Two interpretations of dawn

[Akira]

The first one is two-stitch pano.  Panasonic GH5, 25/1.7.

[ArthurDent]

The line of clouds in your first image is very striking. I don't think I've ever seen any like them. Good capture!

[Olivier]

And the clouds line mirrors the electric line curvature perfectly!

[Akira]

Thanks, Arthur and Olivier!

When I saw the clouds through my half-open window, I decided I had to something to this and grabbed the camera.   

[knb]

It is hard to make it work with a bright sun dominating a scene, but I think you nailed it in the last one.You can even see shadows in the sky from the back-lit clouds.

[Akira]

Thanks, Kjetil!  I didn't notice the shadow of the clouds projected on the sky!  The exposure compensation value was indeed the important factor for the second image.

[Tom Hook]

Akira - I enjoy both versions. Tokyo provides you with rich diversity of sunsets and sunrises and you take good advantage of them.

[Akira]

Tom, thanks for dropping by and commenting.

The climate in Tokyo in recent years is quite moody, and the turbulence cause various shapes of clouds that I haven't seen.

[Mongo]

#2 is a standout for Mongo. The colour, theme and greater dynamic nature of this image attracts and hold the eye more successfully. Of course, Mongo is only speaking from the point of view as a lone image. Which better represents the "dawn" is another matter.

[Akira]

Mongo, thanks sharing your analysis of the image.

Folks, here is the situation in which I shot these images:

All images were shot from the emergency stairs on the 6th floor, my usual shooting position for the Tokyo cityscape panos.  At first, I found the clouds in #1 attractive, decided to make pano of them, shot two frames and went back to my room.  Some 20 minutes of minutes later, I found the color of the sky had changed completely, looked out of the window and found that the same clouds shining in orange backlit by the sun that had been covered with the clouds in the pano.  I dashed up the emergency stairs again and shot #2.