Interviews met Aishath Naajila

I’ve been working as a visual storyteller for over a decade, focusing on photography and filmmaking. My practice has developed through self-learning, experimentation, and real-world projects. I’ve worked with direct private clientele as well as collaborated with international organizations such as Sony, UNDP, World Bank, and regional brands across tourism, hospitality, and creative industries, both in the Maldives and abroad.

I didn’t start with a fixed path into design/art; it grew from an early interest in art, photography, and storytelling. I was always drawn to observing people, light, and moments. Over time, I realized photography and filmmaking were my way of expressing what I see and feel. It developed naturally through practice, curiosity, and lived experience rather than formal training.

First of all, the work has to be strong and compelling. I need to enjoy what I’m doing and fully immerse myself in the process, often reaching a flow state.

In documentary work, I focus on storytelling, authenticity, and capturing real moments as they naturally unfold, working with minimal direction. I let situations unfold and build the narrative from what is actually happening. I shape the tone based on the character, environment, and emotions present in that moment, which guides decisions around lighting, colour tones, pacing, and editing.

The most exciting part is the process itself, discovering the story as it unfolds. It can feel both calming and intense, especially when I am fully immersed in capturing real moments. I often feel a rush of energy during certain moments, and I take small breaks to reset and acknowledge those small wins and discoveries.

Whether it’s starting with an idea, scouting locations, finding the right voice, or going through editing, colour grading, and sound design; each layer brings me closer to the final vision, and that process really excites me.

Living in the Maldives shaped the way I observe light, movement, weather, and the relationship between people and the ocean. Being around water-related environments, including diving and observing underwater life, as well as traveling between islands and spending time with different communities, taught me patience, adaptability, and how to observe moments more carefully. Music also strongly influences my filmmaking process, I often build pacing, emotion, transitions, and the overall feeling of a film around sound and rhythm.

I also enjoy spending time with different people and communities. Whether young or old, or from creative fields like music, art, or film, I learn a lot from these interactions and how different people see and approach life.

I want to continue expanding internationally while staying rooted in meaningful storytelling. I’m also building a teaching platform to share knowledge and educate others, while developing larger documentary and cinematic projects focused on culture, environment, and human stories.

Stay curious and create with what you have. Don’t wait for perfect conditions. Observe more than you consume, and allow yourself to fail and learn quickly. Your perspective matters more than trends.

Focus on authenticity over perfection and keep things simple. Avoid overcomplicating ideas, and let clarity and emotion lead the work.

Stay curious and keep making work consistently, even when it feels uncertain. The more you create, the more questions you get, and that leads to even deeper exploration. That continuous cycle of questioning and finding answers is, for me, the real beauty of the process.

My days vary depending on projects. I might be filming on location, editing, or planning shoots. Outside of work, I spend time skating, being in the ocean, meeting friends, or sharing creative ideas over coffee. I also spend time learning music and playing instruments at home.

useful when they genuinely serve the project or help communicate with contemporary audiences. At the same time, I try to create work that feels timeless and emotionally grounded, even within a constantly changing creative landscape.

Social media and meeting creatives who work in different fields, designers, artists, musicians, filmmakers are some of the ways I naturally stay connected to what’s evolving creatively and culturally.

For me, good design is simple, intentional, and emotionally clear. If it communicates its message without explanation and creates a feeling or memory, then it works.

Sometimes a design never feels completely finished, but at some point you have to draw a line and trust that it has fulfilled its intention. I usually stop when additional changes no longer improve the emotional or storytelling impact of the work. I also try not to make it too perfect, because I believe a certain level of imperfection and rawness is what keeps it honest and alive.

It’s not one single work, but the ongoing Two Thousand Isles project, which explores and documents Maldivian island life, culture, and changing environments through storytelling. Tide and Tradition is one part of this larger body of work, focusing specifically on traditional pole-and-line fishing. Together, these projects represent my most meaningful work, as they combine lived experience, observation, and long-term storytelling across different aspects of island life.

My lifestyle is closely connected to art, music, the ocean, travel, and storytelling. Being from the Maldives strongly shapes my perspective, especially the relationship between people, nature, and sustainability. Music and movement are part of my creative process. I also believe your environment and the creative people you surround yourself with directly shape your voice and the way you see and tell stories.

