The breathtaking spectacle was recorded by passengers onboard Le Commandant Charcot, a state-of-the-art commercial icebreaker vessel, operated by French expedition cruise company Ponant. Captain Patrick Marchesseau was at the bridge of the vessel when the watchmen sighted the first polar bear. As he recounts, “suddenly it was not just one bear, it was ten, and then through the mist we could see there were bears everywhere. Soon we realised why – a bowhead whale carcass was providing a feast. There were 68 bears officially counted. The sight was absolutely superb — a once-in-a-lifetime experience.”

Captain Marchesseau remarks the unfamiliarity of such a large gathering even impressed two Inuit guides on board, who had never seen so many bears in one place at one time. “Like us they were astounded. To see so many polar bears in the one instance was deeply surprising even for them”.  

On-scene photographer’s account

Renowned photographer Nick Rains, a long-time collaborator with Australian Geographic, was on board during the incredible event. “Everywhere you looked there was a sleeping bear just passed out in the snow after like an orgy of eating as they were digesting their blubber”.

Over several hours of observation under the midnight sun, the bears’ behaviour provided endless fascination for those on board the ship, that remained stationary and silent to avoid disturbing the animals.

To witness such a chance encounter in the remote Arctic wilderness and capture it on film was truly humbling for the Australian photographer. “I was able to watch their interactions from the safe vantage point on the deck of Le Commandant Charcot and photograph bears swimming, playing. Mothers with two, even three cubs had turned up for the feast. So we had the whole bear experience all encapsulated in this period of time as we watched the scene unfold”. 

‘A rare bonanza’

The event is even more remarkable considering polar bears are known for their solitary nature. They traverse vast icy expanses, sometimes covering thousands of kilometres, in search of food. Polar bears can smell seals up to 32 kilometres away, so with a dead whale carcass, it’s likely to have drawn the carnivores from up to a hundred kilometres.

A whale carcass can provide a bounty of rich, fat-laden nutrition necessary for polar bears to sustain themselves in such an unforgiving environment. “An accessible whale carcass is a rare bonanza for bears and other wildlife” remarks Lisa LaPointe, a naturalist aboard the ship. “A single whale carcass can nourish multiple bears for weeks, months, or more depending on conditions. This intake can mean the difference between surviving and thriving during a lean summer. It can be the deciding factor in whether a female bear is able to produce cubs the following spring.” 

It’s not known how the bowhead whale died, but it’s believed an attack by a pod of orcas could be possible. Orcas are fond of killing bowhead whales to eat only their tongue, leaving the rest of the carcass, which, in this case, left an incredible buffet for the polar bears. 

“What was most striking was how little conflict we observed, even among bears actively feeding at the carcass. With appetites sated, each was largely accommodating the others. Even mothers with cubs were partaking in the abundance, the cubs feeding next to adults,” recalls Lisa.

The naturalist reflects, “To record and photograph such a happening across such a fleeting event in the expanse of the Arctic left passengers and crew with such gratitude for our unusual experience.”

Editor’s note: The Le Commandant Charcot crew and guests remained at a distance to ensure that the bears didn’t experience any stress or pressure and that their natural activities were not impacted throughout the encounter.

The post Exclusive photos: extraordinary polar bear ‘picnic’ captured by Australian photographer appeared first on Australian Geographic.

“The first time I met the ANU Solar Racing team was on a cold, wet Friday night in a Canberra campus shed, about six months before the race, and I was instantly blown away,” Thomas told us. “It looked like a scene from the TV series Thunderbirds. Everybody had a notepad, or a computer. There were whiteboards and all sorts of equipment, and there was a flurry of activity around the partially disassembled solar car.

“Next thing I was on the side of the Stuart Highway somewhere south of Alice Springs, it was well past curfew and the Japanese team was whispering. The lid of their solar car was open and facing the red ball of the sun that was hanging in a thick smoke haze just above the western horizon. To me it seemed futile, but to them every last scrap of light mattered. It felt wrong to have my shutter clicking – like I was interrupting. But it had to be done. They were so absorbed in sucking every last bit of energy before dark that the flies didn’t bother them and neither did I. Happy to get away with a few shots, I got a sense of how serious this event was.

“Next morning the Dutch team had their cells pointed eastwards well before sun-up. The only sound was the Barrow Creek generator – the irony was palpable. I was hissed at when I walked across the front of their car as my shadow briefly glided over their solar panels. It was moments like these that made you aware that, for the teams, every single photon counted – and I loved witnessing that obsession. It’s precisely those times that make my job so rewarding.”

Read the story featuring Thomas’ photographs:

Related: Chasing the Sun

The post Notes from the field: ‘I loved witnessing that obsession’ appeared first on Australian Geographic.

Australian Geographic’s involvement with this competition is part of our mission to encourage photography of our region’s landscapes and wildlife. Our region offers so much for any would-be photographer, and not just in our wild and remote areas, but in our urban landscape and even our backyards. Photography encourages you to look carefully at the world around you. It increases knowledge and understanding, and raises awareness. Nature photographers are active conservationists, and that is the real power of this competition. The wildlife conservation movement relies heavily on the impact of strong imagery to move people to care enough to advocate, donate funds or become involved in practical ways. So, while some of us will be looking carefully at the f-stop number or the lens type, for most, it’s a chance to be inspired by the beauty of nature.

We commend all of the 422 photographers who entered and extend our gratitude to this year’s judges – Andrew Meares, Petra Leary and Chrissie Goldrick – who faced the enormous task of evaluating more than 1500 entries.

This year added a fresh challenge for those entering, with a new category attracting outstanding overhead images – aerial.

“The competition has grown and evolved over the past two decades and this year we introduced the well-received aerial category capturing never before seen moments from above,” says Director of the South Australian Museum, Dr David Gaimster.

Australian Geographic Society Chair and 2024 judge, Chrissie Goldrick, says, “The competition has evolved significantly. The categories have changed. The rules are constantly reviewed to keep pace with rapid technological advances in areas like generative intelligence, but also to reflect growing ethical sensitivities.”

Although the competition and photographs have evolved, Chrissie says one thing hasn’t changed – the judging process.

“It’s as challenging now as it ever was. It’s a highly subjective process and each judge brings something different to the table based on their own experience, knowledge and preferences. Judges are well versed in accepted standards of compositional and technical excellence, but winning images need an ‘X-factor’. It’s here the most lively of debates dwell, and the final results can be hard to adequately articulate when it’s an emotional response to the vision before you. Whether you agree with the final choices or not, you can rest assured the process that gets us there is rigorous and hard fought.”

The awards are a partnership between Australian Geographic and the South Australian Museum, who produce the competition and accompanying exhibition. The museum will announce the overall winner, category winners, runners-up and the Portfolio Prize on Thursday 29 August.

Until then, here’s a look at the shortlisted images:

Animals in Nature

Aerial

Astrophotography

Macro

Landscape

Threatened Species

Monochrome

Our Impact

Junior

See last year’s winners:

Related: Winners: 2023 Australian Geographic Nature Photographer of the Year

The post Shortlist: 2024 Australian Geographic Nature Photographer of the Year appeared first on Australian Geographic.

Hundreds of photos were filed, and on reviewing the images that made it to print I found myself looking at all the work, and the world, with fresh eyes and in new ways.

In this annual round-up I’ve resurrected photos that, for whatever reason, were consigned to the ‘cutting room floor’. Looking and interpreting photos isn’t a static process, and in this curation we circle back to some of the fantastic images that didn’t fit initially.

We select photos that tell stories in new, arresting, and original ways. But the imagery that’s chosen is contingent on the context of the story within the magazine, the visual tone of the pages and content proceeding or following the story. Within the story itself, we consider how the imagery sets the tone or rhythm to the piece.

Photo selection

We purposely match photographers with assignments, understanding their interest, strengths, and connection to certain subjects or proximity to locations.

Matthew Bagley was selected to shoot giant cuttlefish during their annual aggregation in Whyalla, South Australia for our September-October digital cover (AG 176). Matthew was on our radar because his work was showcased to the world as part of Ami Vitale’s powerful global Vital Impacts initiative in 2022 (see my story here). Matthew’s distinctive underwater work has been acknowledged in many photographic competitions, including our own, so we’re familiar with his creative approach of making use of natural light to shoot underwater life

Dean Sewell spent more than 10 years researching, preparing, and developing relationships to realise his story on desert sailing (AG 173). His interest in the Lake Eyre Basin and Australia’s interior stems from his 25-year documentation of the Murray-Darling Basin.

Thomas Wielecki’s immersion in motoring culture made him an obvious choice for a survey of the Old Hume Highway (AG 173).

Trent Mitchell is celebrated for his eye for Australian oddities, and when we started thinking about a feature on Australia’s Big Things (AG 178), I immediately thought of Trent’s past work on Big Things, part of his Australian Lustre project – a 15-year love letter to the curiosities of regional Australia.

We were fortunate that specialist adventure photographer Krystle Wright was passing through the ACT when we needed photos of author Miles Franklin’s old stomping ground, the Brindabellas.

Mark Clinton, known for his extreme sports photography, is at home creating pictures in blizzards on mountain ranges, in ash storms by active volcanos or under huge ocean swells. Being familiar with using weather-sealed lenses in high-risk conditions and unpredictable back-country environments, Mark proved to be the ideal photographer to keep up with the Australian Geographic Society 2023 Young Adventurer of the Year, Lewi Taylor, as he climbed to the top of remote Tasmanian peaks in mid-winter.

Tamati Smith, a Yama(t)ji and Maori man from Geraldton in WA, was assigned to shoot the final instalment of our Listening to the Voices series. He’d been mentored by leading Indigenous photographer Michael Jalaru Torres, the founder of Blak Lens, and Tamati already knew Marcia Langton from shooting the Garma Festival, which made it easier to create the right connection for his portrait shoot with her.

Tajette O’Halloran photographed our accidental activist (AG 172) feature having a close understanding of this kind of life after growing up in an environmentally active ‘hippy’ community in the Northern Rivers region of NSW.

Richard Freeman works with the university research sector documenting natural history and environmental science on field trips, such as our featured platypus rewilding project, (AG 177) and has carved out a niche in this kind of ecological documentary photography.

Other photographers such as Annette Ruzicka (AG 174), Don Fuchs (AG 176) and Cathy Finch (AG 176) brought their complete stories to us, generating the idea as well as researching, writing and photographing the feature, which lends those tales a special synergy.

We also featured the photography of our former Editor-in-Chief Chrissie Goldrick, who moved into the position of Chair of the Australian Geographic Society after starting at the magazine as Photo Editor more than 20 years ago. In her final issue this year she paddled down the mighty Murray River. (AG 174).

The shoots

Eddie Ablett‘s Home of the Kelpies cover shoot (photos below). Eddie proved to be the perfect photographer to shoot our June-July cover. He makes his living shooting for big agricultural companies, spending months at a time on stations in Australia’s Top End, or for similar operations in Canada.

Dean Sewell – Sailing the Strelecki Desert

Dean Sewell first heard of sailing in Australia’s arid heartlands back in 2011 when the Lake Eyre Yacht Club held a regatta in an area of the Birdsville Track in South Australia awash with floodwaters from the swollen Cooper Creek. Returning for Australian Geographic, he met up with the sailing club members, some of whom travel up to 2,000km from the Australian coast to race on bodies of water that are likely to not exist within six months.

Dean found himself hauling boats over sand dunes searching for water. Desert sailing, he says, is a very different experience to ocean sailing with wind shadows from the dune creating areas of calm and at other moments the dunes created tremendous wind funnels that forced the boats to take off like jet planes.

“Creating a network of contacts and keeping them alive over years is integral to this sort of documentary work,” Dean says. “Slowly, story by story, I’m furthering my knowledge and understanding of Australia’s river systems.”

The trees that wept cider by Matthew Newton

Matthew Newton, one of Australia’s foremost documentary photographers working on social and environmental issues (see my story here about the change wrought by his work), brought us the story about the battle to save Tasmania’s most endangered eucalypts, sometimes referred to as Weeping Trees, or Cider Gums, as they weep a sugary sap that makes the surrounding area smell like a brewery.

Matthew had photographed some of the eight small trees remaining, and has also taken breathtaking photos of the bleached skeletons of the dead trees. He has since spent months extending the story of the Weeping Tree into a documentary series that will feature in the New Year on AG channels.

The Abels by Mark Clinton

Mark Clinton’s incredible athleticism and agility matched the enthusiasm and energy of young adventurer and guide Lewi Taylor as he glided through the most challenging of landscapes and hazardous peaks in Tasmania’s wild Southwest National Park in the dead of winter. Mark spent a week camping in extreme conditions – high altitude, snow and wind – to make the photos for our cover story on the small group of people who have climbed all 158 mountains known collectively as the Abels.

Ocean chameleons by Matthew Bagley

A giant cuttlefish can be up to a metre long, have three hearts, an enormous brain, blue blood and glow in the dark when aroused. The cuttlefish aggregation off Whyalla in South Australia has drawn repeat visits from the best wildlife photographers from around the world in recent years. With our social feeds flooded with photos of the marine spectacle over winter – their breeding season – we looked for a photographer able to shoot these magnificent animals in a more stylised way.

Matt Bagley pushes nature photography into new realms of possibility using Palx – an image capture and editing process rarely used in wildlife photography. In our photos above he uses this innovative technology to create a 3D map that enables the eye to move around the subject giving a 3D perspective.

West Side Story by Lewis Burnett

Lewis Burnett, known more widely by his handle @huntingforparadise has bagged many accolades for his underwater photography off Australia’s west coast, including our own nature portfolio prize in 2023. Lewis is one of a cohort of well-known freediving photographers (including Brooke Pyke, Alek Kydd and past Australian Geographic Nature Photographer of the Year winner Ashleigh Jenson) who spend seasons on the Ningaloo reef working on tourism boats.

For our Coral Coast story, we needed a photographer who was used to shooting underwater life, but equally strong at photographing wildlife above ground and experienced in capturing vast landscapes from the air. With a degree in applied geology and background as an adventure and wildlife guide, Lewis had an especially finely tuned appreciation for landscapes. Although he’s known for spectacular drone imagery, for our story Lewis captured these landscapes from a fixed-wing aircraft, avoiding the dynamic range restrictions of drone cameras.

Braying for love by Max Mason-Hubers

Max Mason-Hubers followed the ghosts of the ‘gun packers’, who in previous centuries drove thousands of horses, mules, and bullocks chasing precious metals across the hinterland west of Cairns. These early fortune seekers pushed out the frontiers of settlement from 1872 – and we retraced their tracks on an unusual donkey trek. Max completed the 90km trek along the original packing road past wild swimming holes and now-abandoned ghost towns… all off-grid and with truculent donkeys to handle. He was tasked with documenting a group in a state of constant forward motion where much of the action fell in the middle of the day when light is flat and lifeless.

