But is the cinematography there of any interest? Why would OP include it? They're talking about the hard shots, like the exploding spaceship where they need to find a spot in the desert to shoot dozens of mortars at it, or the crazy blue paint needing special UV light exposures to render just right. That looks like... a matte painting? A nice matte painting, sure, important for worldbuilding. But just that.
You're probably right that the shot isn't of interest to American Cinematographer magazine, which is why it's not included. I still think it's the best futurescape shot in the movie, serving to tie the rest of the first half together nicely.