Viewfinder: Mark Cant

Viewfinder: Mark Cant

From fashion editorials to celebrity portraits, photographer Mark Cant has built a reputation for capturing bold, unexpected moments with energy and style. In this feature, Mark shares five of his favourite images, the stories behind them, and a few insights into his creative journey behind the lens.

What's Your Story?

From the very beginning, my interest has been photographing people. During my final year of university I began assisting some photographers in London and quickly decided that fashion shoots were the most exciting way to shoot people. I loved the teamwork, the discussions between the different artists in the room, all looking to create the best image they can. I still love the teamwork that fashion involves.

Tell us about 5 of your favourite shots

"I'm sure all photographers will say this, but it's hard to pick favourites. I don't know if it's the same in other areas of photography but with fashion, you have to move quickly, and a good amount of favourites will be pushed out of view in favour of what's current!"- Mark



Simon Pegg for the cover of Hunger Magazine

I've wanted to shoot Simon for years so I jumped at the opportunity when it came to me. As predicted- a cool, calm & collected man who kept us entertained with stories from the mean streets of Crouch End and why on earth would Paris Hilton choose night-vision mode when she recorded THAT video.

 

Manyuon Dutt wears YSL

This was never meant to be a studio shoot. The magazine wanted a story shot in sprawling fields of yellow rapeseed. The stylist insisted he'd seen some towards Hastings a few days ago, so off we trundled on a two hour car trip to discover no fields of yellow. Just harvested, blank fields. Once the stylist had finished having a nervous breakdown we decided to head back to my studio in London and shoot a 12-page editorial between 6 and 9pm. And then we went our for a BIG drink.

 

Beabadoobee for Rolling Stone Magazine

I love this image of Beabadoobee. She was asking me what to do so I told her to 'do something weird'. This was the result.

 

Georgia for Twenty6 Magazine

This image stands out for me as it was a happy mistake. We were working with coloured gels to tint the shadows for the main editorial but I noticed that when the hairstylist stepped in, my main light would be blocked, leaving these colours on the model. I told the hairstylist to stay where he was and with one hand holding the camera and another holding his head, I positioned him to create this effect.

 

Jessie Reyes for the cover of Hunger Magazine

Jessie came in and took control. The hairstylist & makeup artist were pushed aside and she proceeded to do it herself. Styling was thrown into disarray as she walked in and decided to switch up the choices. I love talent like this- but the rest of the team, not so much! This energy carried over to set where she did whatever she wanted, then stood shoulder to shoulder with me to edit the images down, mainly ensuring her bum looked good. You can take the girl out of Columbia etc!


You've travelled to some amazing places on shoots and worked with some amazing people- what's been your favourite place to travel to for a shoot, and what made it so special?

One trip that sticks in my mind was the Maldives with Cosmopolitan Magazine. We went for 12 days, shot the entire magazine while we were there and got to see dolphins swim next to our boat!

Is there something that sticks out to you as a favourite or significant moment in your photography journey?

I don't know if it's THE secret but something I've always tried to do is stick to my style, to keep a piece of me in the images I create- regardless of the mood board, lighting references and glam direction. I want my audience to know that I took that image!

 

Huge thanks to Mark for sharing these amazing images and stories with us. If you’d like to see more of his work, which we highly recommend that you, you can follow him on Instagram at @kantostu_dio

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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. Saltburn is my “home away from home”, a local seaside town I frequent with my camera. I’ve always loved the Wes Anderson aesthetic of the tramway’s ticket office, and as I lifted my camera to take the photo, the operator, Eddie, took it upon himself to stand in the doorway for my photo, which just gave the image that much more of a story for me. Eddie sadly passed away in 2024. When his daughter reached out to me asking for a print of this image to remember him, I felt a huge sense of pride that a piece of work I made could have such a profound emotional value to someone else.   Crinkle Crags, The Lake District I’ll never forget the morning this photo was made. I’d just driven through the early hours of the morning to get to The Lake District for a walk up into the fells for sunrise, with two friends and fellow photographers. Reaching the summit for about 6am, we started to notice a cloud inversion off into the distance. “We’ve picked the wrong fell” one of us said. Then, as the sun rose, the cloud started to roll further towards us, weaving its way through the troughs and peaks of the landscape. It got ever closer, and then, this moment unfolded right before our eyes.   Seville, Spain One of my most recent and favourite images, taken on a photography trip to Seville with two of my close friends. This was taken on the last day of our trip. After a few days of very mixed weather, we finally had a picture perfect afternoon, and the streets just had so much more life to them. I love everything about this image. The colours, composition, subject and feeling of movement. I eyed up the scene and sat patiently on a very uncomfortable bollard for the right subject, and just as I was about to give up, this family entered the frame. For me, it encapsulates everything I’ve learned about street photography over the last few years; documenting the life of a place whilst creating a body of work that focuses on storytelling. 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? I think sport can inspire us all, even if we're not going to compete and push ourselves to the limits like the athletes in the game. We're all striving for something and when you watch the games you get to see one of the purest forms of someone giving everything to chase their dreams. It's great to watch and I'm always inspired afterwards to get out running or on my bike. These games and the para sports are being shown simultaneously, which I think is a really good thing and will make the games even more inspiring. When you watch people deal with adversity with such strength and positivity it really reminds you that you've got no excuses to not put yourself out there and chase your own dreams. How do Tens lenses change the way you see sport? When you wear Tens it's hard not to be in a good mood, so if you're wearing them in the stadium then it should make the whole day look better and more vibrant. Hopefully all the Team Scotland athletes wearing them will be in a positive mindset and we'll see some great performances too. Tens is rooted in photography, how does that influence what you’re doing with Team Scotland? Photography is the inspiration behind the brand and a huge passion of mine, so I'll definitely be trying to capture some great shots of the athletes and all the joy and emotions that the games bring. Why is capturing sport through photography so important? The scoreboards and the timers will capture the results, but sport is about much more than that. The image, both still and moving, are what captures the essence of the games. The raw emotion, the struggle, the joy and sadness, and that's what makes these games so special. How will it feel to have Team Scotland athletes wearing Tens Sunglasses at the Commonwealth Games? We're all going to be super proud. 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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