He recalls the days were long and very physical, starting well before sunrise to have the donkeys cared for and everything packed for mid-morning departures. There were trips and falls, as most of the hiking was on steep and slippery trails, and two of the party were medevaced.

The donkeys themselves presented another set of challenges; they were stubborn, and started to push people around as the week wore on. Max was forced to pack away his camera to take the reigns to give the others a break. He says he “learnt quickly that the donks are spooked by drone, so that had to be used very carefully, as I’d already seen them stampede after being spooked by a sudden movement: I even had issues with spooking them when I would go off trail to take a photo of them passing.”

One reader reflected that Max has a “great feel for the mood of the moment: last light reflected on the water and water gatherer, with the evening campfire as a backstory; Tim Daniel feeding Mr Chips reminds me of paintings from the Streeton school. Thank you, Max – not just pictures but an experience.”

Australia’s Big Things by Trent Mitchell

Trent Mitchell has spent years travelling regional Australia and documenting the quirky attractions sprinkled en route. “Indirectly, I ended up creating an archive of roadside oddities along the way, just being curious with my dry sense of humour.” The brief was as simple and fun as it gets: make joyful pictures of our unique roadside inanimate objects. Trent started on the east coast, with the Big Banana first on the list. “After all these years I’d never photographed it. The banana scares me: it’s so iconic and commercial it’s given me creative blocks in the past. Rethinking my approach helped make some successful images of that extra-large old piece of fruit.” Photographing other Big Things were easier. “Within minutes of turning up to the Giant Koala, a Windsor caravan pulled up right in front of it with a big sun-bleached sticker slapped on the back reading, ‘Home among the Gumtrees.’ I couldn’t believe my eyes – road-trip serendipity at its finest.”

Trent finished the assignment with a very unexpected big thing – the big Hills Hoist (washing line) in Adelaide. “I’m not sure how I ever heard about it. It’s on the lawn in front of a steelworks factory that supposedly fabricated the pipe for making the original Hills back in the day. I love a good Hills Hoist and I have a nice archive of them from around Australia. Adding the Big Hills Hoist into my collection as the very last thing to photograph was icing on my big things cake and a very fitting way to end a fun series of Australian iconic things.”

Accidental Activists by Tajette O’Halloran

Environmental Activists come from all walks of life. Tajette O’Halloran visited a farmer, surfer and miner for our story, but our favourite photos came out of her meeting with former miner Scott Jordan who now campaigns to save the Tarkine for the Bob Brown Foundation.

The Walpole Wilderness Blitz by Finlay Mackay

We rang Finlay late on a Wednesday, and by Friday he was 800km from home in a swag in the hamlet of Walpole in the South West region of WA. Even though Finlay was on week three of an Efudix treatment with a swollen burnt face and couldn’t venture outdoors without his face completley covered from the sun, he drove five hours through the night to learn about reverse salinity in rivers, First Nations history and to be present at the discovery of rare flora and fauna.

Finlay, a Scot who moved from New York to Perth during the COVID-19 pandemic, was used to photographing sports stars and celebrities. Yet on this job, there was more excitment around a rare sunset frog in the peat bogs of South West Australia than a celebrity on set in NYC. In the photo above, Finlay captures the moment Professor Pierre Horwitz captured a Gondwanan relic, a salamanderfish, the first time it’s been seen in the region for 50 years. He also nailed a holy grail of a photo – the sunset frog, a new species Pierre discovered back in 1994.

Wetlands by Annette Ruzicka

Annette Ruzicka launched as a photographer from a career in communications for the charity Bush Heritage, so she’s used to working closely with journalists. She says she “learnt on the job just what it takes to make a story and how to interpret it for a national context and to demonstrate why we should care.”

Image credits: Annette Ruzicka

Annette’s wetlands story was wide-ranging and across multiple states. Using her vast network of contacts she arranged all the logistics and access, cold calling some custodians and building on pre-existing relationships with others such as those at Gayini where she focused on First Nations land management. Although the abundant wildlife, and open landscapes offered great visual material, Annette says her time in Kakadu alarmed her as she found it “disturbing to witness the dramatic impact of rising sea levels on wetland areas.”

Warrock Station – the birthplace of kelpies by Francesco Vicenzi

Francesco comes from a photojournalism background in Italy, where he worked for la Repubblica. This story of Australia’s Kelpie heritage, from the heritage pastoral property Warrock Station near Casterton was his second assignment for us. (His first, in 2022, covered the conflict between climbers and Traditional Owners in the Grampian National Park.) As part of the climbing community and an experienced hiker in the region we were covering, Francesco was an easy choice for the Grampians assignment. This time, however, he had a two-week old baby, a forecast of relentless rain, and yet was still happy to head out in his 4WD with his tent on a loose itinerary. Once in the field, he photographed far beyond the brief, shooting every possible angle, perspective, hunting out new subjects, and twists in the story.

Broughton Island by Max Mason-Hubers

Broughton Island, located 14 km north-east of Port Stephens off the NSW coast, presents almost as a Mediterranean paradise, but the assignment proved less pleasant. Ocean conditions meant Max’s time was cut short on the island and catching good light at important locations was a matter of strategy and luck. Much of the island is a shearwater nesting ground; these birds create nests in burrows in the sandy soil which would collapse when walked over, and the team would need to dig out burrows to rescue their occupants. Adding to the physical challenge Max found many of the sites significant to the story involved pushing through tangles of vines and vast swathes of invasive prickly pair cactus. “I came home with cactus spines embedded in every single part of me from my face to the palms of my hands to between my toes!”

The Voice by Tamati Smith

When preparing to photograph Marcia Langton for our story on why the Voice to Parliament would help close the gap, Tamati recalled the photos of US presidents photographed more candidly in the Oval Office. This reminded us of Look Magazine photographer Stanley Tretick’s intimate portrait of President Kennedy in 1963 with his young son peering out from under her desk. Here in this image, though obscured in the darkness below the desk, plays Marcia’s dog.

Rewilding Platypus by Richard Freeman

Very few platypuses are photographed in the wild. They are timid, nocturnal, move rapidly and are extremely well-camouflaged. Richard was determined to secure a split shot, an over-under water image, of a playpus but underestimated how hard this would be. If he entered the water he’d scare away the platypus before its capture was was complete, but on the last night of the four-day field trip with UNSW researchers Dr Gilad Bino and Dr Tahneal Hawke he managed a split shot in the pouring rain (top right) as the researchers released one of the captured platypus back into the Snowy Mountains region of NSW.

Pacific Airshow and the Freedom Formation team by Thomas Wielecki

We have worked with Thomas Wielecki more often than any other photographer this year. Thomas is constantly pitching stories; on every assignment he returns from the field bursting with new ideas. He describes himself as shy, but with a camera around his neck Thomas is able to ask people the most personal of questions, and has a special talent for getting under people’s skins.

Even though we often send Thomas to photograph destinations (such as Mildura), epic journeys (the Old Hume Highway) or big events (the Pacific Airshow in the January-February issue) we regard him as a gifted character photographer, and someone who is interested in the private stories and personal lives of everyday people.

The Pacific Airshow assignment, for example, was a story Thomas brought to us. Aside from the visual spectacle of an airshow above crowded beaches and around tall buildings on the Gold Coast instead of the usual airshow setting of an aerodrome, Thomas liked the angle that this was an airshow in which anyone with passion could fly. He tracked down a group of enthusiasts, ‘The Freedom Flyers’ who built their own planes in sheds, backyards and garages to fly in group formation in the show alongside the world’s best stunt pilots and military jets. These characters, ordinary people with an extraordinary goal to fly in Australia’s biggest airshows, were more interesting to Thomas than the planes. Sometimes, he says, “it’s necessary to see the small story in order to understand the bigger picture.”

The Old Hume Highway by Thomas Wielecki

Mildura: the middle of nowhere and the centre of everywhere by Thomas Wielecki

Broome rebooted by Giacomo d’Orland

Giacomo d’Angelo was travelling through the Kimberley region of WA in his camper trailer between assignments for the Mindaroo Foundation, when we were looking for a photographer to document Indigenous driven tourist experiences for a story about the shift away from Broome’s ‘flop and drop hotel travel’.

Australian Portrait: Matthew Bailes by Randy Larcombe

We kicked off our new Australian Portrait slot, profiles of “ordinary Australians doing extraordinary things”, with the brilliant physicist Matthew Bailes. The writer began her profile recalling Matthew’s memory of being a 6-year-old standing at the edge of Glynburn Road in Adelaide, watching cars and wondering why he can see them.

We wanted to create a visual connection between the brilliant astrophysicist, now based in Melbourne, and the curious child that he was. Photographer Randy Larcombe locked in the scientist as he was transiting through Adelaide, to be able to capture Matthew playfully returning to the very same corner where he stood as a child of six.

The Brindabellas by Krystle Wright

Krystle Wright, an adventure photographer who this month was awarded $300,000 in the world’s richest photo competition, lived much of the year travelling Australia in her van. We were were lucky to catch her passing through the ACT for our visit to the childhood home of Australian writer Miles Franklin, author of My Brilliant Career. Franklin was also the author of the very successful and award-winning All That Swagger, a book that mirrors her own family story and childhood spent exploring a mountain holding very much like the Brindabellas. Writer Matthew Higgins says there is a mysticism inherent in the mountain environment in the book, and Krystle captures this beautifully above as the mist lingers of the Goodradigbee River in the Brindabella Valley.

Bogs are beautiful by James Bugg

Project Hiu by Cathy Finch

Cathy looks at the successes of an Australian-led conservation project in Lombok, Indonesia, that replaces shark fishing with tourism.

The Aussie Camino by Don Fuchs

Don Fuchs has a long history with Australian Photographic, photographing and writing stories for us since 1996. During that time he’s covered everything from the gruelling Carnarvon Great Walk, with 30kg on his back, to an overgrown and unformed track to the South Coast Track in Tasmania where he was up to his hips in mud, for our book on Tasmanian hikes. Don has historically received our ‘tough guy assignments’ but this year he turned his attention to the growing popularity of caminos and hiking as a healing journey. In his story A Journey of Faith, Don explores the therapeutic properties of long-distance walking, and how a camino is different from simply going on a trek.

Murray River, from outback to ocean by Chrissie Goldrick

In addition to editing the journal and managing the Australian Geographic Society, Chrissie managed to fit in writing and photographing a kayaking adventure along the mighty Murray, and an expedition to the Galapagos Islands

Nina White was chosen to document the gruelling trek through thick rainforest to the wreckage of the Stinson aircraft in the Lamington National Park because of her legendary toughness and physical resilience. She also lived conveniently close to the location so was willing to return over and over again in different weather conditions to secure the right pictures.

The post A year in the field: AG photographers on assignment in 2023 appeared first on Australian Geographic.

“I felt privileged to be able to document the incredible and valuable work that researchers Dr Gilad Bino and Dr Tahneal Hawke have been undertaking,” Richard said. “Another bonus is the fact that so few people actually get to experience these unique animals up close.” 

Before the shoot, Richard did some research and realised there were very few photographs of platypuses in the wild. This is for a number of reasons – platypuses are timid, nocturnal, move rapidly and are extremely well camouflaged. “Trying to complicate things further, and a bit ambitiously, I thought it would be a good idea to try to get a single image below and above the water of a platypus being caught,” Richard said. “I underestimated many parts of this equation, not least of which was the fleeting moment I would have to take the shot, supposing we caught – or even saw – any. I was unable to get the split shot; if I’d entered the water I would have scared away any other platypuses before capturing was complete. However, I did manage to get an image in the pouring rain as Gilad and Tahneal released one on the last night I was with them.”

On the very first survey and capture evening, Richard found himself surrounded by bright-yellow poplar trees under a magnificent, clear starry night, not quite sure if he would even get to see one of the elusive monotremes, let alone photograph one. He was asked casually if he’d mind holding a pillowcase, the contents of which turned out to be a very animated platypus, fresh from the river. “I can only describe the experience as being like holding a small cat or puppy, in terms of weight and size,” he said. 

Richard described the Snowy Mountains region in autumn as “simply stunning”. “Being immersed in the river systems, surrounded by world-class scenery, was breathtaking. Wherever I pointed the camera, there were photographs begging to be taken,” he said. The arduous nature of the platypus survey-and-capture evenings is not to be underestimated, Richard noted. He was only with the team for four nights but found fatigue made it difficult to concentrate after the second. 

“The fortitude and mental resilience of Gilad and Tahneal is astonishing,” he said. “They will often work for 10 nights straight in the field, rain, hail, snow or shine. I think Tahneal said 17 nights was her record. Mind boggling!”

Related: How to rebuild a platypus population

The post Submerged in the wild: photographing elusive platypuses appeared first on Australian Geographic.

Related: ‘We’ll come back from this’: spirit of Kangaroo Island residents unbroken

On 3 January 2020, Tracey was on assignment courtside, covering a tennis tournament in Brisbane. She was asked to get to Nowra quickly to photograph the pyrocumulonimbus near the town. She arrived the following day as the ominous storm cloud loomed, generating peals of thunder and turning the sky blood red. On Nowra’s outskirts she came across a barefoot Nancy Allen and her husband, Brian, dressed in a singlet, shorts and thongs, trying to defend their home with a garden hose. Their neighbours had already left, as had the police (who’d urged them to evacuate). “Nancy asked me if I thought she should stay or go, and I said to her, ‘I think you should go’,” Tracey recalls. “Nancy’s expression in this photograph summed up the shock and disbelief many Australians felt at the ferocity and enormity of these fires…the overwhelming fear of not knowing where, or which way, she should go, or what she should do.”

The approaching fire front – the Currowan fire – had menaced the area since November, and already nearly obliterated Mogo and Cobargo, south of Batemans Bay. It would burn for 74 days across nearly 5000sq.km and destroy 312 homes. Remarkably, the Allens’ house was spared and Tracey’s photo was published worldwide.

This year Nancy and Brian have the water tanks and drums full, the gutters cleared in preparation.

Related: The story behind the photo: ‘My Country Burns’ by Samuel Markham

The post Eye of the storm appeared first on Australian Geographic.

His winning image, titled Hang Time, captures the incredible moment a honey possum (Tarsipes rostratus) hangs between two heads of a scarlet banksia (Banksia coccinea), pausing to lap up some drips of nectar.

Can you tell us the back story of this photo? 

I spent several early mornings across multiple weekends staking out this beautiful double-headed Banksia coccinea (aka scarlet banksia). The banksias were in full bloom but they can get quite large and dense making it hard to get clean backgrounds. I was attracted to this small banksia as it was much more photogenic. It was a young plant and isolated from other bushes, and its twin blooms made for a nice composition. I chose a position that would be good for backlighting and spent many hours waiting for something to happen.

What is your connection to the subject matter? 

Both the coccinea and the honey possum are endemic to my home region on the south coast of Western Australia, which is quite special. The rich scarlet colour of the coccinea is stunning and the possums are so small and shy, and each is equally critical to their survival. The flowers feed the possums and in turn, the possums pollinate the flowers.

