Among the themed cabins the architectural photographer shot is a flying saucer-shaped cabin and a mirror-covered box designed to reflects its forested setting.
Hufton visited the site in the depths of winter, working in temperatures of minus 20 degrees Celsius to photograph the cabins at sunrise and sunset.
"I went to shoot the Treehotel in the first week of February to catch the snowy conditions," Hufton told Dezeen. "Northern Sweden was locked in ice as we drove inland from the northern airport of Luleå."
"It was phenomenally cold working outdoors for hours in those conditions. It was minus 20 degrees Celsius at dawn and dusk So cold it made my tripod head freeze solid! Quite unusual for me to working in those conditions. Fun but savagely cold," he continued.
"My favourite would have to the mirror cube because it looked great throughout the day, especially at dusk."
Husband-and-wife team Kent and Britta Lindvall set up Treehotel in 2010 to cater to tourists visiting the Arctic Circle in search of the Northern Lights.
Over the years, the hoteliers have called on architects including Snøhetta and Tham + Videgård Arkitekter to add to their growing number of tree-mounted cabins.
Completed earlier this year, the 7th Room by Snøhetta is the newest of the Treehotel's suites. The charred-timber cabin is suspended among the crowns of some of the forest's tallest pine trees.
This suite features a stargazing net, which is designed to act as a giant hammock for the more adventurist guests.
The pair also captured the hotel's most famous suite – a mirror-clad cube by Swedish studio Tham + Videgård Arkitekter. Captured at dusk, the presence of the Mirrorcube is only given away by the illuminated windows and cables.
The vivid red structure of The Blue Cone cabin by fellow Swedish practice SandellSandberg can be seen in the background of some of the photographs of the Mirrorcube. It's peaked roof is capped in a light skiff of snow.
The only suite omitted from the set is The Birds Nest by Swedish practice Inrednin Gsgruppen, a structure covered in a seemingly haphazard arrangement of sticks that lend it the appearance of an oversized nest.
Nick Hufton and Allan Crow originally trained in analogue, using the large-format camera preferred by many architectural photographers, like Hélène Binet, but later switched to digital.
The photographers, who now count the world's most famous architects among their clients, previously spoke to Dezeen about the process behind their work.
Most recently, we featured the pair's photography of Richard Meier's first project in the UK – a bright white house in the Oxfordshire countryside.