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.