Where is it taken, and what led you to this site? 

This image was taken at Cheyne Beach. I predominantly photograph birds and Cheyne Beach is well known as a birding destination. I visit the area regularly to enjoy its breathtaking coastal environment which is rich with unique flora and fauna.

Were you unexpectedly there or had you planned to cover this moment? 

There was an element of planning in this image, but also a bit of luck. But as they say you create your own luck and capturing this honey possum in such a captivating pose was reward for persistence and patience.

What are the technical challenges of photographing this kind of scene?

The image was taken handheld so I had to ensure I had sufficient shutter speed to capture a sharp subject. Being handheld meant I didn’t have the camera constantly aimed at the subject so I pre-focussed on the flowers which meant when something happened and I lifted my camera to capture the action, the eye-tracking on my R3 locked onto the subject more quickly.

How did you prepare to take this image? 

Honey possums are predominantly nocturnal but when banksias are flowering they can often be seen feeding on them into the early morning, so I made sure I arrived before sunrise every morning, and dressed in dark clothing to blend into my surroundings.

Did you have special equipment? 

This image was taken with my Canon EOS R3 camera and my Canon 500mm F4 L IS II lens with a 1.4x teleconverter to give me extra reach.

Have you covered this topic/subject before?

I had tried to photograph honey possums several times across the weekends I visited, including on this same flower, however the little critters don’t always give you a great look at them and getting a pleasing composition can be hard. From my experience they also generally scurry down the flower stems so it was unexpected to see this little guy pause its climb and hang by its tail as it cleaned the nectar off its nose and whiskers.

Why is this form of photography important to you?

Photography is a powerful way to educate the wider community about nature and conservation. Contests like the Australian Geographic Nature Photographer of the Year are not just about recognising amazing photography, they also celebrate the beauty and diversity of the natural world and are a reminder of the importance of protecting and preserving it.

Any additional thoughts?

It is really rewarding to have taken an image that connected so strongly with the public and receiving the People’s Choice award is an incredible honour. Thank you to everyone who voted for my image and congratulations to all the other amazing photographers whose work was awarded and exhibited in this year’s contest.

Related: Winners: 2023 Australian Geographic Nature Photographer of the Year

The post The story behind the photo: ‘Hang Time’ by Nathan Watson appeared first on Australian Geographic.

His winning image series, titled Aerial Oceans, was shot completely via drone:

Can you tell us the back story of this photo? 

This portfolio attempts to represent the incredible diversity that we are lucky enough to host in the oceans of the ANZANG region. With some of the richest waters on our planet we are beyond privileged to have so many rare and endangered species call our waters home.

What is your connection to the subject matter? 

As a wildlife photographer it is my goal to capture the diversity of our planet’s natural inhabitants, showcasing these amazing creatures in hopes of inspiring people to get outside and spend some more time in nature. I like to think that my connection to the subject matter in these photos runs deeper than just a job, it’s the reason I get up in the morning. Spending time with these majestic animals over the past few years has undoubtedly been some of my best experiences in life so far.

Where were these photographs taken, and what led you to this site? 

Timor-Leste, Ningaloo Reef and the Kimberley regions of Australia. I was led to explore these regions because of the rich biodiversity and abundant marine life that these places hold. Some I had heard of from other photographers, some I had researched online, some were a combination of both. Thats the joy of the wildlife photography community, people are willing to share information in aid of helping to build each other up.

Were you unexpectedly there or had you planned to cover this moment? 

No, these were all taken on trips that I had planned for the precise reason of encountering these animals. Usually, you can do your best to plan a trip to see wildlife, however it’s never guaranteed. So, was I unexpectedly there? No. But was the animal unexpectedly there? Most definitely.

What are the technical challenges of photographing this kind of scene?

Drone photography can be either very easy or very hard depending on the subject. As always with wildlife photography the biggest challenge is finding the animals in conditions and light that are conducive to making a nice photograph of them. However, to me, the biggest technical challenge to using a drone to capture these images is simply that the cameras on most drones are not as good as what I’m used to shooting wildlife with on land. I often find myself limited by the blackout as the photograph as taken and the lack of ability to push an image in terms of dynamic range as much as you could a mirrorless camera. There is also the added aspect of operating the actual drone itself, getting it into position and tracking the animal from not only a safe position but also a legal one. It is important to note that many countries have certain drone regulations and laws in place to protect the wildlife that you are photographing so this is always an important thing to take into account. Thankfully a lot of drones now have zoom lens and you are able to get great shots from a safe distance to avoid disturbance.

How did you prepare to take this image? 

As with any wildlife trip, there is a lot of behind-the-scenes preparation that goes into making the images come to life. It usually begins with hearing of a location that has a certain species of animal that can be found there. This often comes from my network of colleagues who are also wildlife photographers, or from documentaries such as Blue Planet, etc. Then the planning stage starts, reaching out to people who have been before, looking up the locations online and determining logistics. Once the trip seems feasible it’s important to learn as much as you can about the animal you’re hoping to shoot, this will help you not only find it, but have a better chance at photographing it. Lastly it’s important if using a drone to look up the regulations of the region you’re hoping to visit and familiarise yourself with the bylaws for flying there. The rest is all up to luck, if you want to increase your luck, plan a longer trip…

Did you have special equipment? 

Other than the drone for these images no, not really. It’s worth noting that some of these were taken on my own boat and others were taken on a good friend of mines. Without either of those boats these images would not have been possible from land and for that I am hugely grateful.

Have you covered this topic/subject before?

Yes, for the past 5 years I have been attempting to capture our wildlife from above, I believe it provides a unique perspective of the animals. Done right it can also be substantially less invasive to the creatures than underwater photography, etc.

Why is this form of photography important to you?

Our natural world is failing, or maybe I should say we are failing our natural world. We are overstretching the resources that this planet can provide for us and taking what it does for granted. As a consequence, animals such as the blue whale are suffering. This type of photography is important to me because nature is important to me. Without captivating the minds of my audience with imagery of the natural world, what chance do I have to change their minds about the natural world? It needs our help and I believe that this medium is a powerful opportunity to provide that help. Think of it as marketing for mother nature…

Related: Winners: 2023 Australian Geographic Nature Photographer of the Year

The post The story behind the photo: ‘Aerial Oceans’ by Lewis Burnett appeared first on Australian Geographic.

Australian Geographic invests in photography because we know it is a powerful tool to change people’s hearts and minds. We will keep celebrating incredible photographs of our natural world because they connect us with the wonder of nature and remind us of what is at risk of being lost. Now, the inaugural Australian Geographic Head On Environmental Award takes our commitment to environmental activism a step further.

The award was one of a suite of photographic awards presented at the Head On Photo Festival launch last night in Sydney. The festival is running now to 3 December, check out the full program at the festival website.

We were thrilled to receive a huge range of high-quality entries from around the globe, bringing us potent new perspectives of a planet in crisis. Some of our favourite photos, such as Giacomo D’Angelo’s image (pictured below) of the world-first underwater greenhouse where fruit and vegetables can be grown on the ocean floor, show us a way forward so we can imagine our future.

Last night, I presented the award to photographer Alain Schroeder for his image Saving orangutans:

Alain Schroeder’s photograph of a suffering Sumatran orangutan – named ‘Brenda’ by her rescuers – is a powerful image of both hope and despair, as are many of the other entries. It draws attention to the heartbreaking plight of these animals, making us think about the reasons for their vulnerability, as well as showing what we are doing to help them.

Schroeder has reversed the natural order of things. Where we should be looking up at a wild Brenda in the treetops with her mother, instead we look down at a sedated and powerless infant in a critical condition on an operating table. The helplessness of the animal, and the sacrifice of this species to make way for human activity and development, is further highlighted in her spreadeagled pose and unfocused gaze. At the same time this image can be read as a document of hope and human help. A dozen hands clamour to support her, including those of an orthopaedic surgeon flown from Switzerland to repair Brenda’s broken arm.

The Sumatran orangutan (Pongo abelii) is exclusively arboreal, living among the trees of tropical rainforest. This habitat has been depleted at an extremely high rate, mainly by conversion to palm oil and rubber plantations but also via logging, mining, and population growth, and the species is now pushed to the brink of extinction with less than 14000 remaining in the wild. The Sumatran orangutan is classified as Critically Endangered, which means without immediate and urgent intervention, extinction is the only outcome.

Schroeder says he wanted to document the dedication of the people saving these animals, and this photo is part of his larger body of work shadowing the work of several organisations coordinating their efforts to rescue, rehabilitate and release orangutans.

“As you can see in the [photo] story, conservationists, vets and caretakers are doing their part, but we must help them,” he says.

“In addition to funding and supporting organizations like the SOCP (Sumatra Orangutan Conservation Programme) and the OIC (Orangutan Information Centre) that work tirelessly to rescue and rehabilitate the animals, we as consumers need to change our behaviour and reduce our consumption of products containing palm oil.

“If the series can help a few people to become more conscious of the issue, then it is a success.”

Below, we present all finalists in this year’s inaugural competition.

The Head On Environmental Award by Australian Geographic is jointly funded by the Australian Geographic Society and the Purves Environmental Fund.

Finalists

Nemo’s Garden – Giacomo d’Orlando

Extended caption, provided by photographer: According to IPCC, desertification brought by climate change in recent years has already extensively reduced agricultural productivity in many world regions. Agriculture represents 70% of freshwater use around the globe. With the world’s population projected to increase to 10 billion by the end of the century, finding alternative and ecologically sustainable cultivation methods has become imperative. Nemo’s Garden, the world’s first underwater greenhouse, offers a possible solution.This completely self-sustainable project explores an alternative farming system that could be implemented in areas where environmental or geo-morphological conditions make the growth of plants almost impossible. 

Thawing permafrost above the Arctic Circle in Yakutia – Natalya Saprunova

Extended caption, provided by photographer: Nikita Zimov, director of the Northeast Science Station in Yakutia, observes the thawing of the permafrost layer in Duvanny Yar, located along the Kolyma River above the Arctic Circle. This landslide was driven by land degradation accelerated by rising temperatures in the Arctic region. This layer of permafrost formed during the Pleistocene/Late Pleistocene (between 2.58 million and 11,700 years ago) and is called Yedoma. Decomposition of organic matter stored in permafrost can produce between 2 billion and 12 billion tonnes of CO₂ and methane per year. For comparison, the CSIRO estimates that human activity adds 9.1 billion tonnes of carbon to the atmosphere annually.

Portrait of extinction – Adam Oswell

Extended caption, provided by photographer: Field rangers from the Ugandan Wildlife Authority pose in front of over 12 tonnes of metal snares confiscated in just one year in Murchison Falls National Park. The snare crisis is devastating wildlife populations across the planet as they are a cheap and effective method of poaching wildlife for powerful and sophisticated criminal syndicates who often exploit impoverished communities to supply a booming global black market for wildlife. 

SOS Beniamina – Adam Sébire

Extended caption, provided by photographer: Arriving on Beniamina, the Elders told me they wanted to show the outside world just how vulnerable their Solomon Islands home had become, as climate change delivers violent storms, seas acidifying and rising 7-10mm/year, three times the global average. This seaweed farming, which sequesters CO₂ emitted a world away, is also under threat. So, at low tide, the village children paused their home-schooling to congregate on the beach where families’ houses stood to hold hands, forming a human ‘SOS’, the Morse code signalling an emergency. The house behind them has been washed away since.

Yoda – Anna Brozek

Extended caption, provided by photographer: Takayna, lutruwita (northwest Tasmania). Not only a front-row seat, Yoda provides defenders with a solid anchor to create obstacles to slow down government-sanctioned forest destruction. This happens despite the area being recognised as meeting 7 of 10 World Heritage Value criteria and being of immense cultural significance to the palawa/pakana people, the island’s custodians for over 50,000 years and never ceded Sovereignty.

Fauxliage – Airport approach, Palm Springs, CA – Annette LeMay Burke

Extended caption, provided by photographer: This series documents the proliferation of disguised cell phone towers in the American West. By attempting to conceal an unsightly yet essential technology of the modern world, our landscapes are now sown with a quirky mosaic of masquerading palms, evergreens, flagpoles, crosses, and cacti. But the towers are simulacra. They are water towers that hold no water, windmills that provide no power, and trees that provide no oxygen, yet they all provide five bars of service. The towers pose the question: How much of an ersatz landscape and manufactured nature are we willing to accept in exchange for connectivity?

Harvesting corn into the floodwater – Azim Khan Ronnie

Extended caption, provided by photographer: Following a deadly flood (an annual disaster) in Sariakandi, Bogura, Bangladesh, swamped thousands of hectares of cornfields, farmers try to salvage as much as possible from destroyed fields.

Ice Core Facility – Fabio Cian

Extended caption, provided by photographer: Geoffrey Hargreaves, the curator of the Ice Core Facility, looks for an ice core in the Ice Core Repository. At -36ºC, the temperature is low to maintain the integrity of the cores, preventing the migration of gas particles along its length. By analysing air bubbles trapped in the ice, scientists can reconstruct the past climate up to about one million years. This repository is one of the biggest of its kind and stores samples from the world’s polar regions. National Science Foundation Ice Core Facility, Denver, CO, USA.

Fatal fences: the cost of human-wildlife conflict – Fernando Faciole

Extended caption, provided by photographer: A young reticulated giraffe (G. reticulata), approximately two weeks old, died after being electrocuted by a fence in Laikipia, Kenya. Electric fences are a palliative measure against conflicts between humans and wildlife, but they create other consequences for animals. Deaths due to this are not unusual anymore in Kenya, and the only thing that rangers could do at that moment was to drag the animal far from there so no predators would die trying to eat the carcass.

Let’s build a mountain – Frederike Kijftenbelt

Extended caption, provided by photographer: This image of the Swiss Rhône glacier is part of the project ‘Let’s build a mountain’. The project explores the limits of the shapable, in which the Rhône glacier is a metaphor for the friction between the human urge to control and the resilient autonomy of nature. Every year, the glacier is covered in white blankets to protect it from further melting caused by climate change. This image perfectly symbolises the friction between humanity and nature: the person in the picture is trying to repair the blankets, while behind him, the ice is already escaping human control.

Traditional fire management on Ngaanyatjarra Country – Helen Davidson

Extended caption, provided by photographer: In 2016, senior First Nations women and men came together on Ngaanyatjarra land, near the WA/NT/SA border, for a significant week of traditional fire management and visiting sacred sites. Supported by councils, the group combined their cultural knowledge of the land with modern tech like helicopter-launched firestarters. When the men went off in the helicopters on day one, the women jumped in the Toyotas to find a good patch of spinifex grass to start low-level burns, clearing out the fuel load before the seasonal lightning storms came in and sparked intense and damaging fires.

