They track light not as condition but as presence — something that does work in the scene rather than merely setting it.
Glare washing over the sky. Sunlight breaking through clouds to pick out a detail. The warm panel light on him and the darked cabin behind. The pale rim at the edge of the chart. The light of reassurance returning, looking different now.
Sundance Lodge glows. The Petrol Gas and Service Station in the middle of nowhere. The blue wine. The ferris wheel frame tracing the twilight. The blue gel leaping over the sofa — summer light, unerased.
A sun-warmed person in a bright-paneled office where the town goes on with evening.
These all carry the light as a thing that arrived, not a thing that was already there by default. The Seville morning is full of it. The sky at Frederiksberg. The rim of light across a chart, barely a thread, more noticeable for its distance than its brightness.