I shoot a lot of sub-50 ISO film, or higher film with ~5 or more stops of filtering. I don’t treat it any differently than faster films other than the fact that I can shoot wide open in bright sunlight. Most of my shots are outdoor in the bright New Mexico sun, so I don’t know whether you can get similar light in London.
Testing a newly restored and serviced Kodak Retina IIa with Svema/Astrum MZ3, at 2 ASA and processed by inspection (under safelight - its totally red blind) using Xtol stock. This MZ3 stuff is capable of delivering remarkable detail and tonality, if processed correctly.
Large version here: https://live.staticflickr.com/65535/49989920533_18b6055612_3k.jpg
Testing a newly restored and serviced Kodak Retina IIa with Svema/Astrum MZ3, at 2 ASA and processed by inspection (under safelight - its totally red blind) using Xtol stock. This MZ3 stuff is capable of delivering remarkable detail and tonality, if processed correctly.
Large version here: https://live.staticflickr.com/65535/49989920533_18b6055612_3k.jpg View attachment 248110
5 minutes in Xtol stock. As I mentioned, I developed it by inspection: pull it out of the developer around 3.5 minutes, and then I left it a bit longer. Under safelight, of course.
At one point ILFORD investigated producing a 'Delta 25' film but I think they decided there wouldn't be sufficient demand or too much competition with Pan F Plus.
If you're talking about B&W, I'd suggest a compensating developer to keep the contrast under control. I've been playing with Beutler recently, which seems very promising so far in that regard, but there are tons of low-contrast developer options