Viewfinder: Daniel Freytag

Viewfinder: Daniel Freytag

We're all huge fans of Daniel's work. Through Colours Scotland (@colours_scotland), he documents the tones that surface in everyday moments; a welly boot on deck, a frost-bitten dawn, rope coiled on a ferry crossing. Nothing staged, nothing forced. Just an instinct to notice what most of us walk past. What began as a personal visual diary has evolved into a distinct body of work, one that reframes the familiar through hue, texture and timing.

What's your story?

Colours Scotland started out as a visual diary of sorts, a way of linking place and colour. As a designer and artist I’ve always found it useful to collect colours, something I can draw on later as a visual resource. Colour surrounds us, but we don’t always stop to really see it. When you isolate a colour from an image, it suddenly feels quite different and you realise Scotland has a far broader and more interesting palette than you first thought. Over time I realised that other creatives, and people with an affinity for Scotland, felt the same way I did.

Tell us about 5 of your favourite shots



No. 260 - Wheelhouse Boot

A recent post featuring the welly boot of my mate David, who runs a langoustine boat out of Oban. David was completely at ease in his work and his relaxed way of steering felt so natural and practised that it made me laugh.

 

No. 258 - Old Buoy

I found this old buoy half buried at the far end of Kiloran Beach on Colonsay. The texture and rich colour contrasted beautifully with the soft sand. Choosing colour names needs to feel immediate and not taken too seriously. I try not to overthink it. For this one I paid a small homage to Korean cult cinema. Abstract, yes, but fun.

 

No. 254 - Pom Pom Cloud

Pom Pom Cloud was shot during a dawn dog walk. The ground was still asleep, heavy with frost, but the sky had gone full disco. When it feels right I like to pair colours with audio tracks. Donna Summer’s I Feel Love felt like the right choice.

 

No. 244 - Hawser

I shot this neatly stacked old rope while crossing on the CalMac ferry between Iona and Fionnphort on Mull. I’m interested in details that are often overlooked but to me feel just as important as the more recognisable Scottish subjects.

 

No. 155 - Dawn Camp

For me, Colours Scotland is as much a diary of my own life and travels. Dawn Camp captures that moment when you’ve just woken, watching the sun rise through the tent opening while still wrapped in your sleeping bag. Life-affirming.


When you’re out shooting, are you actively searching for certain tones and combinations, or do the colours tend to reveal themselves in the moment?

I just shoot what I see - nothing is staged, set up or filtered - just my life as it happens. That said, I'm always tuned in to my surroundings and on the lookout.

 

Scotland is often portrayed in quite muted, moody tones but your work feels different. What do you hope people see or feel about Scotland through your images?

There’s so much beautiful photography of Scotland out there, haunting landscapes, misty glens and foreboding seas. It’s stunning, and God knows Scotland can be 'muted', the weather sees to that. But there’s far more to Scotland than dark greys and dull greens. That’s only one part of its palette.

I think Colours Scotland shows a more authentic and sometimes surprising side of the country, and that’s why people connect with it, both here at home and further afield.

 

Big thanks to Daniel for sharing his perspective and the moments behind the colours. You can explore more of his work via @Colours_Scotland, or website.

 

Credits: @Colours_Scotland
@danielfreytag
@freytaganderson

 

