PhotoVoice is interviewing established photographers to gain a wider insight into the power of photography and the different approaches to ethical considerations.
This month we interviewed photographer Peter Caton. An award-winning documentary photographer, Peter has dedicated his career to reporting on humanitarian causes and amplifying the voices of disadvantaged people. He has lived on the road for 19 years, the last ten in Africa, where he has documented climate-related crises throughout the continent.
In his new book ‘Unyielding Floods’, he photographs the villagers of South Sudan trying to protect their homes and livelihoods against catastrophic floods.
This book has successfully reached its Kickstarter goal, but you can pledge to support it and receive early signed copies here.
You can see more of Peter’s work at his website or on Instagram @petercaxtonpix.
Where did it all begin and why did you choose photography and not another medium?
I was born and raised in Scarborough, where my parents ran a children’s home. Growing up in that environment, surrounded by their dedication to social work, gave me a strong sense of empathy and a desire to make a difference. I always knew I wanted to work in a creative field, but it wasn’t until secondary school in the early ’90s that I discovered photography—and it just clicked. It felt like the perfect medium to combine my creative instincts with my interest in people’s stories. After earning my photography degree in 1998, I saved up and travelled to India for six months with an old Bronica and Metz flash. That trip was transformative—it solidified my commitment to using photography to explore and shed light on global social issues.
Tell us a bit about your approach to photography.
Over the past 16 years, my creative approach has evolved significantly, especially through working almost exclusively with a Hasselblad. Shooting on location has taught me to anticipate what compositions and subjects will translate best on medium format. I often pair this with Elinchrom lighting, which complements the Hasselblad’s strengths—particularly for portraiture and stark, deadpan landscapes. Using this equipment lends my work to galleries, which enables my work and stories to attract new audiences. I try to work in harmony with the equipment, using it to elevate the tone and feel of the image. At the heart of my approach is a commitment to portraying my subjects with dignity and strength—my goal is always to honour them through the image.
How do you decide if something is worth capturing?
As a full-time professional, I don’t always have the freedom to choose who or what I photograph. But when I’m working on personal photo essays, the decision often feels intuitive—like the subject finds me. There’s a moment of connection, as if we were meant to cross paths. I’m especially drawn to people whose stories are overlooked—those who are lost in the crowd and haven’t been given a voice. For me, something is worth capturing when it carries emotional weight, when it reveals something human and true that might otherwise go unnoticed.
Is there a single image that defines you as a photographer?
One image that stays with me—and perhaps defines me most as a photographer—was taken in 2010 during a trip to the Sundarbans for a story on rising sea levels commissioned by Greenpeace International. While there, I asked displaced islanders if I could photograph them in the places where their homes once stood, before the sea forced them to move. I captured a portrait of Shukdev Das, standing on a small grass mound, eyes closed—lost in a moment of memory, silently recalling what once was before the sea claimed it. That image speaks to the emotional core of my work: giving visibility and dignity to those impacted by forces beyond their control.
Can photography bring about positive social change?
Absolutely. The majority of my work is commissioned by aid organizations working in the developing world, and these projects are specifically designed to raise both awareness and funds. As a photographer, I see it as my responsibility to create images that not only inform but also inspire action. When done ethically and thoughtfully, photography has the power to shift perspectives, amplify unheard voices, and ultimately contribute to positive social change.
Has charity/non-profit photography changed since you started?
Yes, charity and non-profit photography has changed significantly since I started working in the late ’90s. Back then, I was often given more time on the ground to build trust, understand the context, and truly connect with the people I was photographing. That time was crucial for creating meaningful, respectful images. Over the past 25 years, budget constraints have tightened, and now we’re expected to accomplish much more in a single day. This shift can make it harder to build rapport with subjects, which I believe is the most important part of the process. At the same time, it’s pushed me to adapt—sharpening my ability to think on my feet and make the most of every moment I do get with someone.
What is your approach to the ethics of photography?
Ethics are absolutely central to my work, especially when photographing vulnerable communities or individuals affected by crisis, poverty, or displacement. I always ensure that written consent is obtained for every photograph and interview—it’s a non-negotiable part of my process. But beyond consent, it’s about respect, dignity, and representation. I’m conscious of how images can shape narratives, so I avoid anything that might sensationalize or misrepresent someone’s reality. I take time to explain why I’m there, how the images will be used, and I always try to ensure the subject feels comfortable, empowered, and seen in the final work. Working with ethically minded clients also helps reinforce these values—there’s a shared understanding that the people we photograph are not just subjects, but collaborators in telling their own stories.
What’s been your greatest achievement as a photographer?
Being able to sustain a career in such a demanding field, while staying true to my values and purpose, is something I consider a real achievement all this while spending the last 26 years continuously travelling the world as a photographer!
How important do you think equipment is?
Do you have any advice for aspiring photographers?
The photography world is becoming more demanding, and the bar keeps rising each year. My advice to aspiring photographers is to always stay true to yourself and your vision. This path—especially if you’re drawn to humanitarian work like I am—requires real dedication and a willingness to make significant sacrifices. My journey has been unconventional: living on the road for over two decades to follow my photographic path, away from friends and family, and it can be lonely at times. But if you have a deep passion for storytelling and a drive to make a difference, that will carry you through the challenges. The rewards—connection, purpose, and the thrill of adventure—can be incredible. Just be prepared to work hard, stay grounded, never lose sight of why you started, and don’t sell out to yourself!
