The Photo Ethics Podcast

Photography Ethics Centre
  • 5.0 (3)
  • Visual Arts
  • Updated Biweekly

This podcast is all about the ethics of photography. Each week we will hear from an accomplished photographer about what ethics means in their practice. We will talk about how these photographers have handled challenging situations, we will hear how their different experiences have shaped the way that they use their camera, and we will ask the big questions to find out why they photograph what they photograph. We will cover topics like consent, dignity, power, responsibility, impact, and collaboration. This podcast is hosted by Savannah Dodd, founder of the Photography Ethics Centre.

  1. 22h ago

    Siorna Ashby: More than Skin

    In this episode, we talk with Siorna Ashby about ethics in boudoir and nude portrait photography. Siorna discusses her collaborative, consent-led approach to photographing the body, exploring how clients actively shape the images they create together through what she describes as “self-authoriship”. She reflects on navigating vulnerability, power dynamics, and body image, explaining how trust is built before and throughout the process. Siorna also shares her approach to retouching and the challenges of building an ethical boudoir business, and considers how historical representations of the nude continue to shape contemporary photographic practice.  What you'll find inside: “The photoshoots I have with clients are designed to feel calm, collaborative, and consent-led… clients actively shape the creative direction in these images…that’s what i call self-authorship in boudoir and nude photography” (1.27) “Consent is not static, and my job is to stay responsive to the person in front of me” (9.45) “I treat retouching as a conversation… There's no rule book. It’s led by the client and its case by case” (24.57) “I would encourage you to do your own boudoir shoot… understand what it feels like to be a client is really going to help you understand what vulnerability looks like” (28.35) What does photography ethics mean to Siorna? “For me, in this genre, ethics is what protects the person behind the picture. It's not a checklist. It’s about how you handle power, vulnerability and consent, and keeping that conversation ongoing throughout the process (34.03)  Links: City Academy British Museum Lynda Nead

  2. Oct 7

    Aindreas Scholtz: Ethics of Sustainability

    In this episode, we talk with Aindreas Scholtz about sustainability, materiality, and the future of photographic practice. Aindreas discusses how his camera-less photographic work, drawing on historical processes such as cyanotype and anthotype*, has shaped his research. He reflects on photography as a material practice, exploring the ethical implications of the resources and environments entangled in photography. Aindreas discusses the value of working collaboratively with communities and scientists, the importance of embracing slow methodologies, and why photographers should be transparent about the environmental impact of their work. He shares how reflecting on his own practice has led him to see photography ethics as an ongoing process of imagining better futures through more thoughtful choices. *Cyanotype is a camera-less photographic process that creates photograms by placing objects on light-sensitive paper, coated with iron salts and exposing them to ultraviolet light. After washing with water, the process produces distinctive blue and white images. Anthotype is a camera-less photographic process that uses light sensitive pigments extracted from flowers, leaves or fruits. Objects placed on the coated surface create images as the exposed plant pigments gradually fade in sunlight. What you'll find inside: On discovering sustainable photographic practice after breaking his camera: 'That was the best thing that ever happened to me… I had plenty of sunlight, I had plenty of water… I thought, I'm not going to use tap water, I'm going to use seawater because I'm surrounded by the sea. I want to allow the environment to come into the process.' (12.26) 'When you work with a community and you've got ten people coming together, the knowledge they produce in that very short amount of space is amazing. You just have to remove yourself, watch, and learn.' (14.56) 'I know that my work has a footprint. I know that my work is not 100% eco-friendly or sustainable… First you address it, you admit it, you problematise it, and then you ask what can be done better.' (25.56) ‘I'm informed by science, because photography came out of science, but it can have very creative applications…it can change people's minds about our behaviour’ (28.18) What does photography ethics mean to Aindreas? 'To me it means to be more reflective about my choices and behaviours, to reflect on the past and to imagine a future inspired by ethical choices, and to make things, hopefully, better.' (33.35) Links: The Sustainable Darkroom Anna Atkins Archive Dr Melanie King, Ancient Light

  3. Sep 30

    Oh Soon-Hwa: Weaving Boundaries

    In this episode we talk with Oh Soon-Hwa about long-term documentary practice, research, and ethical responsibility. Soon-Hwa reflects on her personal experience of migration and its influence on her photographic work, discussing the importance of curiosity, sustained engagement, and research when working with communities. She explores the ethical challenges of photographing private lives, balancing public visibility with private wellbeing, and explains why care, rather than consent alone, is at the heart of her photographic practice. What you’ll find inside: “I’m photographing a certain perspective … I’m really narrowing down to one aspect rather than portraying the entire culture or the whole community” (10.25) “Although I had all the legal consent, I took it down for the participant because it wasn't about legal issues. It was about ethical issues, and I didn't want to harm her in any way” (22.27) “Through the project I really saw the limits of my own thinking and perception, my own prejudice … just one or two conversations became awakening moments” (26.26)  “I think something that I’ve done is not necessarily focusing on disseminating the photographs themselves, but using them as an intervention…so I think that’s a way we can expand our impact without focusing solely on the visibility of the images  (27.44)   What does photography ethics mean to Soon-Hwa?  “Caring. I care, so I photograph [them]. Whatever protects the participants or subjects that I photograph, I shall do it. That’s photo ethics to me; to make sure they are not harmed by my picture or by my actions. They allow me to photograph them because they care, maybe about me as a stranger and what I want to do, so I try to exchange that same care” (30.23) Links: Oh Soon-Hwa Darling Quiet Dream The Steep Price Photographic Collections as Visual Method Liminal Landscapes 1940s - 1960s

