We worked on site with painting, rocks and weather. Initially, I thought that conditions for the big picture would be optimal right after sunset, during the magic hour. However, for various technical reasons that turned out to be impossible. On one day, conditions peaked around 1:00 p.m., practically high noon, with a wonderful wispy cloud pattern in the sky. The film's intense rendering of natural reds, browns, yellows, and blues matched the intensity of the Aboriginal vision.

On day two, the warm light of mid - to - late- afternoon in a cloudless sky allowed me to present the same scene in a different way. The execution of the big picture required a maximum depth of field of f22, yet I needed to maintain a reasonable shutter speed, even after the inclusion of a polarizing filter, to keep a safety margin for moving elements in the composition. The wind was blowing fiercely and was rippling the painting, and the lizard, of course, did not stay still either. Having a film with the speed of 100 ASA in a situation like this enable me to express my vision with intense colors, ultimate detail, and yet feel confident that everything would remain sharp.

- Frans Lanting