Above The Darkness

Fiordland, New Zealand

Light and atmosphere, separating the steep multitude of valleys that define Fiordland. I released this image at the start of the Covid-19 pandemic, during a time of much uncertainty and concern for us all. This image and title represent resilience and, that even in life’s darkest of valleys, light and hope can always be found.

Sony A7R III, Sony 100–400mm, 1/1250, f/7.1, ISO 100

Moon Rise

Mount Aspiring, New Zealand

It took almost 12 months to finally capture this aerial image of the full moonrise at dusk. With the sun sinking down to the horizon, the mountains were painted in a rosy hue as the moon began to ascend out to the east. A surreal moment to experience, drifting in the air at 9000 feet.

Sony A7R III, Sony 100–400mm, 1/320, f/8.0, ISO 200

Sandstorm Through Kata Tjuta

Yulara, Northern Territory

As I left Yulara to head towards Uluru, I noticed a sandstorm charging over Kata Tjuta (Pitjantjatjara term meaning ‘many heads’). I’d never seen this occur over these iconic formations before, so I pulled over as quickly as possible to capture this dramatic scene.

Sony A7RIV, Sony 100–400 GM OSS, 1/3200, f/8, ISO 100, handheld

Extinguished

Parma Creek Nature Reserve, Yerriyong, New South Wales

From one extreme to another. Heavy rain and large hail stones batter a fire scorched and damaged Australian landscape, bringing much needed rain and relief. Smoke, hail and rain combine after the devastating New South Wales bushfires.

Canon EOS 5D Mk IV, Canon EF 100–400mm f/4.5–5.6L IS I, 1/1000, f/5.6, ISO 1000, handheld

Sunset over Lake Pedder

Lake Pedder, Tasmania

This shot was taken late on a cold winter’s afternoon as the sun set over Lake Pedder. The original Lake Pedder, flooded in 1972 is located just around the corner from this image. You could say it’s still making its presence known with this display of natural beauty.

Olympus EM1 Mk II, Olympus Pro 40–150mm f2.8, 1/60, f/5.6, ISO 64, circular polarising filter, handheld

Bioluminescent Shores

Sea sparkle (Noctiluca scintillans)

Jervis Bay, New South Wales

Bioluminescent algae lighting up the shoreline in Jervis Bay a bright electric blue. What can be seen as a red tide during the day, the microalgae produces a bright blue glow when it is disturbed, in this case, by wind and wave action breaking on the shore.

Canon EOS 5D Mk IV, Canon EF 16–35mm f/4L IS USM lens, 30, f/4, ISO 4000, tripod

Forest of Reflection

The Lakes, Dalyellup, Western Australia

A beautiful scene I came across one afternoon whilst scoping out a site for a photo shoot. I saw these paperbarks in the water creating stunning reflections, with some golden light emphasising the trees. I changed to my wide angle lens and took a few snaps before the light faded.

Canon 7D Mk II DSLR, Canon EF 17–40mm f/4L USM, 1/80, f/4, ISO 100, handheld

Beneath the Surface

Ningaloo Reef, Coral Bay, Western Australia

For some, sunsets are a time for reflection and meditation. For me, pairing a fiery sunset with the pristine coral gardens of the Ningaloo Reef under the glassy ocean surface brings a whole new level of tranquillity. Combining two worlds to create a perfect moment.

Sony A7Rii, 16–35mm f/2.8 G Master lens , 1/250, f/14, ISO 500, 2 x Inon z330 strobes, Nauticam housing

Lunettes

Mungo National Park, New South Wales

Lake Mungo was once an icy lake, but it dried more than 10,000 years ago at the end of the Ice Age. Today its stark unearthly formations resemble a moonscape. Mungo is also a site of prime significance culturally and archaeologically, bearing evidence of the oldest civilisation on earth.

Canon 6D Mk II, Tokina 11–17mm, 1/320, f/7.1, ISO 500

View from the Cave

Blue Mountains, New South Wales

This photo was taken in Blue Mountains. It was a clear and moonless night. I came to this tiny cave on a cliff and waited patiently till midnight. I captured this amazing moment when the Milky Way was just aligned with the cave edge.

Nikon D850, Nikon 14–24mm f/2.8 14mm, 20, f/2.8, ISO 8000, Benro Tortoise TR328C, RRS Ballhead BH-55 tripod

The Arrival

Kati Thanda–Lake Eyre, South Australia

Water that has travelled from northern Queensland for months finally arrives at the entrance to mighty Kati Thanda–Lake Eyre. The water meandered across the Simpson and Tirari Deserts, through Australian Wildlife Conservancy’s Kalamurina Wildlife Sanctuary, progressing into the Warburton Groove, bringing new life to this remarkable desert system.

Canon 1D X Mk II, Canon EF 24–70mm f/2.8L II USM, 1/640, f/9.0, ISO 500, handheld from helicopter

Ebb & Flow

Bynoe Harbour, Northern Territory

Ebb & Flow was captured at 2500 feet above Bynoe Harbour, where the tidal variations of 5.8m expose extensive seabeds and variations in sand banks that contrast wonderfully with the impossibly blue water of the Northern Territory.

Fuji GFX 100, GF 110mm f/2, 1/1900, f/5.0, ISO 200, handheld, captured from a Cessna 210 at 2500 feet

Balance

Bynoe Harbour, Northern Territory

Low tide exposes the seabed and rock shelf of Bynoe Harbour. The patterns created by the receding water are really intriguing and the warmth in the bottom left balances the cool of the top right perfectly, giving the image a sense of rhythm.

Fuji GFX 100, GF 110mm f/2, 1/2500, f/5.6, ISO 320, handheld, captured from a Cessna 210 at 2000 feet

Fabrica

Southern Arnhem Land, Northern Territory

Flying over the remote Limmen Bight region of the far western Gulf of Carpentaria was one of the single most incredible experiences of my photographic career. What may be ordinary from the ground can be extraordinary from above – this image is the perfect example of that.

Fuji GFX 100, GF 110mm f/2, 1/1800, f/5.0, ISO 250, handheld, captured from a Cessna 210 at 2000 feet

Rise

Southern Arnhem Land, Northern Territory

Captured above ephemeral floodplains, the electric colours and intricately textured patterns are where the waters of a standing swamp have seeped out on to the extensive floodplain network. The colours are primarily the result of a mix of high salinity levels, algae, and a long, hot dry season.

Fuji GFX 100, GF 110mm f/2, 1/2500, f/5.0, ISO 400,  handheld, captured from a Cessna 210 at 2000 feet