The primary advantage of photographing from the air is that you are able to get perspectives that are not possible on the ground. To a great extent, the effect of light on landscape from overhead, whether from an oblique or vertical perspective, is much the same as on the ground. The main difference is that distant haze can be more accentuated. However, it does depend on the distance from the subject and the density of particles in the air.

Apart from UV filters, and the odd occasion when I use a Polaroid filter to remove water reflections, I do not use any filters. Digital cameras make it possible to increase the ISO rating and therefore the shutter speed. With my D3 camera I can comfortably shoot at 1000th of a second on an ISO of 400 on a bright sunny day. Even with smaller compact cameras you will find adjustments to ISO and therefore increased shutter speeds are easily managed.  With my Hasselblad medium format camera I have options for ISO up to 800, however I prefer to keep the iISO as low as possible, usually around 200ISO, sometime 400ISO giving me a shutter speed no slower of 500th of a second.

PHOTO TIPS

•      Plan your trip to make the best use of lighting, making sure that you have the best seat down-sun from your flight path. Remember, if you are chartering the plane or helicopter, you are the boss. Unless your requests are unsafe, you will find that the charter pilot will cooperate.
•     Where there is shadow, try and shoot obliquely so as to give depth and dimension to your shot — an example is shown opposite, bottom.
•     Study the light for a few days before you charter a flight, this will assist in choosing the best time of day. Unless the pilot is a photographer, don’t assume he or she will know best.
•     It is important to request either an open window or a door taken off. Shooting through Perspex does not produce clear results.

If you would like to learn more about photography and the many techniques that apply take a loot at the workshops and seminars on offer for 2012.

I have four guides to photography available as PDF Ebooks that are great for iPads, Apple TV and desktop computers. The four Wild Australia Photo guides for Wildlife, Landscape, Birds and Flora are also available as paper books.

Knowing something about the subject will better enable you to understand the qualities that can be revealed in a photograph. Take, for example, this image. Just knowing that the pillars, as tall as a city high-rise, were formed throughout the aeons by the natural elements is awe-inspiring, particularly as there is no trace of water.

Feeling the temperature and the texture of the rocks and listening to the sounds that surround you will all contribute to that tenuous connection you can almost touch between you and your subject. Questions flow through your mind, and your imagination paints scenarios. What creates those tracks in the sand? What birds make those delightful calls that echo round the amphitheatre?

Let me try to put into words my connection with this Image.  A wide lens, the scene in front of me: this is what the landscape is about right now, and I am sensing the isolation, the scents of the earth, the warm rocks, being inside my own comfort zone alone in such a wild place. No tricks, no low angles, no sunsets or sunrises, this landscape is stunning right now, just as it is, on a hot sunny day at noon. Its very simplicity and integrity brought me to tears. The place overwhelmed me. I connected, if only briefly, and I will return there. For me, this photograph encapsulates all those feelings and brings them back every time I look at it. Maybe it will mean something different to you.

So next time you see something that compels you to photograph it, ask yourself, “What is the point of this photograph?” Is it to record something that you have seen? Is it the shape, the texture or the colour? Has a previous encounter with the subject given you insight you simply must convey? Maybe you are fascinated by something that is hard to define. Ask yourself if the picture you are taking really captures that certain something.

While it is good to look at other people’s photographic work, you should take care not to copy slavishly. If you do, you will find that you have robbed yourself of the joy of making your own connections with your subjects. Remember, it is your feelings, ideas, observations and thoughts that will light up your work and give it individuality.

Apart from the need to find them in the first place, I also had to carry a thumping big telescopic lens attached to my camera, and get within a viable distance so that my pictures wouldn’t become “find the bird” exercises. I soon mastered the crow and the magpie, the pigeons poking around our campsites, and the apostlebirds roosting in groups after a cold night. I even learnt how to use the car as a mobile hide and to drive close to emus and bustards, but I needed to do much better. There were hundreds of species yet to be photographed, including spectacular raptors, which I wanted to film on the wing, filling my frame and in focus.

The first raptors I practised on were black kites. These small birds of prey, also known as fork-tailed kites, fly in groups, scavenging whatever they can find — not exactly romantic stuff! To increase my frustration, the kites I did manage to photograph were mostly hopelessly out of focus. I recall lying in my swag thinking, They’re going to give me the sack if I don’t get my act together. I needed to regroup, refocus, and look at what the nation’s leading bird photographers were doing (and how they were doing it).

