Street photography is more than just seizing the moment; the interplay of light and shadow can energise an image and instil an atmosphere, adding depth and abstract textures to a photograph. In my street photographs in Valletta, Malta, the harsh Mediterranean sunlight provides me with rich highlights and deep shadows, both of which are an essential part of my photographic process. Chasing light is as important to me as capturing everyday moments of people going about their daily routines.
During a recent brief visit to London, I had the opportunity to spend a couple of days wandering aimlessly through the capital’s streets. Although I have visited London countless times for work, I rarely have the chance to take photo walks. However, with my commitments out of the way, I seized the moment—only to be met with grey skies and an overcast, soft light that seemed to flatten everything in view. My heart sank, and I began considering changing my plans and spending my free time in some galleries and museums. I was daunted by the idea of seeking out photographs in this kind of light, as the familiar contrast I rely on to bring my street photographs to life was notably absent. Would I be able to adapt, or would the muted atmosphere dull my senses and my images?
I quickly realised that my usual approach of seeking out pockets of light wouldn’t work under the overcast sky. The diffused, omnidirectional light flattened the scene, and instead of resisting it, I knew I had to embrace it. The key was shifting my mindset away from the drama of light and shadow and, instead, appreciating subtler, more sombre tones and quieter moments. This wasn’t about capturing bold, high-contrast images but working with the more subtle tones of grey.
What initially felt like a limitation soon became an opportunity to explore textures and details I might have overlooked in brighter conditions. Without the intense sunlight, I focused more on composition—the lines, shapes, and people that formed the city’s rhythm. Under grey skies, London carries a certain introspective mood, and this atmosphere shaped how I approached my subjects. I found myself drawn to quieter moments, solitary figures, and fleeting glances. Even amidst the chaos of Oxford Street, I found solitude in the madding crowd. One of my favourite images from this series was captured on that very street.
The lighting conditions encouraged me to adjust my technical approach as well. I had to push the ISO higher to compensate for the lower light. Fortunately, my M10 Mono thrives at high ISO, producing a degree of noise that I find quite pleasing, as it emulates the texture of film grain, adding another layer of character to the images. Post-processing also played its part. I focused more on the mid-tones rather than pushing for high contrast. The softer grey tones became as important to the image as the blacks and whites, helping to convey the atmospheric mood of those London days.
Looking back, the grey, flat light that seemed so limiting at first turned out to be a creative gift. It forced me to think differently and seek out the subtleties in the scene that I might have otherwise overlooked. In this way, the soft light became just as important to the narrative of my images as the harsher Mediterranean light is in my work from Valletta.
One of the reasons for visiting London was to purchase a battery for my Leica M10 Mono. However, I could not find a camera shop with any in stock; I even contacted Leica UK, who were extremely helpful but advised me that their new stock of batteries was not due until early October, which would have been very problematic for me. I was running out of options when a phone call to the Leica store in Harrods changed everything. Although the manager initially informed me they had none in stock, he offered to recheck their stores and found a battery that had been shipped with a camera. I was incredibly grateful for their help—sometimes, it’s these small gestures that make a trip more memorable. So I would like to thank the Leica store in Harrods for going out of their way to help me. It would have been nice to walk out of the store with a brand-new Leica M11 Mono, but one can only dream.
As I pondered where to walk during my brief visit, one of the first things that struck me was London’s incredible diversity. Should I explore the lively markets and the bustling shopping streets or focus on the sleek modern architecture? Or would the more traditional buildings, the business district, or the iconic tourist areas offer more potential? In the end, I chose to limit my explorations to the South Bank, St Paul’s, and the West End. In hindsight, even just creating a circular route around the West End alone would have provided plenty of photo opportunities. But I pressed on, covering over 70,000 steps in two days, and ultimately came away with a photograph I’m happy with.
This experience reminded me of the importance of adaptability in street photography. No matter the conditions or location, there are always opportunities to capture that unique image. The challenge lies in working with what’s in front of you and responding to the environment, rather than waiting for ideal conditions to appear.