with an emphasis on solar energy innovation, efficiency, and clean power solutions. Actively open to internships and research collaborations.
Primary System
Canon EOS 1300D · APS-C DSLR
Primary Discipline
Landscape · Portrait · Architecture · Urban
Engineering Focus
Energy Engineering · Renewable & Sustainable Systems
System Status
Gallery
The Lab
Engineering isn't the opposite of art — it's the scaffolding beneath it. Here's how mechanical engineering thinking shapes every photograph I make.
An f-stop is a mechanical ratio. The aperture diameter relative to focal length determines both light transmission and depth of field. I treat exposure as a feedback loop, not intuition.
Motion blur is a dynamics problem. Given velocity and desired blur length in pixels, shutter speed is a calculated result — not a guess. Water, crowds, and stars each have their own equations.
The rule of thirds approximates where human vision lands on a 2D plane. I compose using visual force vectors — leading lines are literally vectors guiding the eye through a scene.
Chromatic aberration, vignetting, barrel distortion — most see flaws. I see material properties. Understanding why lenses distort lets me choose when to embrace aberration as character.
Photons are packets of energy. The way light wraps a face, scatters through fog, or bounces off concrete is governed by physical laws — knowing them means I can predict a shot rather than hope for it.
A camera body is a precision instrument. I approach lens selection the way an engineer selects a cutting tool: based on material (subject), operation (shoot type), and required tolerance.
Exposure Control Unit · Model AM-2025
Contact
Whether you need portraits, editorial work, or architectural documentation — or want to talk optical systems and engineering — I'm reachable.