The first avian expert I encountered was Peter Slater, a renowned photographer, artist and author of many books on Australian birds. He was also a close friend of other experts, such as illustrator and birdwatcher Michael Morcombe. These men had perfected the art of large-format, multiple-flash bird photography. They photographed birds coming and going from nests, pin sharp, beautifully exposed and dramatically composed. Remember, this was 1976, and computers were still a long way off; most tasks were done the hard way — manually and with great effort and patience.

I first met Peter at a slide night in Brisbane. Having him in my audience will be a great opportunity to get some positive feedback, I thought, because by then I had accumulated some “top shots” (or at least I thought so). My ego was quite fragile then and Peter was well known (to all but me) as a man of few words; when he did speak he spoke his mind — an admirable quality. Also admirable is that when he spots a bit of talent, he goes out of his way to encourage it. So there was Peter, this famous “birdman”, captive in my audience. I made my presentation and, for the last image, screened a shot of a group of terns taking flight (left). It was very blurry and my reason for showing it was to explain to my audience the difficulties of photographing birds and how important it was to have a fast shutter speed to “freeze” birds’ action. After the show, I questioned Peter in private. “How did you like my bird photographs?” “Well,” he said, “I loved the last photograph.” He paused. I waited for more feedback. None came!  That was it? I loved the last shot! I thought to myself.  Peter then skilfully went on to change the subject. I have to tell you, it took me at least three years to figure out what on Earth the man was on about. When I did, I thought, You old bugger, how right you are!

What I discovered, with Peter’s help, was quite simple — birds, like all living things, have a spirit; photographers, like all human beings, have emotions. A good bird photograph firstly captures the essence of the bird in that moment, and secondly blends the photographer’s emotion into the image. Did I proceed to be a master bird photographer after that lesson? No. But this was the most important event in my lifelong passion for photographing these wonderful airborne creatures. I embraced Peter’s lesson and accepted that this rule must be applied to every photograph I take of a wild animal.

Later, when I set off around Australia in 1981 as a freelance photographer, I was thrilled to add many more species of frogs and reptiles to my collection and was especially impressed with the multitude of reptiles in arid regions of the continent. It was there that I encountered the beautifully patterned velvet gecko and the freakish-looking thorny devil. At Kakadu, my friend and fellow reptile enthusiast Ian Morris introduced me to a trainee Aboriginal ranger, who took us to see a pig-nosed turtle (at the time thought to be extinct on the mainland). It was a revelation that caused a great deal of excitement, and we introduced the rare reptile to a crystal clear rock pool for underwater photography. At night, we donned head torches and went in search of the many frogs and reptiles that inhabit Kakadu’s habitats. Over a lifetime of interest in these reptiles, Ian has developed great skills in uncovering them, especially snakes. I was able to obtain excellent photographs and learn a lot from Ian, who has added to his understanding of these animals by listening to his Aboriginal friends. If anyone can find wild animals hidden in the bush, it is the Top End locals! I recall one estuarine crocodile photographic trip with Ian and an Indigenous man, Barringgu Gondarra, from Elcho Island, off Arnhem Land in the Top End. We launched our small aluminium boat at the Alligator River crossing and headed north, up river into stone country. As I was peering into the shadows cast by fringing pandanus palms, and seeing nothing, Barringgu was telling Ian where the crocodiles were (Ian speaks several Indigenous dialects fluently). Sure enough, there were many crocs (most of which were invisible to my eyes) camouflaged among the shadows, reefs and floating branches. Barringgu was able to spot these supreme predators with ease, even when they had little more than one eye visible above the water. Over the years, I have discovered that reptiles and amphibians are extremely popular with the general public, especially with children, and are wonderful subjects to represent the sheer  diversity and splendour of nature.

An individual tree can be a source for a wonderful photographic story. Grand old eucalypts, for example, provide homes for spiders, insects, birds, mammals, reptiles and frogs. Bark close up is a good subject for abstracts. Then there are the leaves, many of which are works of art in themselves, particularly when backlit. And the flowers! Take a close look at flowering gums – if you wait long enough you will see many species of birds, insects and, at night, mammals visiting their nectar-laden blossoms.

Trees vary dramatically in their appeal when viewed from different angles. They are wonderful subjects on which to hone your technique and artistic skills.

