I find I only take good photographs in brilliant light, on perfectly clear days, ususally in the fall, or under a leaden grey sky. The colours stand out in both cases, either by their brilliance or their mutedness. Similarly, I only seem to paint well in states of total illumination, or of deep melencholy.
In front of the lens, the temptation is to stand still, as a defensive reflex. But it is the same on the other side of the lens, when you take a picture: you stand still and empty yourself of your substance for a brief moment to take the object by surprise.
How nice it would be to see the sun in profile.