Issue 27

I’m shining a spotlight on two images – an environmental study and a portrait – that both rely entirely on natural light.

When I’m out photographing on the streets of London, I tend to walk in an arc from west to east, with its apex towards the north. This ensures the sun is almost always lighting the space or subjects in front of me, allowing me to capture ambient light that naturally illuminate my subject.

I prefer this approach. Street photography can feel intrusive – some might call it aggressive – so I make every effort to follow the law (which allows public photography without consent), treat my subjects respectfully, and keep the scene as authentic as possible.

Working in this manner requires a certain delicacy. Nobody likes feeling compromised, and a friendly demeanour goes a long way when you’re photographing strangers.

I’ve noticed that bringing in artificial lighting can significantly alter the mood. People may be caught off guard, and their responses can make the atmosphere tense in a way that detracts from the scene’s natural quality.

When clouds roll in, I change my style entirely – but that’s a tale for another day. Sometimes I’ll stay indoors, write a bit, catch up on studio work, or concentrate on portraiture.

That’s not to say I never use artificial lighting. I do, especially when it’s suited to the task at hand – for example, shooting client portraits or capturing images of birds of prey at dusk.

I’ve have studied the work of street photographers who never leave their studio without a flash. Their approach leads to a distinctly different look and feel, and they’ll often admit it can be quite confrontational.

In the end, photographers’ techniques reflect their own unique ways of seeing, which, in turn, mirror their individual personalities. There’s no right or wrong approach; it’s simply about choosing the tools and methods that best bring your vision to life.