Sky matters

If the sky is to be included in the photograph of a tree, consider how it can best be utilised. For example, a complex sky – one filled with broken cloud – may merge with the tree and reduce impact. In such circumstances the tree may be best in silhouette. To achieve this, try selecting a viewpoint towards the sun and then exposing for the sky. In other circumstances a simple one-colour sky may be the best frame in helping accentuate the tree’s structure.

Choosing a viewpoint

Trees, particularly those with an aesthetic structure standing in an appealing landscape, are an excellent subject when you are new to photography. They give a perfect opportunity for you to develop your skills in vital areas like light management, perspective control, balance and viewpoint.

First, find a tree that you want to work with. Then, camera in hand, work your way around the tree, framing it without taking a picture. Study each viewpoint, frame it loose and tight, move around close to its trunk and see what interesting relationships might exist between the branches and the surrounding landscape.

Quick tips

• SLR cameras are excellent for landscape photography in medium close-up. Ideal lenses are 20‑mm and 35‑mm, or a short zoom. However, any lens can be used to photograph trees and determining focal length depends entirely on the perspective you seek.  I also like to use extreme wide and even fisheye lenses when photographing trees.

• Apart from being the centre of interest, trees can also provide a vital element of contrast in what otherwise may be a bland landscape.

• A camera’s built-in metering system can provide a misleadingly high exposure when it is pointed towards a bright sky, so it is important to take readings with a spot meter, meanwhile deciding whether the tree’s trunk is the primary focus for your picture. If you want a tree in silhouette against a setting sun, for example, then the meter reading should be taken on the sky.

• Trees, particularly when they are isolated against a clear unbroken horizon, can provide the perfect key element in a sunset shot. As you drive, start looking for solitary trees. Once you have found a target, study it closely. Take your time – it will not go away. Watch the weather, and then choose your moment.

More below

There are three families of marsupials commonly referred to as macropods. The Musky Rat-kangaroo of the Hypsiprymnodontidae family, and the potoroos and bettongs of the Potoroidae family, which are small, omnivorous macropods. The third, the Macropodidae family includes the more familiar herbivorous kangaroos and wallabies.

Fossil evidence suggests Australia’s macropods evolved from possum-like animals. As they abandoned the treetops for the continent’s expanding grassland habitats, most developed features more suited to open terrain.

While various models were being tried and tested on the evolutionary roadway, a body plan emerged that became standard equipment for a typical Australian macropod. It included short fore limbs, powerful hindquarters and long hind feet that gave these marsupials a distinctive upright stance and a two-footed hopping gait. However, not all macropods developed the size or features needed for a life in the open. Several species still rely on densely vegetated habitats for food and shelter, and their compact bodies retain features more commonly found in modern day possums.

What’s the Difference between Kangaroos and wallabies?
Kangaroo is a general term for large grazing macropods. It also is used as a name for the Red, Eastern Grey and Western Grey Kangaroos. Wallaroos are basically kangaroos that live in hilly or rocky country. They have large, bare, black noses. Wallaroos have a distinctive upright stance with shoulders thrown back, elbows tucked into the sides and wrists raised.

Wallaby is a common word used to distinguish medium-sized macropods from larger kangaroos. Wallabies weigh less than 25 kilograms and, being smaller, most rely on the protective shelter of habitats with dense undergrowth.

Kangaroos, Wallaroos and Typical Wallabies
Kangaroos, wallaroos and wallabies belonging to the genus Macropus are Australia’s most common and easily recognised macropods. These adaptable, energy efficient herbivores are also the most diverse, abundant and widespread group of marsupials. Several of the open range species have increased in number and distribution in the past 200 years with the grazing industry providing additional sources of food and water.

Living with the Mob
Many of these macropods live in extended family groups within large mobs. A group usually consists of a dominant male, several females and their young. Young males of breeding age tend to form separate groups, while battle-worn old males often choose to live alone. Adult males challenge one another to establish their rank in the mob hierarchy. The higher a male’s status, the more females will mate with him. Sparring involves holding on, raking an opponent’s head and chest with sharp claws and kicking with the hind legs.

Even the most solitary species sometimes feed in pairs and family threesomes like the Black-gloved Wallaby, or, in the case of Red-necked Wallabies, more than 30 individuals may gather at a prime feeding site.