Bhopal chemical gas disaster – Isabeau de Rouffignac

Extended caption, provided by photographer: The leak of highly toxic gas from the Union Carbide factory in Bhopal on the night of 2 to 3 December 1984 and the systematic dumping of the factory’s toxic waste in artificial lakes made the Bhopal disaster the worst catastrophe in modern history. Prem Kala Vishwakarma, one of the victims of the disaster, received 600 euros in compensation and is currently very sick; she can hardly get up. She posed for me in one of the saris I designed – a sari that also tells the story of the disaster – against a backdrop of soil pollution.

Pieces of the plastic puzzle – Justin Gilligan

Extended caption, provided by photographer: Worryingly, the diet of flesh-footed shearwaters that nest on Lord Howe Island is increasingly seasoned with plastic waste drifting in the oceans. By measuring the impact and exposing the scale of the problem, researchers with the Adrift Lab aim to raise awareness and advocate for action to address overconsumption, poor waste management and pollution. In 2023, they retrieved individual plastic items from an individual flesh-footed shearwater, the greatest number of pieces ever recorded.

Conservation Corroboree frog count, unceded Ngarigo Country – Lee-Francis Evatt

Extended caption, provided by photographer: I volunteered in a conservationist frog count of the critically endangered Corroboree and Spotted Tree frog species. These frogs must be frequently counted and swabbed by conservationists to ensure they do not carry the highly contagious Chytrid fungus. The fungus attacks the keratin in the frog’s skin, making it difficult for them to breathe. It also damages their nervous system and alters their behaviour; they can die within approximately 21 days of contracting it. This baby Corroboree frog is small enough not to be poisonous to human hands.

Airborne – Marcus Westberg

Extended caption, provided by photographer: An elephant is airlifted into a waiting truck in Malawi, part of a massive conservation undertaking: the translocation of dozens of family groups, 263 individuals, between two of the country’s national parks. One, Liwonde, has proven a conservation success story, so much so that the elephant population is larger than the small, fenced-in protected area can handle, especially given the high human population surrounding it. The other, Kasungu, was finally deemed safe enough to re-establish its diminished elephant population after years of improved security following decades of heavy poaching.

Sole survivor – Matt Palmer

Extended caption, provided by photographer: A single tree regenerates on a decimated ridge in South-West Tasmania. 

Fatigue sleep – Muhammad Amdad Hossainwell

Extended caption, provided by photographer: Many people in Bangladesh’s coastal region have lost their homes and properties and become homeless due to frequent floods, river erosion and other natural disasters. Forced to migrate to cities in search of a better future, they have no shelter in big cities; their day begins on dirtland, on a dirt road, and ends on a road to nowhere. Dirtland, concrete-covered roads are a flower bed for these refugees, who have virtually no identity. They make a living by working as boatmen, street vendors, labourers and other odd jobs. 

Evacuation – Nick Moir

Extended caption, provided by photographer: Forbes residents leave with just their dog as waters rapidly rose for the fourth time in weeks in late 2022. 

Scientists in Semipalatinsk nuclear weapons shooting range – Pierpaolo Mittica

Extended caption, provided by photographer: The Semipalatinsk Polygon was an area of the Soviet Union where 456 nuclear warheads were tested. The nuclear fallout involved more than a million people. Villages around the polygon were never evacuated, and the population still lives with its consequences. What happened on Semipalatinsk Polygon is one of the greatest crimes planned against humanity. The local population was used as guinea pigs to understand the consequences of radiation on people. Today, life for the local people goes on, struggling with the legacy of the Cold War that continues today and will remain, with its tremendous consequences, for millennia.

Related: Winners: 2023 Australian Geographic Nature Photographer of the Year

The post Seeing it ‘Head On’ appeared first on Australian Geographic.

His winning image, titled Aftermath, shows a male giant cuttlefish (Sepia apama) left in the aftermath of a fight between two other males, with ink still in the water, and still displaying his vivid courting colours.

Can you tell us the back story of this photo? 

It’s a single male Australian giant cuttlefish left in the aftermath of a skirmish between two other, larger male cuttlefish. When I first arrived on the scene there was a female surrounded by the three males, who were all competing for her attention with their colourful skin displays. Suddenly, the two large males got into a grappling match, inking, and rolling out of the scene like wrestlers. The lone female fled and left the single smaller male in the aftermath of the scene, still displaying his mating colours.

What is your connection to the subject matter? 

Cephalopods (cuttlefish, squid, and octopus) are up there as one of my favourite group of animals. Their apparent intelligence and interactions with me as a diver make me wonder who is watching who sometimes. They seem very aware and interactions with them can be mesmerising. Also, their ability to change the colour, pattern, and texture of their skin in the blink of an eye is just mind-blowing.

Where is it taken, and what led you to this site? 

It was taken at Point Lowly, near to Whyalla in South Australia. Every year in the months of June to August the largest aggregation of giant cuttlefish known to man happens. It’s a huge breeding and reproduction event in which hundreds of thousands of these giant cuttlefish gather in the bay and around the point in shallow water.

Were you unexpectedly there or had you planned to cover this moment? 

Yes, I knew about the breeding aggregation at Point Lowly, this was taken during my second season shooting there. 

What are the technical challenges of photographing this kind of scene?

Being underwater adds a significant list of technical challenges beginning with your own safety and limitations of air supply, cold water, currents etc. From a photographic point of view the challenges are lighting and correct exposure in water. But most of all, for this particular shot is was the split second, instinctive decision of either following and shooting the action of the two other males fighting or staying with the lone male framed by the black ink. Nine times out of 10 I would follow the action, but in this instance, I chose the latter and got a great shot. It was explosive action that was over in seconds.

How did you prepare to take this image? 

Every dive before this is preparation in some way. It comes through time spent with a particular species and learning it’s behaviour and the likelihood of various outcomes and trying to be ready for them!

Did you have special equipment? 

Underwater photography has a wealth of specialist equipment such as the waterproof camera housing and underwater flashes to illuminate colour. Additionally, of course, there is the dive equipment and experience using it which is also necessary. 

Have you covered this topic/subject before?

Yes, this was my second cuttlefish season at Point Lowly. I have accumulated many images of various cuttlefish behaviour; fighting, mating, feeding etc but nothing quite as evocative as this shot from a creative compositional point of view.

Why is this form of photography important to you?

I really enjoy and feel it’s very important to show people the treasures we have in our oceans, how fragile they are and the importance of protecting them. I like to use my skills as an underwater photographer to try to amaze and educate.

Related: Winners: 2023 Australian Geographic Nature Photographer of the Year

The post The story behind the photo: ‘Aftermath’ by Matty Smith appeared first on Australian Geographic.

Aaron Treve Woodcock Jr, known professionally as Tommy, was born in 1905 in Uralgurra, near Kempsey in northern New South Wales, where he spent his early years surrounded by horses. At 14, he moved to Randwick in Sydney’s east after attending school in Port Macquarie and was apprenticed as a jockey under Barney Quinn. When Tommy outgrew that job, he found employment as a trackwork rider and exercising racehorses for Randwick trainers. Among them was Harry Telford, at that stage leaser (and later part-owner) of the legendary Phar Lap. 

In 1929, Telford hired Tommy to become Phar Lap’s full-time stable foreman and strapper. The champion thoroughbred – known to Tommy as ‘Bobby Boy’ – became the most decorated racehorse in Australian history, winning 37 races from 51 starts. It was said that Phar Lap only accepted food from Tommy, who’d often sleep beside him. “No one can speak with the same intimacy of the great horse as Woodcock,” reported Brisbane newspaper The Courier-Mail in 1936. “Phar Lap…demanded by intelligent actions, looks and sounds that Woodcock spend his waking and sleeping hours within reach of his nostrils. They were inseparable.” 

But success made the champion gelding a target. In November 1930, three days before claiming the Melbourne Cup, Tommy shielded Phar Lap during a drive-by shooting. Two years later, Phar Lap collapsed in America and died in Tommy’s arms. The racehorse’s untimely death prompted sensationalist media coverage and rumours of suspected arsenic poisoning. “…this goliath of equines, massive and mighty of speed, was the plaything of schemers, gangsters and murderers,” lamented The Courier-Mail. 

Heartbroken Tommy spent the next 40 years training horses, running stables and apprenticing jockeys. But in 1977, Reckless thrust him back into the limelight. The stallion had failed to win his first 33 starts but then became the first horse in history to win the Sydney, Adelaide and Brisbane cups in a single season. 

Tommy was widely admired for his gentle demeanour and kindness. In 1978, he was awarded an MBE, and his biography, written by Margaret Benson, was published. Tommy’s special relationship with Phar Lap was later the subject of the 1983 feature film Phar Lap: Heart of a Nation. Tommy died in 1985.

Related: Is the Melbourne Cup still the race that stops the nation?

The post Sleeping with champions appeared first on Australian Geographic.

His winning image, titled Mungo, captures crescent-shaped landforms called lunettes under the light of the cosmos.

Can you tell us the back story of this photo? 

I had planned to camp at Mungo National Park for four nights and had some cloudy first couple of days. When I found this group of lunettes, I turned off my headlamp to see what I could actually see under the ambient light and at first it was completely pitch black. After about 30 minutes of waiting, the heavens finally opened up for me. The stars were so bright that I could see the landscape in front of me quite well. The curves and textures led me right to the MIlky Way core and the brightness of Venus as it started to rise up over the far lunettes. Because of the width and pure enormity of the scene, I opted to take a multi-row panorama to fit it all in.

What is your connection to the subject matter? 

I have no connection to the subject matter other than just the love of being surrounded by the natural beauty of this place.

Where is it taken, and what led you to this site? 

Mungo National Park is important for three reasons: It has “one of the longest continual records of Aboriginal life in Australia” having been occupied for over 50,000 years; the skeletons found in the sands of the lunette are the “oldest known fully modern humans outside Africa”; and the skeleton of Mungo Woman (or Mungo I as she is officially known), has been radiocarbon dated to around 40,000 years ago and “has provided the oldest evidence of ritual cremation in the world.” Mungo is listed in the World Heritage List for both its cultural and natural values. 

It is one of those places that’s incredibly beautiful in daylight but there is something about seeing it under the light of the stars that makes it even more special.

Were you unexpectedly there or had you planned to cover this moment? 

It was unexpected as the weather had been so cloudy, but as soon as things cleared, I knew I wanted to capture this spectacular scene.

What are the technical challenges of photographing this kind of scene?

The biggest technical challenges were the framing and what I wanted to be in the image. For this, I had to do a panorama. Plus, doing a multi-row panorama can be quite challenging in itself along with the post processing of it. 

How did you prepare to take this image? 

When shooting a panorama there are several things that you must be sure to do in order to make the stitching process later much easier. One is to level the tripod. Then I make sure the lens is centered over the tripod head to help with parallax. Lastly I had to make sure I had about a 30% overlap of each image.  

Did you have special equipment? 

The only special equipment I’d say would be a nodal rail to center the lens over the ball head and also an indexing rotator that clicks at each 30% overlap, making that process much easier. 

Have you covered this topic/subject before?

I am always looking for new and exciting places to photograph the Milky Way and the one thing that stands out from this place is how dark it is. There is absolutely no light pollution and everything is lit by starlight at night. 

Why is this form of photography important to you?

It is truly just pure love for astrophotography. There is no better therapy for the soul than being out under the stars, and in a place like Mungo, it makes it even more special. 

Related: Winners: 2023 Australian Geographic Nature Photographer of the Year

The post The story behind the photo: ‘Mungo’ by Jason Perry appeared first on Australian Geographic.

His winning image, titled Desert Tower, shows a kurkara/desert oak (Allocasuarina decaisneana) stretches skyward beneath the towering monolith of Uluru.

Can you tell us the back story of this photo? 

The image was captured on a walk around the base of Uluru. I was there with the focus of shooting astrophotography; however, on our trip there during the day, I was captivated by the desert oak trees. I wanted to find a unique way to represent the trees and felt that photographing from a low vantage point would accentuate the coarse bark of the tree and provide a great contrast against the rock wall of Uluru.

What is your connection to the subject matter? 

I love photographing in infrared as I can capture landscapes in light that we can’t even see. By combining this with these beautiful desert trees, I was able to represent the scene in my own way.

Where is it taken, and what led you to this site? 

The image was taken at the base of Uluru in Uluru-Kata Tjuta National Park. The base walk is a popular attraction in the park and offers incredible photography opportunities.

Were you unexpectedly there or had you planned to cover this moment? 

I was at Uluru to photograph the night sky; however, during the day, we elected to go on a base walk as an activity. I captured this image along with a series of other infrared captures that day. On bright sunny days, there is a lot of infrared light, providing great contrast.

What are the technical challenges of photographing this kind of scene?

There is a wide dynamic range in a scene like this, with deep dark shadows and very bright highlights in the sky. The exposure had to be selected carefully, and thankfully the light balance was softer in infrared.

How did you prepare to take this image? 

There was very little to this image. It was captured very spontaneously, and there was very little to be done in post-processing. The strong contrasts of the infrared scene certainly helped.

Did you have special equipment? 

I was using a modified Sony A7R full-frame mirrorless camera. The modification was to remove the original ‘hot-mirror’ filter within the camera that sits in front of the sensor. This has the job of filtering out infrared light, which is generally undesirable in colour images. This filter was replaced with an 850nm infrared filter that effectively blocks all visible light and only lets infrared light in. The camera can now only photograph infrared light, and this opens up a new world of possibilities.

Have you covered this topic/subject before?

I don’t believe I had photographed infrared in the Northern Territory before, so it was something different. I’d love to return and capture a new series of images.

Why is this form of photography important to you?

Landscape photography for me is about sharing the beauty of the world with others. Doing this in monochrome infrared is quite amazing because you can help people see the world they know in a totally different way and perhaps help them understand it differently.

Any additional thoughts?

I’m very honoured to win the Monochrome category prize this year. I have been entering the competition since 2015, so it is nice to be recognised with a result like this. The competition is run incredibly well, and it is always fantastic to be associated with it.

Related: Winners: 2023 Australian Geographic Nature Photographer of the Year

The post The story behind the photo: ‘Desert Tower’ by Luke Tscharke appeared first on Australian Geographic.

His winning image, titled Golden Seahorse, shows an endangered White’s seahorse (Hippocampus whitei) at Nelson Bay, New South Wales.

“White’s seahorses have the ability to change colour and blend with habitat, including the beautiful yellow soft coral in this image,” explains Pete.

Can you tell us the back story of this photo? 

This image was taken when some travel was permitted during the COVID pandemic. I didn’t leave home much in 2020 so this was a memorable trip away. 

What is your connection to the subject matter? 

I love seahorses like most people. They are just so wonderfully unusual. Did you know the males have a pouch to hold the eggs and give birth? I often see them diving in Sydney Harbour and always need to stop to observe them. 

Where is it taken, and what led you to this site? 

