Interview with Dawn Goss

While studying science and marketing through a Bachelor of Applied Sciences at the University of Guelph and business during the summer at Brock University, Dawn Goss knew she had to pursue a career that would allow self expression. Now the winner of two National Magazine Awards and co-author of three books, Goss is a successful writer and photojournalist living in a rural setting near Erickson, M.B.

		PHOTOGRAPHER DAWN GOSS Dawn Goss's genuine interest in the people and places she photographs fuels her career. Focusing on the moment rather than the technology, Goss is an inspirational photographer who approaches her craft with thoughtfulness and consideration for the world around her. Read more on the Churchill Northern Studies Centre, photographed by Dawn Goss in the November 2008 issue of Canadian Geographic Travel. To view more of Dawn Goss's work, visit: www.4iiiisphotography.com
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Q What sparked your interest in photography?

A Like many people, I was given a camera as a gift when I was 12 or 13. I was very devoted to documenting so I wouldn't forget them. I wanted to hold on to moments. You could call me a little sentimental. Through your life, you catch special moments and want that image to stay engraved in your mind forever.

Q How did you go from trying to save those special moments to having a successful photojournalism career?

A There were many twists and bends and I ran into a lot of brick walls. When you're born with this affliction (laughs), no matter what the distractions are, you have to express yourself in one way, shape or form. It always came back to what would allow me to express myself as much as possible.

I had been an avid canoer and had been invited to Fort William Historical Park in Thunder Bay, Ont. to celebrate the bicentennial of Upper Canada in 1984. My friends and I dressed up as voyageurs and lived at the fort. While I was there, I was photographing and really getting into the cultural experience. I met this photographer, Brian Milne, who somehow ended up in my canoe. Milne proposed we work on a book about the Trans Canada Highway. I started out writing because I knew the country fairly well and eventually, for the first time, had my photography published in this book.

QYou mentioned that you needed to express yourself. Why did you choose photojournalism as a means of expressing yourself?

AAs a photographer in this world, in this day and age, it's good to have many different ways to use your photography. So, I do a number of different styles of photography like portraiture, wildlife and landscape. But, I keep coming back to photojournalism because I love it. I find the subjects fascinating. I have a real interest in new places and I love people. I genuinely care about the people that I photograph. I've been very lucky to meet some absolutely extraordinary people and whether it's around the kitchen table, in the Arctic or on the front of a lake freighter.

QThis isn't the first time you've been on an assignment in Churchill, M.B. for Canadian Geographic. How did you approach this shoot differently?

AWell the previous assignment, about the Hudson Bay rail line to the Port of Churchill, was shot the fall. So, it was a little cool, but quite pleasant. On this assignment, shot in February, it went to between -52C and -57C below. So, you're in the -40s and then you add the wind chill on top of it. You go prepared.

Since the most recent assignment was for a Canadian Geographic Travel magazine, there was a little more attention to colour in the photography. Usually, I have ideas before I go but that doesn't always work because you're bringing in an assumption as to how you think it should look. I try to look at everything with new eyes and respond with my gut, my heart and my head.

QYou have some beautiful images of people inside a clear dome looking at the northern lights. Was this a shot you wanted to get from the beginning?

AI sort of knew about the dome but when I saw it this way, I thought everyone comes here and sees it from the inside. But, it's more interesting than that. The dome is really great and provides you access to see the sky and the northern lights. People crowd in there. I like to step away from what's going on and take a look at it from an outside perspective. Since I spent half my childhood in the top of a tree, my first instinct was to get on the roof and see what's going on from outside.

QTechnically, what did you have to do to make that shot work?

AMy challenge was lighting the inside of this dome while standing outside with my parka, hat, scarf and gloves on. The problem was that you can't run in and out. You're dealing with massive changes in temperature. That alone will do your camera in, if you don't prepare for it. So I talked Alison Gillmor, the writer, into popping off the flash when I signaled.

QYou seem to be very considerate of the people you're photographing. How do you get people to become comfortable with you?

AGenerally, I just try to get to know them as if I'm jut there trying to experience what they're experiencing. I try to get myself heavily involved in what they're doing and we'll just spend time together. It helps that I have an insatiable curiosity about people's lives and what it's like to be in their shoes. So, I have a real interest in who I'm photographing. It's easy if you're interested in them.

QDo you prefer going on assignment with the writer or without?

