In this painting Lake Keilambete is only a dark indentation in plain on the left hand side of the background. I challenged myself with this composition to achieve a sense of looking across the crater and over the rim on the other side. Attempting to convey the steepness of the sides of the crater resulted in an aerial vantage point. That and trying to squash too much breadth of image into the rather uncomfortable standard size shop-bought canvases available in Japan; in this case size F8. ( I later discovered the less commonly used P sizes that suit me better)
Photographs of Mt Noorat well capture its steepness and the undulating outsides of the volcano as lava flows cooled and solidified. The lake sits inside a tuff ring giving it raised sides that make viewing the lake difficult; one needing to descend the sides of the ring or gain a vantage point on Mt Noorat.
Eugene von Guerard was able to set up lakeside and draw the view from the western side of Lake Keilambete looking back towards Mt Noorat. Careful placement of broken branches and ducks on the lake assist in defining the extent of the lake and its recession into the picture plane. The foreground tree is rather whimsical and might have had help from the engraver in becoming more sinuous and oak-like than it probably was.
Some good images of this view can be seen in Planning Victoria's significant views PDF.
From the satellite both the bright colour and near perfect circle of the lake are easily visible. The circular cone of Mt Noorat sits to the north east. If Google maps were paintings; the circles of irrigated crops coincidentally balance the composition. The Terang racecourse and the chalky double lines of the harness racing track on the converging roads leading to Terang anchor the eye to the bottom of the image.