A Calgary-based photojournalist and social documentary photographer, Gavin John’s work focuses on human resilience, Indigenous communities, and national security.
While he has covered major global conflicts like the Battle of Mosul in Iraq, his portfolio also includes projects such as The Blackfoot Shield Keepers, Securing the Northwest Passage, and Grassy Mountain Coal, reflecting his dedication to telling underrepresented stories.
John is a member of Indigenous Photograph and a mentor with Room Up Front, supporting the next generation of visual storytellers in Canada.
BIG MOMENTS
“I always wanted to be a journalist. I can tell you exactly when: I was six years old, and it was because of the Rwandan genocide. As I grew older, 9/11 became another defining moment. I realized there was an importance in storytelling — in understanding what people are going through.
“When it comes to photography, I travelled a lot in my youth. I found that telling stories through pictures gave me a lot of joy. I gravitated toward stories about people.”
CONFLICT ZONES
“Preparation starts months before I even leave. I research everything: historical, cultural, religious, and societal contexts.
“Then there’s the softer side. I ask myself: ‘Is the risk I’m taking worth the story I’m telling?’ If I don’t have a meaningful story, I don’t go. I’m not a tourist. I’m not there for adrenaline.
“Conflict zones evoke every terrible emotion you can imagine: fear, disgust, anger, sorrow, despair. The key is being honest with yourself about that.
“What gives me courage is duty. [My] duty as a journalist means being part of something bigger than myself.
“My job is to ensure that people’s stories aren’t forgotten — that events are documented honestly, and that the people living through them are seen as human beings, not just headlines.”
BATTLE OF MOSUL
“It was my second tour in Iraq. I’d previously spent time there in 2015 and had gotten to know a Canadian volunteer fighter. After I returned home, he was killed by a suicide bomber.
“When the Iraqi government announced the start of the offensive to retake Mosul from ISIS, I was filled with rage. I wanted to see ISIS burn.
“Fast-forward to November 2016. I arrived in Mosul with an Iraqi unit. We stopped outside the city to gear up. The city was burning. I remember the sounds: gunfire, explosions. I remember the smoke curling into the sky.
“Driving into the city, I saw soldiers and military vehicles everywhere, families carrying their entire lives reduced to what they could hold in their arms.
“And I felt shame. I had wanted to see Mosul burn. But it wasn’t ISIS’s city — it was these people’s city. Their homes. Their lives.
“I understood that my job wasn’t about me — it was about them. At that moment, I felt an overwhelming sense of purpose.”
90/10
“I always tell young photojournalists [that] pressing the shutter is the last thing you do, not the first.
“You make sure people are comfortable. You respect their humanity, especially in horrific circumstances.
“Conflict is easy to sensationalize. But I don’t think what’s often portrayed truly represents war. There’s a saying: ‘War is 90 per cent waiting and 10 per cent pure terror.’ Most images focus on that 10 per cent.
“When I cover defence, I try to be very conscious of that. Instead of chasing explosions and gunfire, I focus on people. Soldiers waiting, joking, smoking, playing chess — the quiet moments in between chaos.
“To me, human-centred storytelling is more ethical, impactful, and truthful.”
THE ACTIVE WITNESS
“I don’t believe in the idea of the invisible photographer. The moment you’re present, you change the dynamic. People behave differently when they know they’re being watched.
“I’m always an active witness — not an active participant, but still part of the environment. Even by asking someone to tell their story, I’m influencing what they say and how they feel.
“My job is to acknowledge that influence — not pretend it isn’t there — and to build enough trust that people feel comfortable being themselves.”
COVERING CANADA
“The further I went in my career, the more I realized there are so many important stories at home. I’m working on my dream project right now: a long-term visual documentation of the Canadian Rangers.
“The Rangers are a fascinating, underrepresented part of Canada’s North — an organization made up mostly of Indigenous people, living in some of the most remote places on Earth.
“I’ve spent years building trust with the Canadian Armed Forces to get access to their world. This February, I finally embedded with Rangers in Inuvik, Tuktoyaktuk, and Northwestern Yukon. I spent a month with them in -50 weather, on snowmobiles, alongside the Air Force.
“The Arctic is visually stunning, and the Rangers’ story deserves to be told with respect, depth, and humanity.”
THE FUTURE OF JOURNALISM
“I believe journalism is defined by one thing: ethics. Ethical journalism requires rigour, humility, and respect for facts.
“More and more, we’re seeing people who call themselves journalists while spreading misinformation. That erodes public trust — and sadly, our industry has given people good reasons for it.
“The only way forward is doubling down on ethics. It’s essential if we want journalism — real journalism — to survive.”
QUICK TAKES
Preferred Camera: Nikon Z8.
Major Influences: Nicole Tung, Tyler Hicks.
Key Philosophy: “Do what you can.”
This Q&A was created in collaboration with Werklund Centre ( formerly Art Commons).
To see Gavin John’s work, visit gavinbryanjohn.com or Instagram @gjohnjournalism.