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Viewfinder: Michael Lazenby

Viewfinder: Michael Lazenby

In this week’s Viewfinder, we sat down with Michael Lazenby (@michaellazenby), UK-based photographer. Inspired by a childhood immersed in film and years spent exploring the Lake district with friends, Michael’s work is rooted in storytelling and atmosphere. Self-taught across both photography and filmmaking, his work blends cinematic influence with a deeply personal approach to documenting the world around him. What's your story? For as long as I can remember, I’ve been drawn to creative mediums as a way of expressing myself. Going to the cinema and watching movies at home was a huge part of my upbringing, and the films of Spielberg, like Jurassic Park, had a huge impact on me. I became instilled with a sense of awe and wonder from a young age. Fast forward to my early 20’s, I was looking for some direction and purpose in my life. My friends and I started having day trips to The Lake District to walk the fells, and we were seeing some truly breath-taking sights that re-ignited the same feelings I had when I was younger. I wanted to document those experiences in a more tangible way, so I bought a camera.  I taught myself the ropes of both photography and filmmaking over the next 10 years, and along the way I managed to turn it into a successful career. I believe Creative work is a deeply personal act of self expression, and throughout my journey with a camera I’ve always maintained a strong connection between me and my work, always leaning back to what first inspired the younger me. Tell us about 5 of your favourite images Ullswater, The Lake District I’ve always loved how winter can completely transform a familiar landscape, but often the conditions are fleeting and difficult to predict. This day was different, calm conditions, fresh snowfall and blue skies. I was driving along Ullswater last winter and spotted these swans gathered at the shoreline. Hastily, I parked the car and sprinted down to the lake. I loved the filmic look to the scene and the soft light on the swans against a wintery backdrop.    Havana, Cuba The photograph that heavily influenced a new direction in photography for me. I took this image on a trip to Havana in 2022 with my partner. I had no experience of street photography at the time, but I was experiencing a period of burn-out and thought a change in subject might help me navigate through it. It’s since become one of my favourite images, and a turning point in my career of what I enjoy shooting. A lot of the work I now share is from the streets, and I’m so glad I allowed myself the opportunity to experiment and try something new by taking my camera with me on this trip.   Saltburn-by-the-Sea, North Yorkshire This was the first photograph I took on a Fujifilm camera in 2022. 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What would be your dream location or subject to shoot? As of late, my favourite subject has been street photography. Around 4 years ago I went through a year-long stint of burnout. My partner and I had just booked a 2 week trip to Cuba, and our first week was in Havana. I had no experience of photographing a city and quite frankly, no interest. But I’d just bought my first Fujifilm camera, and it was the perfect travel companion, so I brought it along without much expectation. Turns out, it was exactly what I needed, and I loved the process. Since then, street photography has become a huge part of my work, and I’ve learned more about storytelling through photographing the streets than I ever could have in any other environment. What's your favourite thing to do that has nothing to do with photography? For the last two years my partner and I have been self-renovating our first home, and I’ve loved the process. I fully believe in the statement ‘your home is a reflection of you’ and that's what I’ve most enjoyed about bringing it to life, creating a space that feels our own, mirroring the connection I feel to my work. My commercial work in hotels has given me a better understanding of what makes a space feel inviting, and my partner has a great eye for colour and texture, so it feels like a team project we can both be proud of. A huge thanks to Michael for taking part in this edition of our Viewfinder series. Keep up with Michael and his work by heading to his @michaellazenby or website. If you'd like to take part in our Viewfinder series, please get in touch at hey@tenslife.com for more info.

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Tens X Team Scotland

Tens X Team Scotland

Tens was inspired by three friends and photographers on a road trip through the Scottish Highlands who wanted to bring warmth to everyday life and make the world feel a little more like a real-life photo filter. This summer, the Scottish sunglasses brand is proud to sponsor Team Scotland for the Commonwealth Games in Glasgow. Ahead of Glasgow 2026, we caught up with Tens Creative Director Steve Henry to chat about sport, photography, Scotland and the excitement building around the Games. Jill (left) & Steve (right) from Tens with Kaleem Barreto (center) from Team Scotland Can you tell us about Tens Sunglasses, how did it all start? Tens was started by 3 photographers and filmmakers while driving through the Highlands. They wanted to take the rich, warm colours we add to our photos and apply them to real life. And so, countless rounds of prototypes and a crowdfunding campaign later, Tens came to life. Our custom filter lenses immerse you in a world reminiscent of a distinct time, place or feeling - an experience you’ll want to revisit time and time again. Each lens has a unique feel inspired by some of our favourite photography and films. Why did Tens want to get involved with Team Scotland and the Commonwealth Games? Good question! Whilst tens isn't really a sports sunglasses brand, when you have these big events like the commonwealth games you just get that amazing buzz in the city, and we’re all about good vibes and making the world look better with our filters. I think that with sport you just get that energy in the city, and with it being our home games and Team Scotland, we just couldn't resist and wanted to be involved in any way we could. What are you going to be doing during the Games? Obviously rooting for Team Scotland. But we're going to be out and about capturing content in Glasgow. We're going to be out there looking for the good vibes and looking for those good stories. In any games you've always got Eddie the eagle or Eric the eel, we're going to be trying to capture that and find people out just bringing the joy and generally seeing what's going on around Glasgow during the games. What sports are you most looking forward to? I think all of them really. I love anything on the track and field but I think I'm really looking forward to track cycling! I've done a bit of cycling myself and it's just got everything, it's got speed, it's got danger. And then I love the sprint races. You've got that tactical element that’s almost like chess on wheels so I just love watching that. What’s your own experience with sport? I grew up playing rugby, which helped transform me from a big prop to a lean back row (and also transformed my nose to the side a little). I only played at amateur level, but I do hold a world record for playing in the most Northerly game of rugby ever played at the Magnetic North Pole which was part of an expedition organized by the charity Wooden Spoon. We trekked for 7 days then set up a full size pitch and posts for a 7s game and I got to experience what it's like to try and tackle the former England 7s captain Ollie Phillips (unsurprisingly it didn't go so well for me). After retiring from rugby I've also dabbled in a bit of endurance sports, ran a few ultramarathons including the Marathon des Sables in the Sahara desert and love getting out on my road bike. Steve at the Magnetic North Pole (back far left) Which Team Scotland athlete would you most like to meet? Oh that's a tough one! There's far too many to choose from but I've been doing a bit of swimming lately so I'm going to say Duncan Scott, just because he's our most decorated athlete. But any of them really. Love all you guys. Why is sport important? 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The Team Scotland athletes have been training for years in the run up to the games and are at the peak of performance, so to see them in our sunnies is going to be pretty special. With Glasgow set to host an unforgettable summer of sport, Tens will be out capturing the atmosphere, energy and moments around the Games along the way. Follow @tens and @team_scotland to keep up with team Tens throughout the Commonwealth Games.