The image was taken on a weekend trip to Nelson Bay with some dive friends. Shore diving there is at high tide when current is slack. This was taken on a night dive at Pipeline.   

Were you unexpectedly there or had you planned to cover this moment? 

It’s always a bit of a treasure hunt on any dive. I was searching with my torch for interesting macro subjects particularly blue-line octopus and anglerfish. I wasn’t particularly looking for seahorses but the beautiful yellow seahorse among the coloured and textured soft coral caught my eye. 

What are the technical challenges of photographing this kind of scene?

Underwater is a dynamic environment and there are many challenges. Seahorses often face away from divers and there are currents and buoyancy issues to manage to name a few. Lighting, subject eye contact and focus are the key challenges. It takes patience as you need to wait for the (brief) moment when the dynamic variables align to get the shot. 

How did you prepare to take this image? 

We timed the dive to coincide with slack at high tide. I wasn’t familiar with the site need to discuss with buddies to get basic orientation before entering the water. The equipment I took was fairly typical underwater macro camera set up with strobe lights, although I took a 30mm macro lens which is wider than most so I could shoot larger macro subjects I hoped to encounter. 

Did you have special equipment? 

Underwater photographers after have an array of special equipment. Depending on the dive site and what you want to shoot, decisions need to be made before entering the water on camera set up and what you can bring. Strobe lights are needed for nearly all dives below a few metres. I also often use a snoot at night to narrow the light beam and reduce backscatter, and a wet lens to allow me to reduce the focal length, although not in this case.

Have you covered this topic/subject before?

I often take seahorse photos but it’s when you see them exhibiting interesting behaviour or in a colourful setting that you really get excited. 

Why is this form of photography important to you?

I love the ocean and everything that lives in it. There are so many incredible and diverse species wherever you go. But there are human pressures on the marine environment and taking underwater photos allows me to share its brilliance and remind people of the need to protect the ocean.  

Any additional thoughts?

Over 70% of our planet is ocean so I’d encourage everyone to get out there and enjoy it, whether you dive, free dive, surf or snorkel. 

Related: Winners: 2023 Australian Geographic Nature Photographer of the Year

The post The story behind the photo: ‘Golden Seahorse’ by Pete McGee appeared first on Australian Geographic.

Her winning image, titled Hidden Courage, shows a wolf spider moments after her spiderlings hid behind her, “the moment she became a courageous mother in my eyes,” says Isabella.

Can you tell us the back story of this photo? 

Possibly a bit disorientated from having the leaves covering her home washed away in a rainstorm that afternoon, this female Wolf Spider was guarding the entrance and looking to collect near by leaves to recreate it’s cover. She had a multitude of tiny babies on her back and chose to stand her ground while I approached and spent time photographing her.

Where is it taken, and what led you to this site? 

My journey with photography began in the garden of our home. We lived in Buderim which is known as a beautiful garden village and our garden had been established about 40 years ago. I had planted a veggie garden as part of a school project just to the right of a bank. A bank where taking a break from homeschool classes I wandered looking for insects and bugs. It had just rained and had destroyed some of the inscect homes that I had been watching for a few weeks, but it also exposed this Wolf Spiders home.

Were you unexpectedly there or had you planned to cover this moment? 

My camera is always close by so I regularly linger in the green spaces among my daily activity. Whether at Uni or home I tend to survey the invertebrates in their environments,  follow their life cycles, colonies and have it mapped in my mind who is doing what, where in their tiny kingdoms. I often spend months watching individual insect species or family groups and get to know their behavious and life timelines prior to actually photographing. Having spent months watching multiple insect species

What are the technical challenges of photographing this kind of scene?

Macro is a wonderful subject matter as it slightly changes everything a photographer thought they knew about photography. This scene in particular challenged my use of aperture – when you get to such a magnified scale the tiny slither that’s in focus at f/5.6 is only millimetres long, so to delicately balance yourself physically and critically decide if there’ll be enough context to the environment for the audience is a thin tight rope walk. 

How did you prepare to take this image? 

I often spend months watching individual insect species or family groups, studying their behaviours and life timelines prior to actually engaging in the process of photographing them. It is important to me not to isolate them from their natural environment in any way but to include elements of it in my compositions so that each image is like insect street photography, as often the environment provides context, habitat information and more association with the viewer as to where they may find them in nature.

Did you have special equipment? 

I use a Nikon Z7 mirrorless camera which is both quiet and light, allowing me to linger in and among nature without imposition or disruption. I photograph only on manual exposures and manual focusing allowing me full control of all imaging parameters and possibilities.  I do minimal post editing using lightroom. Occasionally I’ll create an image using a flash, but this is the exception rather than the usual.

Have you covered this topic/subject before?

Macro photography might’ve discovered me instead. Growing up with a mother as a photojournalist I secretly promised myself to never become a photographer, become my own individual instead…This however clearly didn’t last long. By the age of 14 I decided to try out mum’s camera to shoot the blooming flowers for a local photography competition, and turns out two of those images ended up exhibiting in the Queensland Museum…ever since then I never turned back!

Why is this form of photography important to you?

Macro wildlife photography is like venturing into a miniature world teeming with enchanting wonders. With each click of the shutter, a portal opens to reveal the hidden beauty and intricacy that often escapes the naked eye. This specialised form of photography is a dance of delicate details and refined composition, where every frame captures a symphony of textures, colours, and life and often breaks down a persons fear of the tiny creatures who are often thought as predators or pests.

Any additional thoughts?

One of the major motivations of photographing the world of tiny invertebrates is to take away the fear of them, highlight their very valuable purpose in our ecosystem and encourage us to consider sustainable ways of co-existing alongside of them to protect and advocate for their sustainability.

Related: Winners: 2023 Australian Geographic Nature Photographer of the Year

The post The story behind the photo: ‘Hidden Courage’ by Isabella Alexis appeared first on Australian Geographic.

His winning image, titled Frog in a Bog was taken on an Apple iPhone, and shows a green tree frog (Litoria caerulea) in a public toilet in Walgett, New South Wales

“One of the joys of Australia is that nature is everywhere. I love rural Australia – and the ever present dunny frogs – and liked the space-age look of this dunny juxtaposed with the ancient frog. My brother-in-law tells me a frog in the dunny means the water is clean… better that than a snake!,” Tom says.

Were you unexpectedly there or had you planned to cover this moment? 

I was on a road trip, visiting my sister and brother in law at the Walgett Show, when I cameacross this scene in a very well maintained public lavatory. I love the fact that nature in Australia nature is everywhere, and I was immediately struck by the gleaming space-age dunny harbouringan ancient rainforest-green frog. My brother in law tells me a frog in dunny means the water is clean – and it’s certainly better than a snake

Did you have special equipment? 

This photograph was taken an iPhone. I love the fact that the quality is now good enough to be selected for an international competition and hung in major museum. There were no particular technical challenges, just a question of framing. Cameras on mobile phones have democratizedphotography: we are all photographers now. But of course it’s never been the camera that counts– we need first to see an image, then capture it in a way that is pleasing to the eye. 

Any additional thoughts?

I now work in rainforest conservation but had a misspent youth as a wildlife and travel photographer in the 80s and 90s. This is the first photographic competition I’ve entered for over 25 years so I am delighted to have an image included. 

Related: Winners: 2023 Australian Geographic Nature Photographer of the Year

The post The story behind the photo: ‘Frog in a Bog’ by Tom Owen Edmunds appeared first on Australian Geographic.

His winning image, titled Swamped Skies, shows light pollution caused by satellites in the sky above Western Australia’s Pinnacles Desert.

Can you tell us the back story of this photo? 

This photo was taken on an astrophotography trip I went out on in early 2022 to the Pinnacles, Western Australia. The photo was originally meant to be a star trail but I changed it to show the amount of satellites in the night sky after I reviewed the photos. The photo shows the impact that satellites are having on our natural night sky. It is an issue that did not exist until a few years ago. It is an issue that is increasing at an alarming rate due to the exponential rise in the amount of satellites that have been launched into Earth’s orbit in recent years.

What is your connection to the subject matter? 

As a hobbyist astrophotographer, satellites are increasingly becoming a problem. There hasn’t been a night of astrophotography that has gone by that I haven’t captured satellites in my photos and the issue has progressively gotten worse. For astrophotographers like myself, satellites are a nuisance but not a deal breaker. Even though I don’t like satellites in my photos, I can deal with satellites in my photos or Photoshop them out of my photos if I really want to. But for astronomers, it is becoming a problem that is impacting their ability to conduct astronomy research.

Where is it taken, and what led you to this site? 

The photo was taken at the Pinnacles. Between the dark skies and the unique limestone structures, it is is one of the most amazing locations for astrophotography in Western Australia! I have been to the Pinnacles many times to do astrophotography.

Were you unexpectedly there or had you planned to cover this moment? 

The shot was taken unexpectedly; I had originally gone to the Pinnacles to do a star trail. When I was out in the field I noticed that there were a few satellites in the sky but didn’t think much about it. It was only when I got home and reviewed the photos that I noticed the sheer amount of satellites that were present in the sky that night. Once I realised how many satellites were in the sky I decided that I would edit the photo to show the amount of satellites rather than editing it into a star trail.

What are the technical challenges of photographing this kind of scene?

Lots of planning is required for astrophotography to take place and all the planning can quickly come undone if the weather doesn’t cooperate. I often plan my astrophotography trips months in advance to ensure that I get the best photo possible. 

How did you prepare to take this image? 

Going out for an astrophotography trip always requires a fair bit of preparation. Firstly, I checked the moon’s luminosity and rising/setting time to find a night that there would be a night without any moonlight to make sure the stars are more visible. A few days before the trip I had to check the weather conditions (most importantly the cloud coverage and wind conditions) to make sure that the conditions would be good for astrophotography. I arrived at the Pinnacles during daylight so that I could scout out a good location at the Pinnacles to take the photo. Finally, I set up the camera on a tripod and attached an intervalometer to take consecutive photos.

Did you have special equipment? 

Other than the camera and tripod, I used an intervalometer to enable the camera to take consecutive photos. I also used two panel lights to light up the Pinnacle in the foreground.

Have you covered this topic/subject before?

I have not done a photo that showed the amount of satellites in the sky before.

Why is this form of photography important to you?

Astrophotography is important to me because it helps me to see what the human eye cannot see. As a Christian it also helps me to reflect on the greatness of God; I’m always in awe of His magnificent creation when I’m out stargazing. When I’m out stargazing I can’t help but to meditate on the Bible passage Psalm 19:1, which says “The heavens declare the glory of God; the skies proclaim the work of his hands”.

Any additional thoughts?

This photo clearly shows the impact that satellites are having on our night sky. The proliferation of satellites is increasingly becoming a problem for astronomers. In 2021, over 1700 spacecrafts and satellites were launched into orbit. Light pollution caused by SpaceX’s Starlink satellites are the worst offenders as they are low Earth orbit satellites, and they travel in satellite trains. One can only assume the issue will exponentially increase in the next few years, with SpaceX alone intending to launch over 40,000 satellites in total. The space industry is almost entirely unregulated, with no limits on the amount of satellites that anyone is able to launch and there is currently no regulation in place to minimise the light pollution they cause. Organisations such as the International Astronomical Union’s Center for the Protection of the Dark and Quiet Sky are advocating for the regulation and protection of the night sky. But more needs to be done by the space industry, governments, and NGOs so that we can all enjoy the beauty of the natural night sky for generations to come.

Related: Winners: 2023 Australian Geographic Nature Photographer of the Year

The post The story behind the photo: ‘Swamped Skies’ by Joshua Rozells appeared first on Australian Geographic.

His winning image, titled Nectar of Life, is of a Dawson’s burrowing bee (Amegilla dawsoni) sipping nectar from the flower of a native bluebell against the backdrop of WA’s Kennedy Range.

Can you tell us the back story of this photo? 

I first became aware of these bees from a 2009 David Attenborough series. I was floored by both the beauty of the scenery and the unusual behavior of the bees. It was also exciting to see Attenborough cover parts of my own backyard. As my interest and skills in macrophotography grew, so did my idea to make a dedicated trip to capture a set of shots I had been thinking about.

What is your connection to the subject matter? 

Macrophotography is one of my great passions, and native bees are among my favorite subjects. They boast beautiful colors and details, exhibit interesting behaviours, and contribute tremendously to the ecosystem – if only they didn’t fly away 90% of the time when I approach with a camera.

Where is it taken, and what led you to this site? 

The photo was taken at the Kennedy Range, WA. It began as an online wild goose chase. I wanted to photograph these bees at the same location as the documentary, so I could include parts of the range in the background. By cross-referencing images from the documentary with images I found online from various places within the bee’s range, I eventually turned up a result I could confirm with a satellite image.

Were you unexpectedly there or had you planned to cover this moment? 

I had specifically planned a 5-day camping trip to observe and photograph these bees.

What are the technical challenges of photographing this kind of scene?

My goal was to capture a feeding/pollinating shot with the ranges in the background. This introduced a couple of challenges. I had to search many of the bee’s forage plants to find a flower that ticked several boxes. It needed to be at the right height and angle to the ranges, offer an unobstructed view, and be in good condition.

Unfortunately, upon arrival, the country was exceedingly dry, and most of the flowers were looking past their prime. While some fresh flowers were present, they were often not in ideal positions.

I eventually settled on a particular flower and spent multiple 15-minute sessions over the course of a couple of days waiting and shooting. I had originally tried a monopod to make it easy on my arms but it was too clumsy. The issue was that some bees would sip nectar while flying, while others would land on the flower with their full weight, causing a wide degree of vertical movement that made consistently framing shots with the monopod challenging. I then ended up shooting handheld for many sessions, although most shots were disappointing due to the difficulty of landing a well-framed and well-timed photograph with such a shallow depth of field.

Fortunately, one shot emerged successfully, and it was a shock to review it in the viewfinder and see the bee’s tongue fully extended, in-focus, and perfectly timed.

How did you prepare to take this image? 

I have spent a lot of time photographing bees in the past, so felt somewhat prepared going into this trip. The first day was just spent observing the bees and their behaviour, which led to some insights I couldn’t find anywhere else.

Did you have special equipment? 

No, I used a fairly standard macro setup. The only notable piece of equipment was a diffuser that a good friend had made for me. It does an excellent job of blending artificial light with natural light.

Have you covered this topic/subject before?

No, this was my first time photographing these remarkable bees.

Why is this form of photography important to you?

Macrophotography is incredible; it allows you to capture people’s imagination with details that are normally unseen. Through this, you’re able to connect closer to both nature and the people around you.

Any additional thoughts?

These bees are among the largest in Australia and arguably some of the most fascinating as well. They can form large nesting aggregations, creating thousands of burrows in the clay pans of the Gascoyne region of WA. Unfortunately, this behavior leads them to mistake dirt roads for prime nesting grounds, putting both the bees and their larvae at risk. I hope that with greater awareness and strategies, we can ensure a bright future for this iconic outback species.

