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| Vandercook Lake's senior Chad Marriott, is congratulated after his team's win of Thursday night's home game against East Jackson. The Jayhawks were able to overcome an early deficit to pull ahead and win a share of the Cascades Conference championship for the first time since their 1969-70 season. (Photos by Katie Rausch) |
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| Surfers take advantage of high waves generated by a storm over Lake Michigan at Grand Haven State Park. Surfers who brave the Great Lakes often take to the water when the waves are higher during the winter months. |
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| Katie Rausch (Photo by Nick Dentamaro) |
The Ohio News Photographers
Association (ONPA) recently named Katie
Rausch the Ohio News Photographer of the Year (POY) for 2013.
This is a remarkable win,
considering Katie, only 26, was up against powerhouses like The Plain Dealer and The
Columbus Dispatch.
Though Katie didn't place but
once in the single categories, her well-rounded POY package showed she could
shoot it all: sports, news, features and photo stories. As one of her prizes, Katie won a Canon 5D Mark III body, which retails
around $3,000.
It was rather fitting that she
learned of her victory while attending The Image, Deconstructed workshop April
12 at the campus of The University of North Carolina, Chapel Hill. Katie is
always learning and striving to improve, which is why she is so deserving of
this title.
I can’t tell you how thrilled I
am to share Katie’s inspirational words of advice and youthful wisdom. So, without
further delay, meet Katie Rausch:
Q: How did you end up at the Toledo Blade?
A: First of all, I’d like to say thank you for your kind words
and introduction.
I came to The
Blade in July 2012 after spending six months living in my parents’ basement,
trying to freelance locally. I was laid off from my full-time staff position
with The Jackson Citizen-Patriot in Jackson, Mich. at the beginning of January
2012.
In 2009 I graduated from Michigan
State University and started my third and final internship in Jackson. I’d been
interning with the paper for a semester when two positions opened up within the
same month. They hired me just before New Years and I continued with the Cit
Pat for the next two years. The paper was open to a lot of visual storytelling
ideas, and the staff, my editor J. Scott Park and fellow photojournalist Nick
Dentamaro, were fantastic to work with. Unfortunately, in the fall of 2012 we
were told 71 out of the 100 people working in my building would be laid off
together.
It was a tough transition, and a
great lesson about the importance of having a plan B. I will say, though, that
in my six months away from full-time employment I was able to do a lot of soul
searching. Having that time to really reflect on my life gave me a measure of
clarity about the choices I had made. Specifically, my desire to work for
newspapers was really solidified. In a way, I’m grateful I was able to get
something productive out of such a difficult experience. I’ve always loved documenting
the lives of the people around me visually, and I’ve loved working for
newspapers from day one. My path here wasn’t exactly planned, but I am so
thankful The Blade took a chance on me. It’s amazing to get up every day and go
to a job I love.
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| Gale Hammett meets with her son at the Jackson County Jail. |
Q: When you were
putting your portfolio together for the ONPA, what was your thought processes
on the images you selected?
A: Well, they always say, “Edit tight.” I felt that though I’d
shot more than one longer piece over the course of 2013, I didn’t really have
enough to put together two strong stories. It seems like every time I watched
photo contest judging live, the weakest photograph or element of a portfolio
pulls it down, so I made my selections with that in mind. I attempted to make
each frame worthy of the one before and after. Apparently, the judges liked
that approach to editing.
Q: As we all know, photography is so subjective. Winners and
losers depend on the judges for any particular contest. What do you think the
ONPA judges saw in your winning portfolio, which included a photo story of
medical marijuana usage, and a portrait of a mother with her quadruplets?
A: Again, I think consistency is key. I really tried to make
each picture count, and to exclude anything that didn’t fit or wasn’t as
strong. There were single frames I really loved that I cut because they didn’t
fit the flow or visual feel of the portfolio overall. My portfolio isn’t
perfect by any means, but I do think it’s a good representation of where I am
in my development as a shooter and what my abilities are now.
I think it’s also noteworthy that
with the exception of one single image, nothing else from my portfolio was
recognized by the judges. In this case, I think that’s an endorsement of
cohesion of style, purpose and content in a portfolio.
Q: When you were attending the Image, Deconstructed workshop,
what's the one thing that has stuck with you, even now?
A: The Image, Deconstructed was a really wonderful experience
overall, so it’s difficult to choose one element that stood out. If I had to
pick, I suppose I was really struck by the fact each one of the presenters
emphasized clarity of purpose in one way or another. They each had a good gasp
of their personal vision and went for it, even when doing that was hard or they
were discouraged by outside forces. That common thread seemed present in the
success of every one of the presenters, and it’s something I’ve given a lot of
thought to since leaving the workshop.
What is it that I’m trying to say
with my work? What is it that I’m trying to accomplish? I imagine if I could
answer those questions more fully I’d have a better path forward.
Q: Do you have any advice for photojournalists when it comes
to submitting to contests?
A: First of all, I think it’s immensely important to remember
that contests aren’t everything. So many wonderful photographers do work that
goes unrecognized by contests every day and it doesn’t make any of it less
significant or well done. I have had years where the work I was most proud of
didn’t even get a second glance from judges and years where I’ve been astounded
by what won. So, as you mentioned before Lori, it is really subjective.
I’d definitely encourage anyone
looking to apply to a contest or job to seek extensive feedback from editors
and peers. Often times a fresh set of eyes can really help reshape work for the
better. I’ve found criticism, while sometimes painful, to be the one of my best
teachers. While not all criticism is constructive, being open to seeing
something differently can really help you grow. I know that’s been the case for
me.
But I think the most important
thing to remember in any situation is that you need to try. Contests aren’t everything, but they can help your career and
it is, of course, lovely to receive acknowledgment. This year I felt like my
tight edit would either be very well or very negatively received. I tend to
apply rather ambitiously for contests, and would encourage any photographer to
do so. That’s the point: you never know until you try. I think that’s a
philosophy that’s applicable whether that’s taking on a daunting personal
project, tackling a challenging assignment, or applying for a grant.
On a final note, I want to say
thank you again for your time and consideration, Lori. It’s been a pleasure
working with you, and the rest of my fellow staffers at The Blade.
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