A camera was my reason to go out into the world.
Eventually, I wanted to bring more of it back.
I chose photography early on because it forced me to go out into the real world—walk the streets of Mumbai, wait for the light, meet people, and physically be there when something happened. Whatever you shoot is out there, and it's real.
Over time, the flat frame started to feel limiting. People listen to music for minutes and watch films for hours, but a photograph gets a two-second glance on a screen before someone scrolls past. I didn't want people to just observe a moment from a distance; I wanted them to feel what it was like to stand inside that space.
In movies, the world looks real, but you're locked in one spot. In games, you have the freedom to move around, but it feels synthetic. I wanted both. That curiosity pulled me down the rabbit hole of 360° video, photogrammetry, volumetric capture, and real-time game engines—learning to use photographs and sensors to reconstruct reality and capture the rest of the room.
Today, I lead Nodal House and teach spatial media at Whistling Woods International. I went from taking pictures of the world to building living, spatial worlds you can step inside.
A few places that curiosity took meA little more of the world,
each time.
Early 360° work took me from Kumbh Mela to Pratham’s Our Village. The frame opened up. The viewer could decide where to look.
KUMBH MELA · 2019, UNRELEASEDWith JJ Farm, a photographed environment became a place you could move through, with volumetrically captured people inside it.
JJ FARM · 2021 EXPERIMENTIPL brought live camera switching. Midnight Transmissions brought sound-driven geometry. The experience could change while you were inside it.
LIVE PERSPECTIVES → RESPONSIVE SYSTEMSEvery photograph holds one part of a place. Together, they can rebuild it.
You can also use the left and right arrow keys.
The missing data is just as real as the captured data.
Some gaps are worth keeping.
Decisions, frictions, and a few things I learned along the way.
These drawings interpret the work; the stories are mine.
Photogrammetry & volumetric capture
With Suneil Sanzgiri · Goa
In Golden Jubilee, Suneil’s father navigates a virtual reconstruction of their ancestral home in Goa. Mapping tools associated with mining and extraction become a way to preserve a place and the memories held inside it.
When Suneil Sanzgiri and I started reconstructing his ancestral home in Goa, my instinct was to make the scan clean, watertight and photorealistic.
Reality had other plans. Humid interiors. Moving shadows. Reflective surfaces. Foliage. We got holes, torn meshes and floating fragments where the camera couldn't see.
We stopped trying to fill them with invented geometry. Memory has missing pieces. So do colonial history and oral stories. Leaving those voids exposed—and placing a human presence inside that deteriorating digital memory—became part of the story.
“If I wanted a perfect house, I’d hire an architectural visualizer. Photogrammetry is honest because it only shows what the camera actually stood in front of—the missing data is just as real as the captured data.”
— SUMEDH, ON LEAVING THE GAPS
GOLDEN JUBILEE · IFFR ROTTERDAM / CHICAGO INT’L FILM FESTIVAL
A place holds more
than its walls.
An Impossible Address follows connections between liberation struggles in India and Africa through the life of Sita Valles, an Angolan-born doctor and revolutionary of Goan origin.
Photogrammetry and virtual production form part of a film shaped by four years of historical research. The question reaches into the histories a place carries.
A FILM BY SUNEIL SANZGIRIDirecting a seven-part 360° documentary
No place to hide the crew, lights or cables. Just a dark, wet concrete tube, machinery moving around us, and a lens that sees the entire sphere.
We embedded lighting into the tunnel’s working environment and placed the rig on the tracks and inside the boring intersections. I wanted the viewer to feel the physical scale of the earth above them.
“In 2D, you frame out the chaos. In 360° underground, you have nowhere to hide—you just plant the rig in the mud, step into the shadows, and let the tunnel swallow the viewer.”
— SUMEDH, UNDER MUMBAI
Banarasi Weaves — Swadesh
Scroll slowly.
Give the thread time.
Follow the thread slowly.
From the loom to the marketplace.
A film about inherited skill, and the changing world around it.
A static rig in one spot for two hours doesn't become interesting just because you can look around. For TATA IPL on JioCinema, we engineered a live multi-camera 360° broadcast pipeline. The viewer could switch perspectives while the match kept moving.
With Midnight Transmissions, we routed live DAW audio stems via OSC into TouchDesigner and Unity, for simultaneous YouTube 360° and Instagram 2D streams with binaural audio. Sound could drive geometry in real time. There was no post-production safety net.
“If a spatial experience feels like watching CCTV footage with a headset strapped to your face, it’s dead.”
MOVE YOUR POINTER OR TOUCH THE DRAWING TO CHANGE ITS PULSE.
Move across the field.
See what follows.
SPATIAL AI / INSTALLATION
A spatial AI installation. This responsive field is a sketch of the relationship between a person and a system: your presence becomes part of what happens next.
Golden Jubilee (IFFR Rotterdam / Chicago Int'l Film Festival) · An Impossible Address · Banarasi Weaves (Swadesh) · Ram Mandir 360° Darshan
TATA IPL 360° Multi-Cam Live Broadcast (JioCinema) · Vogue Forces of Fashion · Mumbai Metro Aqua Line 3 Docuseries · Hotstar Specials (Dahan / Aar Ya Paar) · Pro Kabaddi (Star Sports)
Kaal Darpan (Spatial AI Installation) · Midnight Transmissions (Live Audio-Visual Pipeline) · Shakti & Mahindra Blues Virtual Concerts · MC Stan POV · Node 01 Residency
Lead Educator & Curriculum Designer in Immersive & Spatial Media at Whistling Woods International.
Enough screen time.
Spatial work isn't meant to be compressed into a browser window. It's meant to be experienced and discussed in person.
Whether you're looking to build an impossible live broadcast, preserve a piece of history, collaborate on an installation, or just talk about where art, AI, and spatial computing are heading—I’d much rather talk over a French press or a cup of coffee in Mumbai than trade formal deck PDFs.
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