Related: Winners: 2023 Australian Geographic Nature Photographer of the Year

The post The story behind the photo: ‘Nectar of Life’ by Dan Jones appeared first on Australian Geographic.

Best seen just before dawn, looking low in the east, our sister planet will get higher as the the weeks pass.

To help you capture this stunning sight award-winning Australian photographer and Nikon Creator, Will Eades, has pulled together his top five astrophotography tips:
   

1. Learn the night sky and plan your shot:

The earth, the planets, and the stars are all moving constantly. Right now, Venus is in close proximity to Earth and lights up the pre-dawn sky. Using apps like Sky Guide can help you plan your shot and see where Venus will be positioned in the sky at any given time.

2. Composition:

By using positioning apps, like Sky Guide, we can use virtual reality to see where the milky way or other astronomical objects will be positioned relative to your foreground at any given time. Try to get an interesting foreground in frame to really make your image stand out. Venus is so bright that it will add a nice counterpoint to a wide field image too.

3. Forecasting:

For the casual shooter, forecasting can be done using any weather app. Simply look at the forecast for the week ahead, check more dedicated apps like Windy to get a forecast of how clear the skies are predicted to be when you are planning to go out. Aim for clear skies if you can, but an early morning haze might add to the image due to how bright Venus is.

4. Focus in the dark:

In years gone by, I found the most reliable method for focusing in astrophotography was to manually focus. This would involve turning your focus ring to infinity and then dialing it back ever so slightly. While this still works, it can be hit and miss, time consuming, and really tricky at ultra-wide focal lengths as your subject will appear tiny in the viewfinder. The focus peaking feature of the Nikon Z system EVF really helps here. Focus peaking works by detecting edges of highest contrast in your scene (and therefore most in focus) and highlighting them in a bright color. This can be found in Custom Settings Menu – a13 and will cause the stars to become bright red pinpoints when they are in focus.

Low Light Autofocus is another handy feature that I use on my Nikon Z 7, enabling it to lock onto a star. Low Light Autofocus uses longer shutter speeds to gather light, creating a brighter image preview to help the autofocus system lock on in dark environments. This feature is found in Custom Settings Menu – a11.

Even more amazing is the Nikon Z 9’s new Starlight View Mode, which turns your view from night into day and is an absolute game changer for both manual and auto focus in low light. This feature provides 2 extra stops of detection, – 8.5 EV vs -6.5 without. You can find this feature in your Custom Shooting Menu – d9.

5. Settings:

Shooting Venus in a wide field image you would normally use a wide aperture to capture as much light as you can in the night sky. But because Venus is so bright, you can also try stooping down your aperture to create diffraction spikes and make Venus really stand out in your image. Use a tripod for longer exposures of the sky as this will bring out some magical colours at pre-dawn and don’t be afraid of high ISO’s to bring out the fainter details in the milky way.

Related: Australia’s best astronomy photos have been announced and, yep, they’re out of this world

The post Venus is at its brightest right now. Here’s a photographer’s tips to getting the perfect shot appeared first on Australian Geographic.

The winning image, titled Intricate, is an aerial photograph of a delta on the flood plains of the Northern Territory’s Joseph Bonaparte Gulf.

Can you tell us the back story of this photo? 

The image was taken from a R44 helicopter, roughly 2500 feet. It illustrates a landscape within the landscape. To me it’s a perfect vista, clouds, trees and pathways created by water and intermittent creeks. 

What is your connection to the subject matter? 

I love aerial photography and the way it illustrates perfectly the delicate relationship between water and life.

Where is it taken, and what led you to this site? 

The image was taken over the flood plains / marsh lands on a coastal area of the Joseph Bonaparte Gulf. Through various satellite GIS applications I identify areas of interest to photograph. This can be off the coast or onshore, remnant ancient creek beds, river beds, tidal and seasonal creek areas. 

Were you unexpectedly there or had you planned to cover this moment? 

I planned to be in this area, however you can never plan for exactly what will be revealed from the air. Even with perfect planning it’s different every time you fly. 

What are the technical challenges of photographing this kind of scene?

The light changes so quickly in the north of Australia, and there is a delicate balance between good camera settings and bad ones, constantly checking my exposure might be a simple task but it is one that easy to forget about when you are caught in the moment capturing such a beautiful scene. Communicating with the pilot, using manual focus and settings is a juggling act. 

How did you prepare to take this image? 

I plan my flights 6-12 months in advance. This particular flight was planned about 7 months in advance. 

Did you have special equipment? 

DSLR and a prime lens.

Have you covered this topic/subject before?

I love capturing the intermittent creek systems and the alluvial patterns they make, every flight brings something different, even if it’s over the same area, the season (weather / rain ( good wet season or bad wet season), the tides, the light conditions make it so different. 

Why is this form of photography important to you?

The landscape is so different from the air, an area that is not necessarily photogenic from the ground can be an artistic masterpiece created by nature from the sky. 

Any additional thoughts?

I am honoured to have been a finalist and humbled to be announced a category winner. 

Related: Winners: 2023 Australian Geographic Nature Photographer of the Year

The post The story behind the photo: ‘Intricate’ by Tania Malkin appeared first on Australian Geographic.

The winning image, titled My Country Burns, was taken during a firestorm in Parma Creek Nature Reserve, New South Wales, at the end of 2019.

Can you tell us the back story of this photo? 

Nothing could have prepared me for the impact of confronting a pyro-cumulonimbus firestorm. It was a harrowing encounter that defies simple description, leaving an indelible mark on my memory. The ordeal was nothing short of terrifying, a sentiment that’s rooted in the recognition of the immense danger that unfolded around us.

On New Year’s Eve, my family, neighbours and a friend, bound by a common determination, embarked on a mission to safeguard our home in Parma, NSW. Our neighbours came to our house seeking refuge because their water tank, reliant on rain, had run close to dry. The skies darkened with an unsettling swiftness, casting an eerie veil over our surroundings and from the sky came a rain on embers. We stood our ground, uniting against the very embodiment of nature’s fury. As the firestorm descended upon us, it felt as if we were standing directly in the path of a colossal, jet-engine-like force fuelled by an unyielding southerly wind. The temperature soared to unimaginable heights, surpassing the 1,000-degree mark. The heat was a tangible entity, searing our senses and erasing any sense of comfort. For an hour we banded together to fight.

In those harrowing moments, words seemed inadequate to capture the magnitude of the experience. The emotions were a whirlwind of fear, determination and an instinctual need to protect all that we held dear, ourselves and our home. The photograph I managed to capture encapsulates a poignant moment, frozen in time, approximately 20 minutes after the ferocious main fire front had swept through the area. Yet, amidst the blackened remnants, there was a glimmer of hope that shone through. The figures in the frame, perhaps silhouetted against the smoky backdrop, stand as a symbol of the unwavering resolve to protect that which is cherished most. In the face of imminent danger, the human spirit stood tall, ready to confront the challenge head-on. It’s a tribute to the unity and strength that emerges when communities band together to safeguard their homes, their loved ones and their way of life.

My family home, against all odds, remained standing, a testament to the dedication and sacrifices made during those critical moments. Yet, the memory of the ordeal still lingers, etched into my consciousness as a reminder of the fragility of our existence and the resilience we possess when pushed to our limits.

What is your connection to the subject matter? 

Being a landscape photographer is more than just a profession for me; it’s a vocation fuelled by a profound connection to the subject matter. This connection isn’t merely about capturing images; it’s a reflection of my genuine respect for the natural world and an insatiable desire to encapsulate its breathtaking beauty and awe-inspiring power.

However, the experience I had during the pyro-cumulonimbus firestorm transcended the realms of my usual photographic endeavours. It was a baptism by fire, quite literally, into the ferocity and unpredictability of nature’s elements. The raging inferno that gave birth to the pyro-cumulonimbus clouds presented me with an opportunity – one that was both unsettling and profound.

Where is it taken, and what led you to this site?

The photo was taken in Parma, NSW, during the aftermath of the pyro-cumulonimbus firestorm. I was already at my family’s home when the firestorm hit unexpectedly and it led to a series of events that compelled me to document the aftermath and capture the impact on the landscape.

My home has always been a place of serenity and beauty, but little did I know that on this particular day, the tranquil setting would transform into a battleground between the elements and human determination. The suddenness of the event caught us all off guard, leaving us with little time to react. The NSW Fire Brigade arrived to apprise us of the road closures and recommend seeking shelter, given the imminent arrival of the fire in approximately 20 minutes. Subsequently, they departed and took refuge at the end of our road.

Were you unexpectedly there or had you planned to cover this moment? 

The unfolding of events on that day was far from anything I had envisioned or planned for as a landscape photographer. The firestorm that swept through was an unexpected force of nature that shattered the tranquillity of the moment. My initial priorities shifted drastically, with the safety of my family and the protection of our home taking precedence over any creative endeavours.

My family and I rallied together, implementing an emergency plan that had been practised but never truly anticipated for such a magnitude of chaos. In those intense moments, the concept of capturing a photograph was a distant thought, overshadowed by the immediate need to ensure the safety of our loved ones and our home. 
When the main fire front finally passed and a fragile calm settled in its wake, a deep sense of relief washed over us. The ordeal was far from over, but for the moment, we were safe.

What are the technical challenges of photographing this kind of scene?

Photographing in the aftermath of such a catastrophic event presented several technical challenges. The extreme lighting contrasts between darkness and scorched earth made finding the right exposure settings a constant task. I had to carefully adjust my camera settings to capture the scene’s essence without losing details in the shadows or blowing out highlights.

This photograph, with its juxtaposition of destruction and hope, continues to resonate deeply within me. It embodies a spectrum of emotions – the sorrow for what was lost, the gratitude for what was preserved and the unwavering strength that emerged from the ashes. 

The decision to document the aftermath of the pyro-cumulonimbus firestorm was fuelled by a deep sense of purpose, but as I turned my attention to the practicalities of capturing the scene, I was met with a series of challenges. The landscape before me had been transformed into a mosaic of contrasts – a visual separation of darkness and seared earth that required careful finesse to be translated into a photograph that did justice to the scene’s complexity.

How did you prepare to take this image? 

Given the unexpected nature of the firestorm, I didn’t have specific preparations in place. However, my experience as a photographer and my familiarity with my camera allowed me to quickly adapt to the challenging conditions and make the necessary adjustments to capture the image effectively.

Unlike some situations where photographers might have elaborate preparations in place, I was thrust into the heart of this chaos without warning. The urgency of the moment demanded immediate action focused on the safety of my family and the protection of our home. My camera was secondary to these priorities, but as the main firefront subsided and the initial shock gave way to a slightly calmer atmosphere, I felt a burgeoning desire to document the aftermath.

Did you have special equipment? 

While I didn’t have special equipment for this particular situation, my standard photography gear was essential. Having a versatile lens, tripod and protective gear allowed me to navigate the hazardous landscape while capturing high-quality images.

Have you covered this topic/subject before? 

My journey as a landscape photographer had led me through a multitude of awe-inspiring scenes and captivating natural phenomena. I had captured the serene majesty of sunrises painting the horizon with delicate hues, the grandeur of mountains that seemed to touch the sky and the ethereal dance of the Southern Lights illuminating the night sky.

Yet, amidst this portfolio of diverse landscapes, there emerged an experience that stood apart as a singular, transformative moment – the documentation of the aftermath of a firestorm. The intensity of the event was overwhelming as if nature had unleashed its unbridled fury in a blaze of destruction What set this experience apart from my previous photographic endeavours was not just the intensity of the event, but also the deeply personal connection I had to the scene. This wasn’t just a distant landscape or a fleeting phenomenon; it was a place that held sentimental value.

Why is this form of photography important to you?

Photographing the aftermath of natural disasters like bushfires is important because it brings awareness to the impact of such events on our environment and communities. Through my lens, I aim to convey both the destructive power of nature and the resilience of human beings.

This form of photography serves as a visual record that can inspire change, empathy and action.

Any additional thoughts?

Surviving and documenting the aftermath of a firestorm was a defining chapter in my journey as a photographer. Nature’s unpredictability was thrust upon me with startling force. As the firestorm raged through my family property, I confronted the fact that no amount of preparation could fully brace me for the ferocity of such an event. In this chaos, adaptation became a survival skill, and the core principles of photography – exposure, composition and timing – took on new dimensions. 

The resilience displayed by the affected communities was a testament to the strength of the human spirit.
In the wake of the firestorm’s onslaught, a series of emotions surged within me – shock, fear and a resolute determination to respond in a meaningful way. The photograph I managed to capture serves as a poignant testament to the intensity of the experience and the image freezes a moment that felt almost otherworldly, evoking a sense of awe and sombre reflection.

Related: Winners: 2023 Australian Geographic Nature Photographer of the Year

The post The story behind the photo: ‘My Country Burns’ by Samuel Markham appeared first on Australian Geographic.

The transition from analogue film – the preserve of an elite community of highly skilled practitioners – to digital processes brought photography to the masses. Capturing incredible nature photos has become accessible to anyone holding a smartphone. New techniques and constant innovations in technology have enabled us to see nature in new ways and with fresh perspectives, reflected in an ever-changing roster of award categories.

This year the winning portfolio by rising star Lewis Burnett, for example, was shot completely via drone. We also saw how photographers have shifted focus to different subject matter during the past two decades as animal behaviours and ecosystems have changed; some species have come under threat and become hard to find, or even extinct, while other animals have shown resilience or adapted to human interventions.

The giant cuttlefish, featuring so majestically both in Daniel Sly’s shortlisted image, and in Matty Smith’s winning image, have become increasingly popular subjects in recent years. A commercial fishing ban in 2013 in the Spencer Gulf led to a rapid growth in numbers aggregating in Whyalla Bay, restoring a marine spectacle that draws repeat visits by the best wildlife photographers from around the world.

The competition has become a record of our changing world, an earth in perpetual transformation, and this year we recognise that photography is more important than ever in showing us what is at risk of being lost. With the fragility of our natural world in focus, it is the overall winner by Samuel Markham, selected by three veteran judges of the nature photography world, that speaks most urgently to the state in which we find ourselves this coming summer under a destabilised climate with an El Niño weather system on the way.

-Australian Geographic Picture Editor Nicky Catley

Overall winner

My Country Burns – Samuel Markham

Parma Creek Nature Reserve, New South Wales

Nothing can prepare someone for being straight in the line of a pyrocumulonimbus firestorm with a built-in flashover and temperatures exceeding 1000°C. While protecting my home on New Year’s Eve 2019, daylight turned into darkness with 40m-plus flames. Image taken 20 minutes after the fire front had passed.

Canon EOS 5D Mk IV, Canon EF 16–35mm f/4L IS USM, 25, f/9, ISO 640, Sirui R-2214X tripod, Sirui K-30x ballhead

Judges’ comments: This is a breathtaking, scary photograph, full of energy and visual drama, which is indicative of the world we now live in. Despite the circumstances, this isn’t a panicked shot; it is a studied composition with extraordinary detail. Many layers draw us into the scene, giving us a genuine feeling of being part of the firestorm.