Identifying Large Macropods in the Wild
Identifying a macropod species in the wild takes practice, and a good field guide is invaluable. Use the distribution maps in the guide to determine the different species that occur in any particular region, then eliminate species by comparing them to your sighting on the basis of: preferred habitat; stance and hopping posture; size; shape and size of body parts; behaviour;  colour and distinctive markings.

Posture and Gait
A quick glimpse of a startled macropod fleeing to safety doesn’t offer much time to observe details of its appearance; however, its hopping gait and posture can offer clues to its identity. It pays to note the length of stride, frequency and height of hops, and the position of the head and arms in relation to the torso. The Red Kangaroo and Whiptail Wallaby have long legs set well back on the body so the fore body tends to be lower than the arched back. The shorter legged Agile Wallaby and Eastern Grey Kangaroo have a shorter stride, and lower trajectory. While both have an upright hopping posture, the position of the forelimbs is quite different.

Macropod conservation
Issues like fires, feral animals, habitat destruction for farming and urban development and, in some areas quite severe road carnage, are some of the major conservation issues surrounding macropods in Australia. These issues effect all macropods and some, like the Bridled Nail-tail Wallaby, the Mala, the Black-gloved Wallaby and Quocka are also on endangered lists.    From my experience, the people I meet are generally unaware that there are 50 species of macropod in Australia; they are unaware of the lesser know endangered groups of macropods, yet they are aware of the issues of culling and harvesting that surround three species (the Eastern and Western Grey Kangaroos, Red Kangaroos and the Common Wallaroo). Few people know that the Bennett’s Wallaby and the Tasmanian Potaroo are harvested on King and Flinders islands off Tasmania.

While culling and harvesting of wild populations attract media attention the multifaceted issues that surround these activities are insufficiently debated.  Proponents of ‘farming’ which applies more to the intentional managed farming (as one would a herd of sheep) argue that the soft-footed macropod causes no damage to the environment as do the cloven hooves of sheep and cattle.

Harvesting, a practice that is legal with permits in some areas of Australia is managed by each of the State Authorities under strict government guidelines.  Culling, which can be linked to harvesting, as the activity is usually performed by licensed professional shooters, may be effected when animals have increased in numbers and, as a result, are deemed to be causing environmental damage or animals have formed large mobs and entered urban areas supposedly threatening public safety; an example of this would be the Canberra fires and habitat clearing which  drove big mobs of roos into Canberra resulting in the very controversial ‘Canberra Cull’.

Each of these situations, in my opinion requires information dissemination, considered debate and active conservation practices.

Here are some references that may help with your thoughts on these matters:

Firstly an article in Australian Geographic’s online publication.   Important to read the comments on this blog.

Secondly a link to the Governments ‘Wild harvest of Australian native animals’ policies.

Thirdly  ‘The Think Tank For Kangaroos’ site 

There are fifty species of macropods in Australia and that the harvesting and culling issues are representative of three, many of the remaining forty seven are endangered as a result of land clearing and feral animal infestations. Have a look at our Wild Australia Australia Guide: Kangaroos & their relatives, it features all of the fifty species. We also have posters and kangaroo story books for children.

Continued below

Even with all the tourists arriving by bus, one can usually be assured of solitude at dawn and dusk. The weather lives up to the saying “four seasons in one day” and is freezing one minute and scorching the next. We stayed at Hanson Bay Cottages, where we enjoyed an excellent view. After a brief stay in Hindley Street, Adelaide, the sound of wind and waves was wonderfully relaxing. I strongly recommend the Hanson Bay Koala Walk and the Stokes Bay Bush Garden for those visiting the island.  It was also a real treat to see so many bush birds on the island, as well as the Cape Barren Goose and Tammar Wallaby.  The Kangaroo Island Echidna (Tachyglossus aculeatus multiaculetaus) is a beautifully coloured subspecies of the mainland animals and is very commonly seen on the island too. I must have seen twenty or more digging beside the road. Add to that the vibrant and prolific wildflowers and it is easy to see why KI attracts so many visitors and photographers annually.

Of all the hundreds of publications I have ever created this range has, without doubt, been the most important to me personally. I can remember as though it was yesterday lying on my bed as a child staring at the nature pictures that festooned the walls of my small bedroom.  They were pages from my fathers National Geographic Magazine Collection, he was a good sport for letting me ‘tear them up’.  It was the power of those images that lit my fire for nature and photography, a fire that has motivated me to discover and share throughout my life.  I get goose bumps just thinking about it.