I usually work as a one-woman creative practice, developing concepts and executing them independently from start to finish. When I collaborate or bring others in, I value punctuality, willingness to learn, and openness to new ideas. I like working with people who have a childlike mindset, where no idea is immediately dismissed. I always prioritize what is best for the project over personal preference, and I remain open to collaboration depending on the nature of the work.

I believe the Two Thousand Isles project is a form of cultural contribution, documenting and sharing stories of the Maldives beyond luxury resorts and everyday news coverage. It highlights the lived reality of island life and helps preserve narratives that are often overlooked. I have also contributed through community-focused work, including participating in Sony’s Alpha campaign, aimed at encouraging and empowering more women in photography and visual storytelling.

Participating in design awards and competitions offers global exposure, constructive feedback, and the opportunity to connect with many talented creators around the world. It helps broaden perspective, strengthen how I present my work, and push projects beyond their original context. For me, it also contributes to growth by challenging how I communicate and articulate my practice.

Design competitions are important because they create a shared platform where diverse voices can be seen and exchanged, encouraging learning and evolution in the field. Being selected as Designer of the Day is a meaningful recognition of the work and value, and I hope people get to hear my story, find some value in it, and feel inspired in their own way.

The project is rooted in documenting and preserving the traditional pole-and-line fishing practice in the Maldives. It was inspired by a long-standing curiosity about fishing culture, which evolved through my journey in storytelling and freediving. An eight-day immersive experience at sea allowed me to observe and live alongside fishermen, shaping the narrative around heritage, resilience, and the ocean’s natural food chain.

My main focus was authenticity, to portray the lived reality of Maldivian fishermen without staging or interference. It was also about showing something I hadn’t seen with my own eyes before, yet felt important and distant for many of us. I wanted to step into that world, experience it firsthand, and translate what I saw, felt, and learned into visual form. The goal was to recreate that experience as truthfully as possible and share it with others as I experienced it myself.

The project serves as an ongoing archive of Maldivian maritime culture. I plan to continue expanding it into a larger body of work, potentially developing it into exhibitions, educational screenings, and long-form documentary storytelling around ocean life and sustainable practices.

The core of the project was filmed over eight days at sea, but the overall concept, planning, and post-production took about a month to complete in total time.

This was not a commissioned project. It started as an invitation from a friend to join her father’s fishing boat, originally more like a shared experience and a trip with friends to see what fishing life is like. While being on board, I realized the depth of the practice and felt the need to document it more intentionally, which is how it evolved into a full storytelling project.

The project remains independently produced, and I retain full ownership and rights to all footage and the film. Selected footage has been used by the Ministry of Economic Development for promotional purposes, including international showcases such as Expo 2020 in Dubai. Some B-roll has also been licensed for use in promoting Maldivian fishing heritage and the destination as a whole.

The opportunity to live aboard a fishing vessel and experience the ocean environment firsthand shaped the decision to document it. The intensity, rhythm, and human connection within the practice naturally translated into a cinematic storytelling approach.

The project is influenced by observational documentary filmmaking and immersive visual storytelling, particularly works that focus on human-environment relationships and lived cultural practices.

The target audience includes both the people of the Maldives and international audiences who may not have had the opportunity to witness this traditional fishing practice. The work is intended to create awareness and connection by offering an immersive look into a way of life that is deeply rooted in Maldivian culture and the ocean.

Its strength lies in its immersive, lived experience approach. It was created while actively living at sea during the COVID-19 period, under real conditions of isolation and unpredictability, resulting in an unfiltered and intimate portrayal of the fishing process.

“Tide and Tradition” reflects the relationship between the ocean’s natural rhythm and the enduring cultural practice of pole-and-line fishing, where tradition moves in harmony with the tides.

The project was filmed on a Sony A7 III with 35mm, 85mm, and 70–200mm lenses, alongside drone footage captured using a DJI Phantom 4 and underwater sequences shot on a GoPro during freediving.

Its observational nature, capturing real fishing operations without directing or staging, allows the audience to experience the ocean, labour, and environment as they naturally unfold. It also carries the energy of the entire process, from anticipation to action, and the euphoric moment when the fishing begins and everything comes alive in motion.

Although the project was primarily self-directed and independently produced, I was joined by photographer friends on the boat who also documented the process alongside me for their own personal work and documentation.