Related: The story behind the photo: ‘My Country Burns’ by Samuel Markham

Animals in Nature

Aftermath – Matty Smith

Giant cuttlefish (Sepia apama) / Whyalla, South Australia

Moments before this frame, three male giant cuttlefish were trying to court a female. A fight ensued between two males and they inked the water as they grappled and rolled out of frame. The female bolted, and this male was left in the aftermath, still displaying his vivid courting colours.

Nikon D810, NIKKOR 16–35mm f/4 VRII lens, 1/40, f/16, ISO 320, 2 x Inon Z240 flashes, Aquatica AD810 underwater housing, Aquatica 9.25″ glass dome port

Judges’ comments: A galaxy of ink is the key to this ethereal underwater capture, the fantastic result of time, place and circumstance. The photographer has shown great technical and emotional control to capture this unrepeatable moment. A beautiful piece of storytelling.

Related: The story behind the photo: ‘Aftermath’ by Matty Smith

Urban Animals

Frog in a Bog – Tom Owen Edmunds

Green tree frog (Litoria caerulea) / Walgett, New South Wales

One of the joys of Australia is that nature is everywhere. I love rural Australia – and the ever present dunny frogs – and liked the space-age look of this dunny juxtaposed with the ancient frog. My brother-in-law tells me a frog in the dunny means the water is clean… better that than a snake!

Apple iPhone 11 Pro Max, 1.5mm, 1/80, f/2.4, ISO 250, handheld

Judges’ comments: A humorous image to eloquently tell the story of an animal living well in its adopted environment. Good choice of technique and superb graphic qualities bring the elements together.

Related: The story behind the photo: ‘Frog in a Bog’ by Tom Owen Edmunds

Macro

Nectar of Life – Dan Jones

Dawson’s burrowing bee (Amegilla dawsoni) / Kennedy Range, Western Australia

Against the backdrop of the Kennedy Range, Western Australia, a Dawson’s burrowing bee sips nectar from the flower of a native bluebell. Water is scarce in this arid region, and for these bees, nectar may be the only source of the precious resource.

OM System OM-1, Olympus 30mm macro, 1/250, f/11, ISO 250, Godox TT350 flash, Cygnustech diffuser, handheld

Judges’ comments: The photographer has given a great sense of place with the inclusion of environment behind the enormous bee. The image has extraordinary detail, beautiful lighting and great use of colour saturation.

Related: The story behind the photo: ‘Nectar of Life’ by Dan Jones

Landscape

Intricate – Tania Malkin

Joseph Bonaparte Gulf flood plains, Northern Territory

Intricate is an image of a delta on the flood plains of the Joseph Bonaparte Gulf rivers and their creeks. A landscape within a landscape, the water flow illustrates a tree, clouds and soil. The alluvial fans show the history of the waters’ flow and illustrate how they bring life to the region in the wet season.

Nikon D810, Zeiss Planar 85mm, 1/800, f/8, ISO 500, handheld, taken from a helicopter at approximately 2000ft (610m)

Judges’ comments: An intriguing image that challenges perception. What could be minute detail is a significant slice of landscape. The subtle colour palate is punctuated with green growth that draws the eye in and helps to interpret the scene.

Related: The story behind the photo: ‘Intricate’ by Tania Malkin

Threatened Species 

Golden Seahorse – Peter McGee

White’s seahorse (Hippocampus whitei) / Nelson Bay, New South Wales

White’s seahorse is endemic to the east coast of Australia. The species is classed as endangered, with large population declines over recent decades due mainly to habitat loss. They have the ability to change colour and blend with habitat, including the beautiful yellow soft coral in this image.

Sony NEX7, Sony 30mm macro, 1/160, f/16, ISO 200, Inon strobes, handheld

Judges’ comments: A beautiful photograph of an endangered species in its environment. Framed by coral, with perfect lighting and exposure, this seahorse looks ready to take to the stage.

Related: The story behind the photo: ‘Golden Seahorse’ by Pete McGee

Monochrome 

Desert Tower – Luke Tscharke

Uluru-Kata Tjuta National Park, Northern Territory

A desert oak (Allocasuarina decaisneana or kurkara) stretches skyward beneath the towering monolith of Uluru. A low perspective situates the tree within the scene’s natural curves. Captured in infrared to contrast the dark tree bark with the foliage and rock wall.

Sony A7R (infrared converted), 16–35mm (16mm), 1/60, f/4, ISO 100, handheld

Judges’ comments: A fantastic, dynamic shot with the tree’s leading line taking us to the heart of the image. The use of infrared here is spot-on, allowing exploration of the extent of monochrome’s blacks and whites.

Related: The story behind the photo: ‘Desert Tower’ by Luke Tscharke

Astrophotography

Mungo – Jason Perry

Mungo National Park, New South Wales

Mungo is dominated by ancient lake beds that dried up close to 18,000 years ago. Wind and water have since created the crescent-shaped landforms called lunettes that you see in this image. The lunette is incredibly beautiful in daylight, but there is something special about seeing it under the light of the cosmos that made capturing this moment even more special.

Nikon Z7II, NIKKOR 14-24mm f/2.8G lens with FTZ Adapter, 20 (sky) 180 (foreground), f/2.8 (sky) f/3.2 (foreground), ISO 6400 (sky) 1250 (foreground), multi-image panorama

Judges’ comments: This is a spiritual, otherworldly photograph. A beautiful composition using the shapes of the land to draw us deep into the sky, with the moon catching the eye and drawing us deeper into the image.

Junior

Hidden Courage – Isabella Alexis

Wolf spider (family Lycosidae) / Sunshine Coast, Queensland

Although it’s a petrifying first sight, ask yourself who is more scared right now? Since this is only a photograph, a paused juncture in time, you missed a vital moment. You missed the glimpse of her spiderlings hidden behind her, the moment she became a courageous mother in my eyes.

Nikon Z7, AF-S VR Micro NIKKOR 105mm F/2.8G IF ED, 1/250, f/5.6, ISO 1000, handheld

Judges’ comments: A narrow depth of focus, square crop and using the environment to frame the spider within the frame have all been good, deliberate choices made by this photographer. Out of focus extremities force our eye onto the subject, drawing us into its world.

Related: The story behind the photo: ‘Hidden Courage’ by Isabella Alexis

Our Impact

Swamped Skies – Joshua Rozells

Pinnacles Desert, Nambung National Park, Western Australia

The light pollution caused by satellites is becoming a growing problem for astronomers, as thousands are launched every year. Satellites are becoming cheaper and easier to launch, with satellite light pollution remaining unregulated. This photo shows their impact, with 85 minutes of satellite trails blended into one photo.

Sony A7R IV, Sony 24mm F/1.4, 15, f/1.4, ISO 3200, tripod, multi layer stack

Judges’ comments: A fascinating take on human impact, demonstrating that it extends far beyond water and Country and into the sky. The distant glow of civilisation reminds us that even in the desert we’re not alone. It’s admirable that the photographer has used this medium to document an impact not readily seen with the naked eye.

Related: The story behind the photo: ‘Swamped Skies’ by Joshua Rozells

Portfolio

Aerial Oceans – Lewis Burnett

1 – Saltwater crocodile (Crocodylus porosus)

Willie Creek, Dampier Peninsula, Western Australia

I spent five months searching for crocodiles in blue water with conditions favourable for drone photography. I was beyond happy to photograph this Willie Creek resident early one morning on the Dampier Peninsula.

DJI Mavic 2 Pro, 1/400, f/5, ISO 400

2 – Green sea turtle (Chelonia mydas)

Ardyaloon (One Arm Point), Dampier Peninsula, Western Australia

Watching the enormous tides fill and drain the coastal mangroves of the Dampier Peninsula each day was a highlight of our time spent up there. The amount of life that the tides would bring into the lagoons with each flush truly blew my mind.

DJI Mavic 2 Pro, 1/240, f/2.8, ISO 400

3 – Risso’s dolphins (Grampus griseus)

Manatuto, Timor-Leste

This was my first time observing Risso’s dolphins from both above and below the waterline. It took an enormous amount of time and patience to be able to get close enough to these secretive cetaceans and photograph them. But once they had accepted us into their presence, they relaxed, and even slept near us.

DJI Mini 3 Pro, 1/800, f/1.7, ISO 200

4 – Great hammerhead shark (Sphyrna mokarran)

Coral Bay, Ningaloo Reef, Western Australia

A lone great hammerhead shark searches the sandy inner lagoon of Ningaloo Reef for potential prey. Drawn in by the smell of decomposing fish from a recent coral spawning event that didn’t go to plan, the sharks were left to clean up.

DJI Mavic 2 Pro, 1/500, f/2.8, ISO 400

5 – Pygmy blue whale (Balaenoptera musculus brevicauda)

Baucau, Timor-Leste

No image will ever do justice to the sheer size and presence that a blue whale holds in the water. These gigantic cetaceans migrate thousands of kilometres each year from the Banda Sea to birth and feed all the way down to the Southern Ocean. I will never forget them surfacing near our boat.

DJI Mini 3 Pro, 1/400, f/1.7, ISO 400

6 – Reef manta ray (Mobula alfredi)

Coral Bay, Ningaloo Reef, Western Australia

Watching these stunning manta rays linefeed on the plankton-rich waters of Coral Bay is a sight I won’t forget in a hurry. From the surface you can see their wing tips breaking through, but from above you can really see just how enormous these giant rays truly are.

DJI Mavic 2 Pro, 1/320, f/5, ISO 400

Related: The story behind the photo: ‘Aerial Oceans’ by Lewis Burnett

UPDATE:

People’s Choice winner (announced 20 October 2023)

Hang Time – Nathan Watson

Cheynes Beach, Western Australia

Sitting quietly among the bush since dawn, I was treated to this wonderful moment with a tiny honey possum. Hanging by its tail and gripping a leaf with its front paws for balance, the possum paused its climb down the scarlet banksia to lick up the last sticky drips of nectar.

Canon EF 500mm F4 L IS II, Canon EF 1.4x III TC, Canon EF-EOS R Mount Adapter, 1/1250, f/5.6, ISO 3200, Canon EOS R3

Related: The story behind the photo: ‘Hang Time’ by Nathan Watson

Exhibition and book

The AGNPOTY exhibition can be seen at the South Australian Museum in Adelaide. The exhibition opens 26 August and runs until 29 October. It can also be seen at the Australian Museum in Sydney, dates to be advised.

Get your copy of the AGNPOTY catalogue book from the museums’ gift shops, QBD Bookshops, all good bookstores, or our online store.

Related: Shortlist: 2023 Australian Geographic Nature Photographer of the Year

The post Winners: 2023 Australian Geographic Nature Photographer of the Year appeared first on Australian Geographic.

According to Dr David Malin, renowned astronomy photographer, good astronomy photographs – or astrophotos – are tricky to take.

“Unlike everyday photographs, astro photos are sometimes of objects too faint to be seen by the human eye, even with a powerful telescope,” says David.

How to capture the sky

David says that although digital enhancement is almost always necessary, a good astrophoto should still appear natural after these edits.

Since the awards began almost 20 years ago, David says he has observed their effect among Australian astronomers.

“The awards have been going for over a decade now, and I can confidently say they have contributed to the imaging skills of the Australian amateur astronomy community,” says David.

“Australians are always conspicuous in international competitions and are often awarded.”

David says what makes a good astrophoto is how eye-catching it is at an initial glance, how interesting the content remains on closer inspection, and also the degree of difficulty that was involved in creating it – which David says can be considerable.

Related: AG Nature Photographer of the Year 2022: Astrophotography shortlist

The post Australia’s best astronomy photos have been announced and, yep, they’re out of this world appeared first on Australian Geographic.

The Head On Photo Festival has nurtured photographers around the globe, celebrating established and emerging artists since 2004. The Environmental Photo Award is one of a suite of awards in this year’s festival, which celebrates a variety of categories annually.

Images submitted for the Environmental Photo Award should focus on specific issues, elements or people impacting the natural environment.

“Australian Geographic hopes to support those photographers working in sites of spirited activism, and those who tell the urgent stories about climate change, biodiversity loss, unsustainable development, pollution and inspire change,” explains AG Picture Editor, Nicky Catley.

Photographers can enter the Environmental Photo Award for their chance to win a cash prize of AU$10,000. The winning images will be displayed at Bondi Beach from 11 November–3 December 2023.

Entries close 16 July 2023.

The post Calling all photographers: Environmental Photo Award now open appeared first on Australian Geographic.

Our involvement with this competition is very much part of our mission to encourage photography of our region’s landscapes and wildlife. Our region offers so much for any would-be photographer, and not just in our wild and remote areas. The flora and fauna in our backyards and city parks are all worthy subjects too. Photography encourages you to look carefully at the world around you. It increases knowledge and understanding, and raises awareness. Nature photographers are active conservationists, and that is the real power of this competition. Some of us will be looking carefully at the f-stop number or the lens type, but for most, it’s a chance to be inspired by the beauty of nature.

We commend all those who entered (550 amazing photographers) and extend our gratitude to this year’s judges, Mike Langford, Adjunct Professor Wayne Quilliam and Jackie Ranken, who faced an epic task evaluating more than 2000 entries.

And this year it was even harder, with a new category attracting awe-inspiring images. 

“This year we introduced the well-received macro category, with photographers submitting incredible larger-than-life-sized images of nature’s smallest scenes,” says the Museum’s acting director Justine van Mourik.

That meant there were 10 categories this year:

• Animals in Nature
• Urban Animals
• Macro
• Landscape
• Threatened Species 
• Monochrome 
• Astrophotography
• Our Impact
• Junior
• Portfolio

Australian Geographic Editor-in-Chief, Chrissie Goldrick, says “It’s great to see the way this competition evolves year on year, adding new categories that invite photographers to look at fresh ways of documenting the natural world and engaging the viewer. Nature has never been at greater risk than now and the talented photographers who participate in the Australian Geographic Nature Photographer of the Year have a golden opportunity to help focus attention on the precious things we stand to lose. Congratulations to all who have been shortlisted and I would also like to commend all who entered for your passion and dedication to your craft.”

The awards are a partnership between Australian Geographic and the South Australian Museum, who produce the competition and accompanying exhibition. The museum will announce the overall winner, category winners, runners-up and the Portfolio Prize in August. 