AIt depends on the assignment. You just don't show up and stick this camera in their face, because it's incredibly rude. I really like to spend a lot of time with the people. I like to watch their gestures, the way they move their head, the way walk and the way they look you in the eye. I like to know what's important to them and that takes time, an awful lot of time. The writer has a particular purpose and you try not to get in each others way. Generally, it's a little easier when they're not there but I do work with writers. Sometimes it can lead into other things and can be quite interesting to bounce ideas off each other. I've had the odd writer that comes in to tell you what's important and what you should do. I just slightly nod and say, "Thank you very much," and kind of chuckle and think, "Well, I'll probably just do what I need to do." Everyone has an opinion and everyone is moved by different things and that's perfectly valid.

QIn the story, the writer compares the Churchill Northern Studies Centre to a summer camp for grown ups. What was your impression of it?

AActually, it was pretty campy. At times I found myself scooting from room to room. It was sort of like a college dormitory and we would get into a little bit of mischief. Our lecturer would come around in the middle of the night and kick our doors with his boots, "Get up! Get out! Go outside!" he'd say. Out we would go at one in the morning.

There were people there from a lot of different places and different lifestyles and different experiences. You bond with people. It is a lot like camp. You bond with people and you don't want to break those connections. You want to keep getting to know them.

Although it was very campy, I felt like I was in the middle of some kind of bizarre science fiction movie. We were in this rocket launching area, the buildings were interesting and we were so isolated in that climate.

QDid you try to portray a science fiction feel in your photos?

ASure. I was very moved by the repetition of the dome. There were these domes that kept appearing everywhere in the corner of my eye, from the dome on the building to the curvature of the Earth when you're looking out over the horizon to the eggs that were frying on the grill in our kitchen. Also, one of the guests had this wonderfully round bald head. So I kept seeing this repetition of the dome everywhere. It was very planetary.

QWhat equipment did you bring?

AI have a Sony Alpha. I had a Nikon F-4. Gone are the days of film (laughs). I like them both for different reasons. And of course you take up backup equipment because something inevitably might go. I my case, the shutter just seized in my Nikon F-4 film camera and that was it.

But, I'm much more interested in the final product. My equipment changes all the time. Some people spend so much of their time dwelling on the type of equipment they have. That's all handy, but they're just tools. I'm concerned with how I can get my final product in the easiest way.

QBecause of the plummeting temperatures, what special equipment did you bring along?

AI wouldn't call it out of the ordinary equipment. The main thing is when its that cold, it's just like the vehicles in this province, everything breaks so much easier. If you're dealing with film, your film can break. Everything is stressed with that kind of cold. So, you have to be prepared to be quite easy on your equipment. Going from warm to cold, everything expands and contracts which builds up condensation, if you're not careful, on the inside of the camera. Therefore, you have to bag your camera so you have as little air in there as possible. The real challenge was nighttime, trying to bag a camera. At those coldest moments, it was hard getting, in those couple of seconds the over gloves out of the parka pocket in the wind and back onto my hands before they froze. Because, once your hands start to freeze, you can't move them like you need. The most challenging part was just moving your hands to bag and operate the equipment. So, the challenge is going in and out and that change in temperature.

QIf you had to shoot the assignment over again, would you do anything differently?

AI take it as a good sign when you come out of there wanting to do more. Where you just think it would be great to have another day because you would really like to explore this and explore that. You've been teased by the situation and you know it could take you even further if you had the time. I think the hardest part is to let it go and just say it's OK to go now. I'm kind of compulsive and when I get involved in the topic I like to see how far I can expand my skills and the hard thing is to walk away.

QIs there a final message?

AWhen I first arrived and met with the executive director of the place, you could tell he just thought "Oh no, not another photographer." I guess they just had some sort of publicity event with photographers were all over the place. I think that's why I like magazine work, it provides you a little bit more time to be considerate, although you're still basically invading their space. I don't think he was excited about another photographer and I tried to be considerate of that.

People were going there to understand and have this experience about the north, the northern lights and the important science that was taking place. An important message to me was that we appreciate the environment that's behind it all. I don't want to sound preachy, but there were an awful lot of jet miles that took everyone there. We're going there to learn about the shrinking polar ice cap and everyone is flying. We need to realize that the environment and the people there are special.

Interview by Michela Rosano.