Technology served as an observational tool rather than a controlling force. Cameras, drone, and underwater equipment were used minimally and unobtrusively to preserve authenticity and avoid disrupting the natural flow of work.

The project was mainly shaped through field observation and direct experience at sea. There is also supporting context from our blog Two Thousand Isles about how bait fish are sourced, along with conversations with fishermen about fishing history and traditional practices. These discussions also touched on how difficult it has become to get bait fish due to climate change.

Key challenges included limited equipment, unpredictable sea conditions, and logistical constraints such as a single drone battery requiring precise planning. Early days saw no catch due to bait shortages, and underwater filming relied solely on a GoPro, requiring adaptability and patience.

I felt the project represented an important cultural narrative that extends beyond the Maldives. Submitting it internationally was a way to share a deeply local story with a global audience concerned with sustainability and cultural preservation.

I learned the value of patience, adaptability, and observation. Working in unpredictable conditions taught me to rely less on control and more on responsiveness to real moments as they unfold.

This project reinforced my belief that storytelling is most powerful when it is lived rather than constructed. It also deepened my commitment to documenting cultural practices that are closely tied to the ocean, environment, and identity of island communities.

I am a self-taught artist where I began my journey at the age of 16. Through experimentation and continuous learning, I developed my skills independently and shaped my own creative approach.

I became a photographer/videographer out of curiosity and a desire to understand the world around me. Growing up on an island, I was deeply influenced by the stories, people, and everyday moments I witnessed. What motivates me is capturing those stories and exploring the beauty and meaning in the places I come from.

My journey as an artist began with curiosity at a young age and gradually became a natural path for me. It was a way to express, explore, and make sense of the world around me.

I love creative narrative-driven work and projects that go deeper into storytelling and explore people, culture, and place in a more cinematic and meaningful way. And I am interested in documenting my own journey as well.

Be curious. Love what you do. Stay open to change and be willing to see things differently. Seek out the stories that move you and spark your sense of wonder.

I think a good designer can create technically strong work, but a great designer goes beyond that. A great designer understands how to make people feel something and guides the audience into a deeper story or experience.

A good design becomes great when it has impact. when it makes people feel something, wonder, and start conversations. It’s not just about aesthetics, but about how it inspires and connects with people.

The value of good design is in how it shapes the way we experience the world. It influences how we feel, think, and connect with what’s around us. Everyone should invest in good design because it has the power to inspire, create meaning, and improve how people engage with everyday life.

If I had the time, I would focus on creating feature-length films that explore people, culture, and place in a cinematic and deeply human way.

My dream project is to create a full feature film, working alongside incredible directors and collaborators.

My secret recipe for success in design is curiosity and a strong hunger for learning new things.

Roger Deakins, Leonardo Dalessandri, Joey L, Erik Almas, Annie Leibovitz, Emmanuel "Chivo" Lubezki

I really loved Leonardo Dalessandri’s Watchtower of Turkey because it felt like I was there, going through a journey. It moves through culture, people, and places in such a natural flow that it becomes more than just a film.It feels like an experience, like a feeling. The curiosity in how he observes the world really connects with how I approach my own work.

Facetime Film is part of a series I created during the COVID-19 lockdown, where I connected with people from all around the world, different nationalities and individuals I had never met in person. It was filmed while I was in the Maldives and the model was in France. Despite the language barrier and the limitations of working through a video call, I directed and captured images remotely, which were later turned into video clips. I compiled everything into an 8mm film–inspired story with narrated poetry. Technically, it was very challenging, as I had no control over exposure, aperture, or shutter speed during the shoot. But those limitations became part of the process, and I was able to bring the idea to life.

Experimenting, Making mistakes, adapting, and refining my eye over time.

If I hadn’t become a designer, I would be a musician. I’ve always been drawn to music since I was a child, creating it, exploring it, and using it as another way to understand and experience the world.

If I hadn’t become a designer, I would be a musician. I’ve been drawn to music since childhood, creating and exploring it as another way to understand the world. It's an auditory extension of visual storytelling.

The people around me have been my biggest support, friends who believed in my vision, along with myself. I’ve kept pushing forward even when others didn’t fully see it, trusting my direction and staying committed to it.

Great stories, observing my environment and my home island in the Maldives, and being inspired by powerful films and narratives have all shaped me. I’ve learned a lot by watching how stories are told and by staying open to the world around me.