  4. Sep 23

    Trailer: Season 7

    For season 7, we are bringing you a mini edition of the podcast to focus on our biennial Photography Ethics Symposium. Back in June, the 2026 symposium was hosted at Queen’s University Belfast and produced in partnership with the academic journal, Photographies, with funding from the ESRC. This event brought together photographers, curators, archivists and researchers to critically consider the messy endeavour of photography ethics. This season, we invited a selection of the poster presenters to share more about their research, spanning decolonial archiving practices to the ethical considerations of boudoir photography.  We hope you enjoy this season and the fascinating insights that the speakers have to offer. We’re looking forward to sharing the special issue of photographies with you in 2027.

  5. 09/17/2025

    Tanya Habjouqa: On reevaluation and responsibility

    In this episode, we talk with Tanya Habjouqa about reevaluation and responsibility. Tanya shares how her Circassian background motivates her work as she feels the diasporic community’s story was never told.  She reflects on how the process of printmaking has allowed her to forge a deeper physical connection with her art which can be healing. Tanya explains the countless ethical considerations involved in photographing Palestine including the topic of embedding as well as the targeting of journalists. She also discusses the different levels of involvement and responsibility involved in photographing a community and the impact of parachute journalism. What you’ll find inside:  “I need to care about the community that I’m photographing, there needs to be a stake a personal stake.” (13.17) On printmaking: “There was something healing about that process but it was also just wow I can take a faint archival picture I can utilise images that I could not in our traditional photography realm.” (14.29) On art books: “It was this moment where I understood I was in a position where I could bring my documentary work and ethics but find new ways of layering bringing in history and overlaying texts.” (15.16) “The community who’s story you’re telling they should recognise themselves. You should invest time before picking up your camera, I really see photography as an intellectual practice.” (19.24) “You have the power and the responsibility of that archive, I don’t think you shouldn’t take the picture. Sometimes if there is something happening take it and then carefully carry that close to you and unpack where that should go or if it should go.” (21.02) “I think we have a responsibility to try to innovate in our image making and to be as layered and nuanced as possible.” (39.22) What does photography ethics mean to Tanya?  “It’s a process of being thoughtful, evolved emotionally intelligent human beings and understanding that this is not a right, you worked very hard to get access.  You can tell there’s a difference between a parachute journo drop in snapshot, you can tell when you’ve been invited into the house and that there’s a degree of trust it’s very clear in the image and what’s reflected. It’s just a constant evaluation checking in with stake holders. There’s no key formula you also end up developing an intuition and trusting your intuition.” (40.33) Links: The Unseen Truth: When Race Changed Sight in America by Sarah Lewis Darcy Padilla Maureen Cummins Sean Hillen The Book as the Trojan Horse of Art: Walter Hamady Betty Brink These macaques are used for entertaining. They’re also endangered. Tomorrow There Will Be Apricots

  6. 09/10/2025

    Tiffany Fairey: On visualising peace

    In this episode, we talk with Tiffany Fairey about visualising peace. Tiffany warns of the dangers of binaries and hierarchies in terms of the different forms of photography as it negates the importance of different perspectives. She highlights the complexity of the politics of visibility and the ethical considerations required when marginalised groups become visible through photography. Tiffany also explains peace photography and how it can be used to depict a desired future in contexts where conflict is still present. What you’ll find inside:  “I felt really uncomfortable I guess about this idea of who’s taking the pictures and who’s telling the story. That idea that taking photos of someone is almost like putting words into their mouth.” (7.37) “Often in these projects a lot of the kind of benefits and the outcomes aren’t really anything to do with the image… really about facilitating something beyond the photography but also facilitating through and via photography.” (12.28) “It’s not like peace photography is against war photography and we must have one or the other. I think there’s a danger sometimes in photography that we have to think in terms of binaries or in terms of hierarchies.” (16.06) “The politics of visibility basically can not be straight forward when you’re working with groups that are traditionally silenced suddenly becoming visible and having their stories heard. It’s complicated as well because a lot of the times they’re not listened to, so there’s dangers of raising expectations that can’t be met through these projects. We’ve had complications around finances as well.” (22.25) “Within peace photography that is one of the key considerations are these images to be shared or not? There shouldn’t be an assumption that these projects are always about sharing images.” (32.31) “I think the idea of peace photography is asking us to really reassess what we think of as visually significant.” (40.17) “A photography of peace can make visible all these elements of peace that we might not always consider.” (41.03) What does photography ethics mean to Tiffany?  “Essentially for me ethics means accountability and transparency in how you deal with others and communicate your work. There’s always the danger that the language of ethics end up obscuring what is actually happening, we can make it more complicated than it is. I worry a lot about people talking the talk about ethical photography but we don’t always walk the walk and it’s not simple to do that. I would say it’s this idea of ethics being grounded in transparent and accountable relationships with the people that we work with.” (41.52) Links: PhotoVoice Street Vision Anna Blackman Voices in Exile TAFOS Fotokids Nancy McGirr Ingrid Guyon PhotoVoice Statement of Ethical Practice - PhotoVoice - Projects, Training, Photography and Consultancy for Social Change Liz Orton Peace Photography Guide | Imaging Peace Imaging Peace Everyday Peace Indicators Ariella Azoulay

