Playing with light and shade is relatively new to my photography. In 2005 when I seriously started photography, my photographs were not obviously influenced by the light. At the time, I was living in Paris and my work was mainly in black and white, and whatever the weather forecast, I went out for a wander. My approach changed in 2007 when I moved to Scotland and discovered the bright but soft northern light. Its particularly dense light created thick and high contrast shade on Edinburgh’s buildings, roads and pavements. It caught my attention and I began to photograph it. Simultaneously, my body and mind developed a dependency on the light. After four years living in Scotland, I felt a light deficiency and it became a big obsession. So much so that I only went out on sunny days to take photographs. Without it my inspiration simply wasn’t as strong. Now that I am living in Bristol, the sunlight is still very much part of my inspiration. I am rarely out on a grey day. Then, as a consequence of looking for the light, I also sharpened my eye for shade and shadows. These forms became part of some of my compositions allowing me to be more creative and to develop a personal black and colour world. As for the question whether another photographer influenced my approach to capturing the light, I would reply that no other photographer has influenced this side of my work even if I like the work of photographers like Alex Webb, Harry Gruyaert and Constantine Manos. I developed it as the necessity of sunlight became more and more apparent in my life. Behind the pleasure of beautiful light, there is first a true feeling of well being.