Limited access to proper gear, not always having the right space to create, and financial constraints that made it harder to push my work further.

Designers/Artists should present their work as stories, not just visuals. It should feel clear, honest, and engaging, allowing the audience to connect with the work on a deeper and more meaningful level.

My next focus is on developing strong, long-form storytelling projects.

My ultimate goal as an artist is to reach a wider, global audience and create films and narratives that inspire real change and meaningful impact.

Work that is honest, thoughtful, emotionally engaging, and delivered with strong quality.

Design helps create a better society by shaping how people experience the world. It can communicate ideas clearly, build empathy, and bring attention to important stories.

I am currently travelling and telling stories as I go, exploring different countries and capturing experiences along the way. I’m also focused on creating videos with international brands, bringing a unique visual vision that connects storytelling with a global audience.

The most satisfying project for me was the pole and line fishing story. It allowed me to document something deeply connected to my country and its relationship with nature. Covering a traditional and sustainable way of fishing made the experience very meaningful, as it felt important to preserve and share a part of our culture through storytelling.

I also hope there is more space for diverse voices and personal narratives from different parts of the world.

It depends on the project. Sometimes it can come together very quickly, and other times it takes months for the story to fully develop and come to life.

When I start a new project, I begin by gathering as much information as possible.Rsearching the context, location, timeline, and understanding where and how the story is happening. I think about how I can use my tools to bring it to life in the best way. If it’s a collaborative project, I also focus on connecting with people and conducting interviews to shape a stronger and more authentic outcome.

My life motto as a designer is to always bring 100% to every story, stay curious, and create honest work that connects people to the world around them.

I believe that good design doesn’t follow trends, it creates them.

Technology is a tool that helps me capture, shape, and tell stories in a more powerful way. It also helps me stay consistent and work more efficiently, bringing ideas to life more effectively.

I use Adobe Suite and DaVinci Resolve for editing. For filming, I mainly work with Sony cameras, using prime lenses and the 24–70mm for versatility. I also use drones for aerials, along with video lights and small glass pieces to add depth and a more cinematic feel to my visuals.

Plays a key role in shaping the mood and depth of each scene. Together, they are a fundamental part of how I build and express a story visually.

I wish people would ask what moved me to create the work. The deeper story behind it, and what inspired it. For me, it’s less about the visuals alone and more about the emotions, experiences, and moments that shaped the story.

How it was made, how it was filmed or photographed, what the inspiration was, and what the intention behind it is.

I do believe in co-design. My ideal partner is someone who is aligned on the vision and focused on what’s best for the final outcome. Someone with great energy, open to ideas without limits, and genuinely excited to create together.

The people who have influenced me the most are those with true passion.P eople who are energetic, dedicated, and deeply love what they do. Whether in music, art, or any other craft, it’s their commitment and passion that inspire me the most.

Self-help books have had a strong influence on me. Show Your Work! by Austin Kleon, in particular, is a visual, short, and practical guide that shaped how I think about sharing and growing creatively.

I developed my skills through being self-taught, by experimenting, failing, and repeating the process. I learned from my mistakes, kept improving, and approached everything with a childlike curiosity, playing with light and tools to discover new ways of creating.

I would want to meet Roger Deakins, Joey L, and Annie Leibovitz. I’d love to understand how they think, how they see the world, and what their creative process looks like when they are creating.

I’m grateful for the recognition, but I don’t really focus on fame or awards. For me, it’s always been about the work and the stories I want to tell. I try to stay grounded and keep learning, because there’s still so much I want to explore and create.

My favorite colors are warm tones. My favorite place is the Maldives, especially underwater environments. I love Thai food, and I’m drawn to autumn, even though I also enjoy the simplicity of winter landscapes. My favorite brand is Apple.

My day feels great as an artist when I complete a project that truly works. When people around me are influenced by it and my clients feel they received more value than they expected. Exceeding expectations is what motivates me. I also stay inspired by great films and music, which constantly push me creatively.

As a child, I was always drawn to art. I started sketching and painting early on, and I was inspired by my mom’s patience and attention to intricate work. Looking back, those early interests naturally shaped the way I create today.

With AI and technology evolving, I think the future will be highly connected and creative, with humans and machines collaborating to tell stories in new ways, while still keeping human emotion at the core.