  7. 09/03/2025

    Kimbra Audrey: On healing

    In this episode, we talk with Kimbra Audrey about healing. Kimbra shares how her self-portraiture practice is a way to reclaim power over her image and body after years of modelling. She discusses documenting her breast cancer journey through photography as well as the current issues with breast cancer representation in terms of race, gender and age. Kimbra challenges the phrase taking a photo as she incorporates sustainable practices into her work, trying to give rather than take. She also explains her decision to takes self-portraits nude as a way to distance herself from the fashion industry. What you’ll find inside:  “I think that consent is the most important part of the relationship between any model and photographer and that clear boundaries should always be established before you even shoot. Also, clear explanation of where the images will be.” (7.50) “I learned to love of all of my feelings and the complexities of my emotions through my self-portraiture. I feel like in modelling I loved the parts that fit into patriarchal values.” (10.58) “It was also very healing to love my body when it was at its weakest and most sick and most vulnerable. And be able to find strength and empowerment in moments that were really really horrible and difficult.”  (13.16) “But it can be hard to draw the line in the middle range of like green washing or also I’ve discovered more recently pink washing which is essentially the same thing but for breast cancer… you really do have to dig deeper and find your own personal compass.” (18.43) “Just the phrase take a photo I have always had issue with because I’m not taking anything. I’m making I’m creating I’m making a self-portrait, I don’t want to take anything. I approach my photography the same way I approach everything in life and I want to give.” (20.22) What does photography ethics mean to Kimbra? “Photograph ethics are not separate in any way from my life ethics. Also really specifically in my situation because of the nature of my work and the self-portraits being so insular and solitary they are a representation of who I am … love, kindness and self-responsibility I focus on what I can do and that I think is reflected in my work.” (30.49) Links: Model Alliance

  8. 08/27/2025

    Jesse Alexander: On creative sustainability

    In this episode, we talk with Jesse Alexander about creative sustainability. Jesse discusses the nuances of rurality and place making as well as the urban bias present in landscape photography. He also explains how idealised images of agriculture are disconnected from their polluting impact. Jesse shares his ethical approach which focuses on the general messaging of his work and lowering his own consumption. He speaks on the ethical framework at Falmouth University, which invites reflection and innovation while allowing students to learn without shame. What you’ll find inside:  “There is I think a very very inherent urban bias in landscape representation. It sort of links to other things like enclosure acts and a very distorted appreciation of the land in a very broad sense.” (9.11) “These images are really really pervasive I think, particularly around agricultural actually and its very disconnected. Unfortunately, the majority of agricultural practices are really bad, really polluting… the dominant narratives are quite different.” (12.06) “Does it increase consumption basically in a bad way? That’s sort of my core fundamental approach, the priority has to be about thinking about the messaging.” (16.24) “I do think if ethics are so far at the front and in such big bold letters then I think it can be a bit kind of restrictive. So, I think the thing I say is the MA course is a safe space to make mistakes.” (25.47) “At the time I kind of had a distinction between ethics and sustainability and then since that time I’ve really realised that actually they are two sides of the same coin.” (32.17) What does photography ethics mean to Jesse?  “I think it is ultimately what your practice says, and what it says about you as well. Whether it is in like the really obvious messaging of the work or actually the kind of very subtle ways of how you go about working. I think it really does actually filter into all of those choices you make as a practitioner.”  (43.35) Links: David Campany Paul Seawright Paul Graham: Troubled Land Clive Landen The Digging Season AdGreen Albert Jesse Alexander Alice Cazenave Dawn Woolley Tamsin Green

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Ratings & Reviews

5
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3 Ratings

About

This podcast is all about the ethics of photography. Each week we will hear from an accomplished photographer about what ethics means in their practice. We will talk about how these photographers have handled challenging situations, we will hear how their different experiences have shaped the way that they use their camera, and we will ask the big questions to find out why they photograph what they photograph. We will cover topics like consent, dignity, power, responsibility, impact, and collaboration. This podcast is hosted by Savannah Dodd, founder of the Photography Ethics Centre.

Information

  • Creator
    Photography Ethics Centre
  • Years Active
    2020 - 2026
  • Episodes
    78
  • Rating
    Clean
  • Copyright
    © Any redistribution or reproduction of part or all of the contents in any form must acknowledge the Photography Ethics Centre as the source.
  • Show Website
    The Photo Ethics Podcast

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