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Viewfinder: Sophie Hustwick

Viewfinder: Sophie Hustwick

Next up in our Viewfinder series is Sophie Hustwick (@sophiehustwick). With a background shaped by a lifelong exposure to photography and early influences from family, Sophie's work is rooted in observation and a deep appreciation for the details often overlooked. Drawing from a foundation in sketching landscapes, she brings a thoughtful, intuitive approach to imagery, paired with a striking use of colour that defines each frame. What's your story? Photography has always been present in my life. Both my Grandad and Dad had a huge collection of film cameras, so I grew up around the idea of documenting moments and preserving memories. My Dad first taught me how to use a camera, which encouraged me to explore the medium further, eventually leading me to study photography. Before photography, I would often go on road trips and sketch landscapes, trying to capture a feeling or atmosphere rather than simply recording a scene. Drawing taught me to slow down and really observe my surroundings, noticing light, shape and subtle changes in mood. In many ways, photography became an extension of that process. The two feel closely connected; both are about paying attention and responding to the environment. Where drawing required interpretation, photography allows me to preserve fleeting moments as they naturally exist, holding onto small details that might otherwise pass unnoticed. Tell us about 5 of your favourite images A Quiet Corner I hadn’t seen my friend in what felt like forever, the kind of gap that quietly stretches without you realising how much life has happened in between. The diner was half-empty when we walked in, and there was this booth glowing in burnt orange as the late afternoon light filtered through the blinds. It felt staged, almost too perfect. It was around Halloween, when the light always golden, and the staff were in costume, which added an extra cinematic feel to the place.   Painted Streets Cuba had always lived in my imagination through my dad’s stories, spoken about with a kind of reverence. When I finally went, it felt less like discovering somewhere new and more like stepping into something I already knew. The colours were everywhere, sun-faded pastels, bright cars, walls layered with history. There was a sense of being gently cut off from the rest of the world, like time had slowed. Watching cigar makers at work and riding horses through open landscapes, it all felt grounded, tactile, real.   Reflections at Dusk The walk to the pier to watch the sunset had become routine, almost automatic. Every evening I’d go, focused on the changing colours in the sky like it was the only thing worth noticing. One evening I stopped to admire an orange car and noticed the reflection of the palm trees stretching across it. That moment became a reminder to slow down, and the image later became the first in my book Colourway.   First Day Back Coming out of lockdown felt surreal. This was the first photo I had taken after restrictions lifted. The market was overwhelming in the best way, colour everywhere, people everywhere, noise, movement. After so long indoors, surrounded by the same walls and muted tones, it almost felt too much to take in at once. The colours felt exaggerated by contrast, heightened by absence.   Built into the Landscape I’ve been spending a lot of time in Lanzarote since my mum moved there. The architecture stands out in a way that feels intentional, clean lines, bold shapes, colours that work with the landscape rather than against it. It creates a balance between nature and design that feels almost curated, but still completely natural, like the landscape and the architecture were always meant to exist together, shaped by the same volcanic ground they sit on. What would be your dream location or subject to shoot? Visiting Cuba was a dream of mine, and it reflects the type of environment I feel most inspired by. I’m drawn to places that feel rooted in the past, with interiors and exteriors that hold the character of another time. Spaces shaped by history often carry subtle traces of the people who have moved through them, and I find that incredibly compelling to photograph.Having the opportunity and freedom to travel is very important to me, as I’m continually inspired by experiencing new places and cultures. I’m interested in locations that feel authentic and colourful, where texture, light and atmosphere can tell a story without needing too much intervention. What's a 'must-have' item you couldn't live without on a shoot? I’ve always believed you don’t need the most expensive gear to create meaningful work. For me, the heart of my process is the film stock itself. I’ve developed a strong connection to specific stocks that complement the tones and moods I’m drawn to. Kodak Portra and Kodak Gold are staples. They produce colours that feel natural, warm, and slightly nostalgic, which perfectly suits my style. I almost always carry both a reliable 35mm and 50mm lens. Switching between them lets me move seamlessly between capturing the environment and honing in on details.And batteries, because there’s nothing worse than being stranded mid-shoot with a film camera that relies on rare, hard-to-find power sources. Big thanks to Sophie for taking the time to share these gorgeous photos and stories with us. You can explore more of Sophie's photography on Instagram @sophiehustwick. You can also purchase Sophie's book, Colourways, here.

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