I am a self-taught artist with a deep passion for storytelling. My work is driven by curiosity, emotion, and the world around me, especially the people and places that inspire me. I’m constantly learning and evolving, with the goal of creating honest and meaningful stories that connect with others.

I’ve always known I wanted to do something connected to art and storytelling, even before I understood exactly what form it would take. In the beginning, I wasn’t sure whether it would become photography, filmmaking, or something else entirely. Over time, photography became my way of understanding light, people, and emotion, while filmmaking allowed me to expand that into movement and narrative. My journey has been mostly self-taught, shaped through experimentation, curiosity, and years of documenting the world around me.

My work focuses on rediscovering and documenting Maldivian stories, island life, and culture in the face of ongoing social and environmental change. Through photography and film, I aim to preserve emotions, places, traditions, and human connections that may slowly disappear over time. Alongside documentary-style work, I also collaborate on storytelling-driven commercial and creative projects that value authenticity and emotional depth.

For me, design is the ability to communicate emotion, meaning, and experience through visuals. It’s not only about aesthetics

I’m most drawn to projects that carry compelling human stories. I enjoy creating work that feels honest, immersive, and emotionally driven, especially when it allows me to explore identity, culture, movement, or personal connection.

One of my favorite projects was my FaceTime series during lockdown, where I directed strangers remotely through video calls to create portraits and visual stories. What made it special was working through limitations, language barriers, unstable connections, and having no control over lighting, aperture, shutter speed, or the environment itself. I had to work entirely with what was available and still find a way to make the images feel emotional and connected. The project taught me that storytelling matters more than perfect conditions.

One of my earliest professional projects involved creating visual content and storytelling imagery for hospitality and tourism-related brands in the Maldives. It taught me how to balance artistic expression with the communication goals of a client.

My camera is my primary creative tool,but light itself is probably my favorite “material.” I’m deeply inspired by natural light, movement, sound, and atmosphere. I also enjoy working with film-inspired color grading and cinematic editing techniques.

I feel most creative when I’m fully present, often during travel, conversations, music sessions, or moments near the ocean. Creativity usually comes when I slow down enough to observe details and emotions around me.

I focus heavily on emotion, atmosphere, rhythm, and storytelling. I pay close attention to how a piece feels emotionally rather than only how it looks visually.

Designing feels very personal to me. It can feel exciting, vulnerable, calming, and sometimes overwhelming at the same time. There’s always a sense of curiosity involved in discovering what a story wants to become.

It feels rewarding when a project finally reflects the emotion or atmosphere I imagined in my mind. The best feeling is when viewers emotionally connect with the work in their own personal way.

A successful design creates a genuine emotional response and remains memorable. It should communicate clearly while still feeling timeless and authentic.

The first thing I notice is whether the work feels honest and intentional. I’m less interested in perfection and more interested in whether the design carries meaning, emotion, and purpose.

Designers have a responsibility to be conscious of the stories they tell and the impact those stories create. Visual work can influence culture, memory, identity, and environmental awareness, so I believe creatives should approach their work thoughtfully and responsibly.

Design is becoming more interdisciplinary and emotionally driven. Audiences are increasingly drawn toward authenticity and storytelling rather than overly polished visuals. I also think technology and AI will continue changing workflows, but human perspective and emotional sensitivity will remain irreplaceable.

My last exhibition was in my hometown, Addu, at Equator Village. Some of my work has also been exhibited internationally through client collaborations and featured in various fairs and presentations. Most of my recent practice has been shared through these projects and digital platforms, but I’m currently hoping to exhibit one of my personal projects soon, focused on storytelling, identity, and island life.

A lot of my inspiration comes from music, conversations, cinema, movement, the ocean, and observing everyday life. I’m also inspired by people who are deeply passionate about what they do. Creativity grows for me through curiosity, travel, experimentation, and staying emotionally connected to life.

My style is cinematic, emotional, and atmospheric. I’m drawn to natural movement, soft imperfections, light, and quiet storytelling moments. My approach is usually intuitive, I try to create visuals that feel lived-in rather than staged.

Being from the Maldives has deeply influenced my perspective as an artist. Island life, the ocean, community, and environmental vulnerability all shape the way I see stories and visuals. One challenge can be limited access to certain creative industries or resources, but at the same time, the Maldives offers a unique cultural and natural environment that constantly inspires my work.

