My spiritual vision of the world and my perception of things as a whole could not be attracted by something such as the mystery of light; a usage of light that openly breaks down the doors on the next life and allows entry into the human soul. I understood how important it was to observe more the person to reveal the essence, to hear with the sight before seeing with the hearing. Anybody who carries with them a photograph of a person dear to them, carries with them not only the face but also the soul of the person, and it is the soul that is to be found not in the superficiality of the photograph but in the profondity of the particularities that they carry with them. To express this with Simmel, the representation of the face is the epitome of the soul and to express it with Bela Balazs: the close-up must not communicate the state of the soul but the development of the soul and the face, taken in intensive terms concentrates the sense in what is manifested.If one is interested in the human being, it is necessary to be interested in the face. I search always to reflect the light in the eyes of the actors because I feel that the eyes are the mirror of the soul. “Some photographic directors find it disturbing to see reflections in the eyes. But there are always reflections in the eyes, people simply do not think of this. I think that if you capture this reflection, you can see the human being thinking. There, there is a presence” (Sven Nykvist)

Consequently, the light as a vehicle of the sentiments and of the personality, the light as carrier of true and genuine significance.Having begun this study about Sven Nykvist I have been able to recognise how similar was my own sensibility: it was perhaps my introspective nature to search the light to illuminate things and perhaps my introspective nature to explain myself in non verbal means.