logo for improve-your-digital-photography.com
Home
Photo Technique CSE - Photo Basics
CSE - Composition
CSE - Sharpness
CSE - Exposure
CSE - Photo Critique
Photo Examples Art & Photography
Weekly Composition
Roving @ Home
Photo Reference Digital Photo Tips
Digital Photo Q&A
Ted's Blog
DP Article Reviews
Give Ted Feedback
Yahoo! Answers
Glossary

[?] Subscribe To This Site

XML RSS
Add to Google
Add to My Yahoo!
Add to My MSN
Subscribe with Bloglines

LEFT for improve-your-digital-photography.com
 

Digital Photography Composition of the Week

Copenhagen Sunrise

A photography composition using sunrise colors
creates a bold skyline silhouette

INDEX - PREVIOUS COMPOSITION - NEXT COMPOSITION

Photography Composition: Copenhage Sunrise

Digital Photography Composition #12 - 24 June 2009
Nikon D300, Nikkor 18 - 200 mm VR @ 112 mm, ISO 400, 1/3s, f/11.
This brief time exposure caught a full range of sunrise colors and was just long enough to show some blurring in the windmill blades.

INDEX - PREVIOUS COMPOSITION - NEXT COMPOSITION

 

When I travel overseas, I often do a better job of waking up early in the morning than I do at home, even if I do eventually go back to sleep. On a fall trip to Copenhagen, I woke in time to capture a series of sunrise photos through my hotel window.

This one did a great job of capturing the steeple of the historic Vor Frelsers Kirche flanked by modern windmills, all in silhouette against a wide spectrum of sunrise colors.

 



The Critical EyePhoto Critique

Strengths

Image balance is good in this image, with the steeple offset enough to balance the empty sky to the left (the ball near the tip of the steeple just happens to be near the upper right third-point of the image).

The strong yellow light behind the steeple emphasizes its silhouette. And you can almost make out the figure atop the ball holding a flag.

The line of windmills introduces an element of rhythm that helps add visual interest above the foreground shadows.

Keys to improvement

The color saturation in the original of this image was flatter than what you see here.

And, as is common in dawn and dusk shots, the camera did not capture a full range of tonal values. For my adjustments, I used a levels adjustment to increase the tonal values on the highlight end, then increased saturation and contrast using a modest S-curve adjustment.

I could bring out a bit more color depth if I went back to the raw file that has more color information than the JPEG I worked from.