I prefer collaborative relationships where storytelling and creative trust are valued. I usually work closely with brands to understand their identity and create visuals that feel authentic rather than overly commercial.

Companies should choose designers whose perspective and storytelling style genuinely align with their values. Good collaborations happen when there’s mutual trust, open communication, and respect for the creative process.

My process usually begins with observation and research. I spend time understanding the mood, emotion, and purpose behind a project before thinking about visuals. From there, I develop concepts, references, and visual direction while leaving room for spontaneity and natural moments during production.

My camera, guitar, laptop editing setup, notebooks filled with ideas, and collected photo books.

No two days are exactly the same, but I usually start by easing into the day and catching up on messages or editing work. Depending on projects, I might be on set filming, scouting locations, or working on post-production and editing.

Outside of work, I like to keep things balanced, I go skating, spend time in the ocean, or meet friends for coffee. I also spend time at home learning music and playing instruments, which has become a quiet space for me to reset and explore ideas. These moments often turn into creative conversations or inspiration for future projects.

Spend more time creating than comparing yourself to others. Learn through experimentation, failure, and repetition. Your perspective is your greatest strength, so don’t rush to imitate trends or other artists.

Be creative with what you already have and don’t wait for perfect conditions. Learn to observe light, people, and everyday moments closely, that’s where the strongest ideas come from. Try to keep a childlike mind every day, stay curious, ask questions, and don’t overthink the process. Keep experimenting and trust your own way of seeing things rather than imitating others.

Emotion first. If a piece doesn’t make people feel something, it loses its impact.

Observation, empathy, storytelling, communication, adaptability, and patience are all essential skills alongside technical ability.

I mainly use Sony cameras, Adobe softwares , Davinci Resolve, Logic pro, and various cinematic lighting tools. Beyond equipment, music, films, conversations, books, and real-life experiences are some of my biggest creative tools.

I try to balance structure with flexibility. Planning helps, but I also allow room for creative flow because some ideas need time to evolve naturally.

It really depends on the project. Some ideas come together within a few hours or a day, especially when the concept is clear from the start. Others take weeks, as they need more time to evolve, develop, and fully find their form.

People often ask how I developed my style or how I learned filmmaking and photography without formal training.

One of the most important experiences for me has been learning patience in the process, being willing to redo work until it feels right. It taught me that good outcomes often come from persistence, refining details, and not rushing the final result.

I’ve collaborated with a range of international and regional brands and institutions, including Sony, National Geographic, United Nations Development Programme, and the World Bank. My work has also extended into luxury hospitality and high-end creative collaborations with brands such as Ritz-Carlton, Marriott International, and Amilla Maldives Resort and Residences, as well as cultural and tourism bodies like the Maldives Marketing & Public Relations Corporation.

Alongside this, I’ve worked with media and creative platforms such as GQ India, and technology and creative brands including SmallRig, Epidemic Sound, Sirui Optical, Hollyland Technology, and Vid Asset.

I’ve also collaborated with local communication and service providers such as Ooredoo, Dhiraagu, and the Bank of Maldives.

Overall, my work spans hospitality, tourism campaigns, creative agencies, and independent storytelling projects, both within the Maldives and internationally, always centered around emotionally driven visual storytelling.

I enjoy emotionally driven storytelling work the most because it allows me to connect human experiences with visual atmosphere and cinematic expression.

I want to continue expanding my work internationally while staying rooted in meaningful storytelling connected to culture, nature, and human emotion. Alongside that, I’m interested in developing a teaching platform to educate and share knowledge with more people, while also documenting more stories through larger documentary and cinematic projects in the future.

Most of the time, I work independently as a one-woman team, developing ideas and executing them from start to finish on my own. However, depending on the scale and nature of the project, I also collaborate with other creatives when needed, especially for larger or more complex storytelling work.

I’m currently exploring more personal storytelling projects where I film myself and share my behind-the-scenes process, documenting not just the final work but the journey and creative thinking behind it. Alongside that, I’m also collaborating with different brands on upcoming projects that continue to focus on cinematic storytelling and authentic visual narratives.

People can reach me through my website, email, or social media platforms for collaborations, creative projects, or inquiries.

For me, art is ultimately about connection, connection to people, memory, culture, and emotion. I hope my work encourages people to slow down, observe more deeply, and appreciate the beauty and fragility of the world around them.