The Nature Watch Collection introduces children to Australia’s astounding native animals. Children will learn all about animal bodies, senses, food, behaviour and homes, as well as why we need to protect these wonderful creatures. So take an adventure in learning and connect a child to nature today!

The Nature Watch Outdoor Activities and Nature Watch Things to Make and Do books are jam-packed with great ideas and nature-based activities designed to motivate kids to get out of the house and into the great outdoors!

So welcome to the wonderful world of NATURE WATCH — a world that encourages the little people in your life to explore their natural environment while doing exciting, creative activities.  Nature has always been my inspiration and the beautiful images I photograph remind me just how much nature has to offer. For hundreds of years, nature has also inspired great inventors and scientists, both men and women, and has led to many amazing scientific breakthroughs.

As a child I loved being outdoors. Whether the sun was shining or the sky was overcast, I wanted to be outside meeting animals, exploring the natural world, making things with my hands and, eventually, taking photos of the things I saw.   Today I worry about kids suffering from ‘nature deficit disorder’, a major problem that is now being recognised at high levels of  scientific research with regards learning and behavioural problems among children.

Being cooped up inside is no fun compared to the freedom of discovering nature just beyond the front door. The activity books, indeed the whole range, inspires kids to connect with the great outdoors. I hope you enjoy doing these activities and becoming more familiar with all of the fun nature has to offer.

The Nature Watch collection introduces children to Australia’s astounding native animals. Children will learn all about animal bodies, senses, food, behaviour and homes, as well as why we need to protect these wonderful creatures. So take an adventure in learning and connect a child to nature today!  To help kids relate I have designed the series to frequently include kids in outdoors with animals or behaving in the same manner wild animals do.  This I feel will even better motivate ‘the connection’.

Children are the future stewards of our planet.  For more on this important topic I suggest you Google the work of Richard Louv author of ‘Last Child in the Woods’.
Here is a video showing the content of one of the Nature Watch books.  As you can see each spread is a comprehensive lesson and we are considering offering digital versions so that they can be used in the school classroom.
To view the full range of Nature Watch books visit our store.

VISIT MY WEBSITE FOR FREE DOWNLOADS FROM EACH NATURE WATCH BOOK

For even more information on this marvelous group The Australian Marine Conservation Society which I have supported for some twenty five years visit them here.

With over 2900 coral reefs and some 900 islands and cays (70 cays are big enough to have names), this World Heritage Area attracts photographers from everywhere, especially underwater specialists. Various Great Barrier Reef experiences are on offer: some focus on the inner reefs and continental islands; others offer prolonged charters to the outer reef or reefs in the Coral Sea. Some photographers come with their own craft; others stay at island resorts. Camping is allowed on some islands. (But apply well in advance to the Great Barrier Reef Marine Park Authority for a permit.) Some people prefer to visit the islands on day trips from places like Gladstone, Cairns or Port Douglas. Others make a longer stay on one of the many islands. (There are resorts on only three true coral cays – Green, Heron and Lady Elliott.)

I have divided the reef into three sections, primarily based on points of access. In the southern section, Lady Elliot and the Capricorn–Bunker Group are reached from the mainland ports of Bundaberg and Gladstone. The central section, approached from Mackay, Shute Harbour or Townsville, includes many offshore reefs, among them the Pompey complex, and Hook, Hardy, Kangaroo, Wallaby and Darley Reefs. The northern section, offshore from Cairns and Cooktown and much closer to the coast, is highly complex and diverse, and, in the main, unmarked by tourist development: therefore, northern charters can offer the clearest water and most spectacular marine life. Although it is a continental island, Lizard Island, which has a resort and offers day-trip access to the outer reef, is well offshore where the water is a lot clearer than at continental islands further to the south.

THE SOUTHERN SECTION

The Mackay–Capricorn section of the Great Barrier Reef Marine Park stretches from north of Bundaberg to the Whitsunday Islands, and extends seaward some 300 kilometres at its widest point. It includes Lady Elliot Island, Heron Island (above left), the Bunker Group and the Capricorn Group. A number of cays in this section of the reef, like Lady Elliott (bottom left), are national parks. Shallow lagoons, turtles, an abundance of fish and invertebrate fauna and, more often than not, clear water make this section excellent for underwater photography. Special photographic times occur all year, including whale-watching (June–August), turtle-hatching (January–April) and migratory waders (October– March), while the nesting times of the various seabirds are spread through the year.

