The most beautiful photos in photography is, of course, the story of the photographer.
And the stories behind them are fascinating and sometimes fascinating and a little sad too.
But sometimes the photographer is just a bit too happy and happy and not happy enough and the story gets too tangled up in the very real drama of a photographer’s life, and it’s easy to get lost in it.
It’s easier to just forget about it.
In an interview with The Globe and Mail, Nikki Catsura, the photographer who won a Pulitzer Prize in 2015 for her photographs of the Japanese tsunami victims, says that it can be hard to remember how it all began.
She says, “I think about the tsunami in the first year.
I think about that year when I had to go to the studio and photograph myself.
It was a really tough time for me.
I didn’t know how to prepare, I didn´t know what to do.
I couldn´t get the gear together.
So I went to the beach with a friend and he got me this tripod and I didn.t know how much to charge it and I had this problem with batteries and all kinds of problems.
I thought it was a miracle.
I was thinking, ‘If I could just get this tripod I could do this.’
So I got it.
But it didn´ t work.
So, I went home and I was really depressed.
And I was trying to think about it a lot.
I had the feeling that maybe it was just that I couldn.t figure out how to do something.
It wasn´t like I just got my equipment and it was like, ‘Oh my God.
I have to get it fixed.’
I think I just lost it.
I lost it a little bit.”
It took a while for her to regain it, and her career took a bit longer.
Catsura says that her career as a photographer started slowly and then picked up.
She started working with clients, mostly on social media and in locales like Honolulu, and she says that she had a very hard time keeping her head down and her camera steady.
She even had to change her camera.
And it was not until a few years later that she got her first exposure to digital photography.
It took a little while for it to settle in.
“I had never shot a film before,” she says.
“I was not aware of the difference between film and digital.
So there was no concept of what film was and what digital was.
I knew what I was getting myself into.
I remember when I got my first exposure, I was shooting from a tripod.
So it was very hard for me to keep my focus.
It´s so much easier to get that first exposure when you can hold your camera still.
It just seems like that first shot.
I still had the same issues, though.
And then I started shooting film.
And so, I think that’s when I realised how much better it is.”
Catsura says the only time she had to think that her image quality wasn’t up to par with her competitors was when she was working with the Japanese military.
She tells The Globe that it was during the Second World War that she and her team were shooting for Japanese newspapers.
“It was very challenging for me because I had never done any photography before,” says Catsura.
“So I was not really used to shooting for the Japanese.
I used to be shooting for other magazines.
So they gave me a lot of assignments, and they wanted me to photograph them.
And they were very demanding.
I wasn’t used to it.”
She says that, after shooting for three days for the Japan Times, she received a message that her images were being considered for publication.
She thought she had done a good job, but it took about two months for the magazine to decide that she was a good choice.
The magazine also took pictures of her with a group of women on the beach and posted them on its website.
“Then, I had one more meeting with them and I got the news.
They said, ‘Your pictures are being considered to be featured in the September issue.’
I thought, ‘I have done so much for the country and I am very happy to be here with them.’
They were very happy with it.
And that´s when I started to see myself in their eyes.”
She has been in many other assignments since then, and is working on a book on the Japanese-American community called Japanese-Americans in the American South.
Catsuras book, Japanese- Americans in the South: A New American Story, will be published in the fall.
But she is not happy about the reaction of the publishers, who she says were “horrified” by her book and that she would be selling books to Japanese- American students and other groups.
“The publishers were really upset with me.
They were like