I never planned to make a full video out of it when I first got on the boat. It started as a fishing trip with friends, and I was simply an observer. I knew there was a story even at the time, so I filmed what intrigued me in the moment because I might not again get the chance to see Maldivian fishermen in action like that. After the trip, I reviewed all the clips and pieced them together like a puzzle to reflect the process as I saw and observed it, making the best of the time I had. It ultimately helped me shape it into something others could watch and relate to.

I think it's importance comes from showing the full process, not just the catch, but the hard work, uncertainty, waiting, and timing that all come with it, and how deeply it’s connected to Maldivian culture and economy. It also reflects how our livelihood depends on it, where every part of the process matters and contributes directly to sustaining communities. By presenting it as it naturally unfolds, it helps audiences understand that sustainability here isn’t an idea in theory, but something lived and practiced every day.

Honestly, I had no prior plan for how the entire video was going to look. I just tried my best to capture everything that was happening as it unfolded. That meant waking up with the fishermen even if it was midnight while they caught bait, moving around them without disturbing their work, and finding the right moments to get shots without getting in the way. I also had to be very intentional about not overshooting because of limited battery, so I focused on capturing only what felt necessary in the moment. Basically, I worked within those limits by being present, observing, and shooting only when it mattered.

I think the balance was in staying honest to what I was observing without over-directing anything, because it’s a way of life that’s very close to me and rooted in Maldivian identity. At the same time, I wanted to present it in a way that people outside the Maldives could still connect with the process and emotions behind it.On a personal level, it means a lot because fishing is part of my family history; my grandfather was a fisherman and my uncles are still very connected to it. Receiving international recognition for it is really humbling, and I’m glad the story could reach a wider audience.

Those conditions of uncertainty, waiting, and no catch ended up shaping the film more than anything planned. It naturally influenced the pacing and mood, slowing everything down and highlighting the reality of patience at sea.At the same time, it also reflected the COVID period itself; uncertainty, resilience, self-isolation, and being cut off in the middle of the ocean away from the islands. Instead of focusing only on action, I ended up capturing that stillness and endurance, which became a core part of the narrative.

I used aerial shots to step back and show the bigger picture of what’s happening in the ocean. Close shots capture the effort and intensity on deck, while the aerial perspective reveals the wider ecosystem; fish, sharks, and fishermen all sharing the same space.I shifted to those views whenever the story needed context or a visual pause, helping balance the intimacy with a sense of scale and connection.

I see the Maldivian Fishermen Video as a kind of foundation for Two Thousand Isles in terms of approach; being patient, observational, and letting real life lead the storytelling rather than forcing narratives. It reinforced the idea that the most powerful stories often come from simply spending time and truly observing.Looking ahead, I’d like to continue that same approach across other aspects of Maldivian life that are changing or often overlooked; things like traditional island livelihoods, small community practices, and the relationship people here have with the sea. I think these are stories that are especially important to document now, while they’re still lived experiences, and to do it in a way that feels immersive and honest.

I think the recognition mainly helps the film reach a wider audience and brings more visibility to the story behind it. Beyond the award itself, it opens up space for the Maldivian Fishermen Video to be part of larger conversations around sustainable fishing, cultural preservation, and life at sea.For me, the most important impact is that a very local, personal story from the Maldives can now be seen and discussed on a global stage.

When I filmed, there were a lot of natural sounds on the boat, but the constant engine noise also muted many of the smaller details I experienced in the moment.In post-production, I layered those missing elements back in; water movement, splashes, underwater textures, and the energy of the fishermen, while reducing the dominance of the engine sound. This helped recreate the feeling I had on the boat, rather than just what was technically captured.Sound became a key storytelling tool, because it brought the audience closer to the experience I lived and observed, and made the environment feel more immersive and present.

The biggest lesson for me is being fully present in the moment. When you’re working independently, you can’t rely on a crew or a fixed plan; you have to observe, adapt, and respond to what’s actually unfolding in front of you.It also taught me to integrate into the environment and adapt to its rhythm, especially on the boat where everything is constantly changing; weather, movement, and timing. You have to understand those natural patterns instead of trying to control them.Patience is another key part. Out at sea, you’re often just waiting, but you have to stay ready because the moment can happen unexpectedly. It’s about being prepared while still allowing things to unfold naturally within this vast, ever-changing backdrop of ocean life.