The painting is of darker hues than the image of Mojstrana and Vrata Valley (NG S 1564). The foreground is again rendered in a more traditional way, but its colour scheme is also used in the pictorial depth, which is created by covering over, the Sava river diagonal, reduction of details, and perspective lessening of individual elements. The painting is composed of two tonal palletes: the valley is painted in green and brown and partly even darker tones, the mountains in the background, including the Bled castle to the far right, in brighter ones. The perspective effect is likewise two-part: the valley seems flat at some points due to dark colour surfaces, whereas in the area of the mountains aerial perspective is used.

Karinger can be ranked as the most progressive landscapist in the Slovene lands before the impressionistic generation (Lovro Janša was primarily active in Vienna). In addition to elaborate romantic vedutes, it is exactly such studies that distinguish him, since the studies engage with modernist ease, in contrast to the cold precision of Marko Pernhart but anticipating the Chinese oil jottings by Ivan Franke some years later.