The only way to naturally expose the Roanoke Marshes Lighthouse as the brightest subject in the frame is to shoot the lighthouse during predawn, before the sky and the sun dominate the frame.  Any subject photographed looking into the sun will be a silhouette.  Granted, computer trickery with advanced masking and such has largely solved this problem–and I often view photographs that have a bright subject with a big sun source directly behind it.  Those photographs don’t feel right to me.  I’ve decided for my own photography not to engage in computer tricks.

Tricks, to me, prioritize art–and specifically, the artist–over the subject.  That is not necessarily a bad thing.  Art is art, and your art is your own business.  However, for me, heavy manipulation and tickery is an intentional form of disrespect to the place I’m photographing.  It’s a clear message that whatever I’m seeing is not enough.  Not to mention, manipulation indirectly disrespects viewers who intuitively understand that something is awry with the photograph.  Questions regarding truth underpin trust.  Without trust, there’s no connection.  Without connection, the photograph falls flat, no matter how amazing the arrangement.

This photograph was taken when the sky was nearly dark to the naked eye.  It was clear that the sunrise was going to be pretty spectacular.  I knew that I had to move fast to grab a frame where the artificial light illuminated the Roanoke Marshes Lighthouse brighter than the sun illuminated the sky.  Later in the morning, I took a number of wider frames where the lighthouse fell into silhouette against an absolutely gorgeous sky.  It was an incredible morning!

Camera:  Nikon D810
Lens:  Nikkor 24-70mm f2.8 @ 42mm
Tripod:  Really Right Stuff TVC-33

Date taken:  January 07, 2020
Settings:  f11.0, 30.0 seconds, iso-250