PHOTO TIPS

• Both Heron Island and Lady Elliott Island offer accommodation and excellent day and night diving.

• Diving from the resort islands can be crowded at certain times of the year; best to check.

• You will be able to recharge cameras and flashes on the two resort islands.

• Independent dive charter is the best way for serious photographers to work this area. Charters will enable maximum bottom time in all the best areas. Work with experienced dive-charter operators.

For exceptionally clear water and spectacular coral growth, consider the Swain Reefs as a destination.

THE CENTRAL SECTION

In the central section, the Cumberland Islands and the more northerly Whitsundays present a completely different aspect of the Great Barrier Reef Marine Park. There are around 70 islands in the Whitsunday Group; all but a few of them are national parks. They are not coral cays, but the peaks of drowned mountains, and their fringing reefs are rich in marine life. Many are forested and have rich wildlife, and there are holiday resorts on a few. To get to this section’s coral reef “proper” necessitates taking a dive charter expedition from Mackay, Shute Harbour or Townsville. The dive centre in Townsville specialises in this area, and also provides charters on its luxury dive boat, Spoilsport. Go to www.mikeball.com.au to find exceptional coral reefs way out beyond the Great Barrier Reef in the Coral Sea – Marion Reef complex is one such destination.

PHOTO TIPS

• Spoilsport, and other properly fitted-out dive charter boats do provide every conceivable advantage for dive-photo charter work. This can be handy for divers from overseas with limited time.

• Take lots of film; twice the amount you estimate. Bring a back-up camera system and take your time cleaning and checking camera gear before each dive.

• Digital photography under water has many advantages, especially when you are working in low light conditions and for excessive blue-cast colour adjustment. The primary advantage is that, when you are on an extended dive charter, you are able to view your work as you go.

• Discuss what is the best time of year with the various operators.

THE NORTHERN SECTION

Apart from visiting the two inshore coral islands, Low Isles (left and bottom left) close to Port Douglas, and Green Island (far left and bottom far left close to Cairns, photographing the northern great Barrier Reef is primarily about either chartering a boat or joining an organised dive charter. Most of the dive charter services are based in Cairns or Townsville, and there are exceptional dive sites right along the northern Great Barrier Reef. Some of my most memorable underwater photographic experiences have been had in this part of the world. Trips range in duration; however, if you wish to dive the reef all the way to, say, Raine Island, you should expect a charter of 7–10 days, or longer.

PHOTO TIPS

• It is best to pair with a non-photographic dive buddy, someone who is prepared to hang back and move at your pace.

• If you are on a drift dive, it is best to work with one camera system. However, if the water is shallow and there are no currents, I like to take a wide-angle camera and close-up rig together on each dive. This eliminates the need to surface, dry off and change film. It also lets you make decisions while under water – unless, of course, you have a zoom lens fitted. You may want to take both a still and video camera below at the same time.

• Remember that you are a long way from a decompression chamber, so take extreme care with depth and bottom-time management.

CREATE YOUR OWN CHARTER

There are numerous companies that take charters to the Great Barrier Reef’s southern, central or northern section. My suggestion is to favour those with diving facilities on board. The internet is a good place to start research; you could also look in Australian diving magazines or inquire at one of Australia’s many dive centres. If you organise your own group, which will vary with the size of the vessel, you can select where and for how long you stay in any one place, which is always best for serious underwater photography – it allows you to become familiar with the many complexities of the reef community.

PHOTO TIPS

• If coming from overseas, ensure your chargers will work on board.

• Take a back-up camera; it’s expensive to have a system failure.

• Double and triple check everything you are told, and plan well ahead.

• Do not be tempted into deep water. You are a long, long way from a decompression chamber or from any form of medical attention.

We have a range of publications for children and adults on the Great Barrier Reef, we also have a stunning gift book featuring the wonderful underwater images of Gary Bell, Australia’s finest underwater photographer.

This information is an extract from my Around Australia Guide which has a wealth of information on the entire Queensland coral coast as well as a full treatment of natural and social history travel throughout Australia.  We also have a special offer just for Fathers Day that includes my ‘Around Around Guide’ and my  STEVE PARISH:50 years photographing Australia Book’.