Until then, here’s a look at the shortlisted images:

Animals in Nature

Related: AG Nature Photographer of the Year 2022: Animals in Nature shortlist

Urban Animals

Related: AG Nature Photographer of the Year 2022: Urban Animals shortlist

Macro

Landscape

Related: AG Nature Photographer of the Year 2022: Landscape shortlist

Threatened species

Related: AG Nature Photographer of the Year 2022: Threatened Species shortlist

Monochrome

Related: AG Nature Photographer of the Year 2022: Monochrome shortlist

Astrophotography

Related: AG Nature Photographer of the Year 2022: Astrophotography shortlist

Our Impact

Related: AG Nature Photographer of the Year 2022: Our Impact shortlist

Junior

Related: AG Nature Photographer of the Year 2022: Junior shortlist

Related: Winners: 2023 Australian Geographic Nature Photographer of the Year

The post Shortlist: 2023 Australian Geographic Nature Photographer of the Year appeared first on Australian Geographic.

The post Tasmania’s Weld Angel: A forest saviour appeared first on Australian Geographic.

I enter LEYC’s gate as Bob emerges, wiping some oily solution or diesel from his hands with a rag. I first met Bob in 2012 when I joined 139 sailors and 43 yachts west of the Strzelecki Desert for a regatta on the 7m-deep Lake Killalpaninna, another ephemeral water body, which periodically fills with water from Queensland’s Channel Country. Numbers for this 2022 event aren’t expected to be as high because of COVID restrictions and upward-spiralling fuel prices. But a few outback adventurers are here already. Bob takes me to a campsite and introduces long-term friends and previous desert sailors Peter and Heather Bullen. 

The following day I find Bob manoeuvring his Caper Cat-class vessel into position to be hosed down. “We’re off tomorrow morning,” he says, swinging the yacht around by the trailer’s socket joint. Peter, too, has stepped up, and he and Bob dive into the tangle of sailing vessels and paraphernalia that defines the club’s underbelly. In search of a second boat, outboard motor and other essentials, Bob tries to make sense of his stacking arrangement. “That’s Dick Smith’s boat, that one under there,” he says, referencing Australian Geographic’s founder.

Once topped up with fuel and supplies from the Marree Roadhouse, next door to LEYC, we head north, convoy-style, up the Birdsville Track. At Etadunna homestead we’re greeted by station manager Jason Dunn, whom we’ve caught at the end of his lunchbreak. Swaggering onto the homestead’s lush lawn in grease-soaked denim and polishing off a bowl of ice-cream, he extends a gargantuan, calloused hand in welcome and directs us to the highly seasonal sailing venue we’re seeking. 

We press north, diverting through an unmarked access point – an open gate off the Birdsville Track. For another 70km we pummel through gibber desert and bull dust, crossing numerous dry creekbeds until Bob pulls up at the base of a towering dune, our entry point to the Strzelecki Desert. We stop dutifully behind. He gets out of his vehicle and makes his way to me, holding up the rear. “I think it’s time we lock in our hubs,” he says. 

“Ah, that’s not possible, sorry,” I reply. “I only have two-wheel-drive.” 

“Christ! Didn’t I tell you to bring a four-wheel-drive?” he asks in exasperation.

The dune is deep and wide and I suggest they push on and that I’ll see them on the other side. The dune’s loose white sand contrasts against the brutal gibber on which it rests. I see Peter’s cat, towed by his 4Runner, disappear around a bend at the top of the dune. I take my chance and hit the accelerator. My twin-cab ute is comparatively light, its tyres are wider than factory issue, and I’m quietly confident I’ll get it over this seemingly impossible hurdle. I soon realise the dune is wider than what was visible from the gibber flats. But at a constant 60km/h, I make my entry into the Strzelecki Desert with relative ease. “Nice piece of driving,” exclaims Peter and I accept the compliment as a badge of honour.

With the sun sinking fast, there’s no time to gloat; we now find ourselves standing on the shoreline of Lake Boocaltaninna. Bob makes a quick assessment of the road forward. “I’m not sure we’ll get any further; perhaps this is our best position to launch the boats and there is good flat land here for camping.”

Bob comes down from his fortified, desert-faring vehicle and ascends the spine of an ancient pristine-white dune to survey the landscape and take stock of our locale. As he reaches the summit, his arms go out like a sundial: “To the east lies the Strzelecki and south you can observe the alluvial fan of the North Flinders Ranges.” Bob has the skill to see the landscape as contours and gradients in what looks to the layperson like an insufferably flat, arid world – one that formed millions of years ago but now seems unchanging. “You can see how the Strzelecki, in its relentless march south, collides violently with the Flinders Ranges,” he says, pointing out the geological forces at play. “The prevailing south-east winds have shaped these parallel dunes that now contain this body of water.”

From the apex, Bob scans the shoreline, searching for where we can manoeuvre our boats onto the main water body. Sandpipers have taken up residence around the periphery in the shallows, where signs of evaporation are already evident from the gathering of pools. “This might well be our best launch site,” Bob says, with his vast experience as he gestures to a deep gully, winding through a thicket of lakeside shrubbery. “We just need to be able to drag the boats across that section of sand, but we can manage that, I reckon.” 

Reversing his vehicle, Bob puts us to work as he places his Caper Cat at the water’s edge. Desert adventure sailing is not for the feeble of either heart or mind. At 78, sporting a snow-white beard and standing almost 180cm tall, Bob has the energy and strength of a man 20 years younger and soon the mast is fastened and rudders are in place. Working in unison, we drag, push and roll the cats across intermittent puddles and dry stretches into the deeper gully, where the boats can float unaided. It’s tedious and exhausting – even with four able bodies – and we toil until sundown, securing the boats to an access point at the lake’s edge in preparation for the next day’s sail.

At first light, a sturdy, cool desert breeze sweeps across the Strzelecki from south-south-east and expended bodies of migrating monarch butterflies tumble haplessly across the dune corrugations. Kites launch from lofty roosts in the coolabahs to prey on small marsupials that have failed to heed the warning of dawn’s approach following a night’s foraging.

After breakfast, we wade through shallows to the awaiting boats. Bob hooks up Peter and Heather’s cat, motoring across the lake to a sandy clearing on the opposing dune to rig the sails. Heather takes the helm and Bob sends them on their way, moving quickly across the lake to take advantage of the southerly airstream. “Desert sailing presents a whole new set of dynamics and principles not present in conventional ocean sailing” explains Bob. “You can experience wind shadows created by dunes, and it can bounce off the dunes creating wind shear not observed on the open ocean,” he says, as he runs the mainsail up the mast. He gestures for me to climb aboard, and I position my cameras on the trampoline, set for a swift departure.

We hug the shoreline of the eastern dune while Bob adjusts his rigging. Heather and Peter, now harvesting the strengthening winds on the opposing side of the lake, pull steadily away from us. “Jeez, she’s moving now, Bob. Get me up there; we need to get in front of them!” I shout. 

“Yes, I’ll get you up there,” he replies. “Hold your horses.” He settles in, sets a course out of the wind shadow, and in a split second there’s a loud crack. The mainsail is filled and the boat lurches forth, accelerating now at an exponential rate. In an explosive moment the pontoon lifts violently from the milky waters. I watch my precious cameras sliding across the trampoline as it becomes clear we’re headed for a capsizing. It’s too late to reach my equipment, but as soon as we stare down the possibility of losing all and sundry, there’s an almighty snap as the shroud gives way. The boat comes to an immediate halt, and with the mainsail now in the drink, the pontoon comes back down and my cameras are saved. “Whoa, that was lucky,” I say, heart pounding as I ponder losing my entire kit to the lake’s murky depths. 

“Sure was,” Bob says calmly. “That’s only the second time that’s occurred in my life. The first was on the Whitsundays nearly 40 years ago.” 

Soon floundering in a stiff southerly airstream, Bob wrestles to rein in his mainsail. Together we manage to bring it in, fasten the mast to the cat and take off under motor across the lake where Heather and Peter, marooned in the partially submerged tree line, are struggling to break free of entanglement against the ever-increasing wind. Bob directs me to take charge of the outboard as he launches himself overboard to help our fellow sailors’ vessel towards a tow line and helps drop their sails. It’s all very discombobulating – sails flapping wildly and boats bashing menacingly against submerged trees. 

And so, just 15 minutes into our first sail, we’re limping back to base for emergency surgery on the boats. “I hope I have a spare shroud that fits,” Bob says, realising the trampoline, in the ensuing pandemonium, has become perforated and also requires immediate attention.  Once the repair work is complete, it’s decided to abandon sailing for the day until better conditions prevail. But with a pending weather system threatening to isolate us, Bob is conscious of every shift of wind direction or cloud formation that heralds an approaching change.

The next day, Bob stands with his morning cuppa gazing across Lake Boocaltaninna’s choppy surface. “Wind’s a bit strong; I don’t want another capsizing,” he says. “This wind by now should have blown itself out; there must be a huge high pressure system if it’s bringing cold air this far up.” Concerned and frustrated at a lack of meteorological data, Bob retrieves his satellite phone from his 4WD and calls his son Steven in Melbourne for a more nuanced forecast. “How big is the high? Where’s the centre? Are there any associated troughs or fronts? Has it got any rain in it?” he asks. “And can you feed the fish and check the pool’s chlorine?” Then he gives us a summary of the conversation: “Says there could be 40mm in it. We’ll have to be out of here the day after next.”

It’s decided, given the wind’s persistence, that another lay day is needed. So we set off on foot to explore the lake environment. Bob is perplexed by the inflow mechanism to this water body. His theories never completely satisfy him and he’s ever-more determined to find the answers.

A racket of galahs ushers in the next day’s dawn. It’s agreed we’ll run the boats towards the end of the lake under mainsail in search of the connection between the palaeochannel – old inactive river – and the lake. For Bob, this has become an obsession. 

He takes Heather and Peter’s boat under tow, transporting them under motor to the far shore for preparation. Once rigged and checked, we head off under a steady breeze and swiftly reach the northern bank. Without modern drone technology, we’re navigating blindly – part of the allure of desert adventure sailing. We coast gently, traversing one finger of the lake’s myriad inlets, hunting for a break, or indicator at least, of the ancient riverbed. Bob knows it exists. Several attempts, requiring getting off the boats and physically manoeuvring them back around, lead to a dead end.

Having exhausted the surrounding inlets, we secure the boats to the western bank. Bob trudges up the dune, where he hopes to find an answer to his quandary. At the top he’s silent for a moment, then his arms splay out reverently: “You see, this is what I’m talking about; this is what adventure sailing is all about! It’s not just about sailing on these waters, but understanding how they came to be and their relationship within the greater basin.”

We join him and look in awe across what resembles a vast fairway on a major golf course. For Bob, it’s confirmation of his long-held theories: a further piece of the jigsaw puzzle in his lifelong quest to understand the complexities of one of the world’s few remaining pristine river systems. “If you look south, you can see the tree line snaking around the alluvial fan from Lake George. Then you have this palaeochannel here and that eventually links up to Cooper Creek,” he says. “It’s this system that pushes back on the Strzelecki’s relentless march south-west – it’s a battle.”

We descend in to the green corridor, walking through lush vegetation. Absorbed in his discovery, Bob ambles about excitedly, life vest still fastened. He wants to be sure of his findings, because they’ll be written up and published on the LEYC web page, which now enjoys an international following, not just of  desert sailing romantics and ephemeral water chasers, but of climate science specialists and hydrologists – even NASA experts. “My son suggested the website looked dated, but it’s functional, easy to navigate, and gives facts: people go there for the truth!” Bob says of the website that gets 1000 hits a day. “Few people knew much about the basin until we started our site, but now people visit us for all kinds of data; it cuts through the bullshit that can be peddled out this way on rain and floods, which often leads to inaccurate media reporting.”

We cross again over the dune’s spine and head into a wind-swept depression. These areas can be rich in Indigenous artefacts and Bob picks up an old grinding stone, then points to what may be a spear head or cutting device. He subscribes to the “take nothing but photos, leave nothing but footprints” philosophy and places the stone gently back on the sand before we move on. To the north the harbingers of the approaching trough have begun creeping over the horizon. 

“We’ve got 40mm coming our way; we need to get packed up and [gone], unless you want to spend the next week out here,” warns Bob as he makes a final scan of Lake Boocaltaninna, which has been dulled by the rolling blanket of grey, diffusing the mid-morning sun.

Back at base camp, we begin retrieving and dismantling the yachts, once again painstakingly dragging, rolling and pushing the boats across the rapidly evaporating inlet before hitching them to the vehicles for departure. Concerned about our exit strategy, Bob again studies the dune that’s hemmed us in these past days and his gaze falls to me: “I think you should head off first. If you don’t make it out, we won’t be able to turn around to get you!”

Confident in his knowledge of the region and rainfall patterns, Bob suggests we make one last detour before returning south to Marree, because no outback adventure sail is complete without a celebratory drop-in to the famed Mungerannie Hotel on the Birdsville Track. He wants us to meet Phil, the publican since 2006. “He’s the real deal out here and doesn’t set out to fleece you,” Bob says. “He’s an amazing-looking fellow too.” 

With his trademark beard and Akubra, Phil Gregorke is a walking, talking anachronism of when Afghani men roamed these parts and you can’t help but be transported by his disposition. 

I awake next morning in the pre-dawn light to Bob banging on my ute. “Time to go,” he urges. “We got to keep ahead of this rain and it’s only a few hours off.” We hit the road for Marree; under an ominous sky we churn through the dust of the Birdsville Track, impelled by the impending rain.

As we negotiate the rutted track, three touring bikes whirr by. They’re fitted with long-haul petrol tanks, the riders in full body armour. “Might be a long stay in Mungerannie with this rain coming,” Bob says, as we pull up at the Cooper Creek crossing and he points out the extent of the 2010 flood, when the regatta used a 3.8km stretch of the Birdsville Track and road markers as its sailing course. The Cooper then extended 5km wide.

The next evening we’re propped up in the front bar of the Marree Hotel, enjoying a final cleansing ale to celebrate another successful desert adventure, when through the side door a man staggers in covered in mud. Barefoot, he questions the bar staff about the possibility of fresh clothing, yet his appearance to Bob barely raises an eyebrow, the sight all too common in these parts.

Bob has already clocked him as one of the bikers who passed on our way back from Mungerannie and is quick to strike up conversation. “So, how’d you guys get on?” he asks. “We passed you yesterday, heading north.” 

“Not so good. The two other fellas had to get medivaced out with broken collarbones and ribs, and my bike is still stuck,” comes the reply. With thinly veiled embarrassment, he flashes us a photo of his bike upright in the quagmire and exits with a handful of dry clothes, heading to the showers.

“Rain out here is the lifeblood of all things living,” Bob says, as he swirls his glass and downs his last mouthful, before looking wistfully at the dry mud left on the hotel’s floor. “But as you can see, it can be treacherous too, for the uninitiated.”

Related: Paddling through the desert

The post Sailing the Strzelecki appeared first on Australian Geographic.

But most Australian bees are different. Some are solitary. Others live in cooperative, egalitarian societies where individuals share and jointly defend a nest. There is no clear division into queen and worker castes.

Our new research, in the journals Biology Letters and Apidologie, reveals fresh insights into the evolution and ecology of Australian bees. These creatures deserve more attention and respect, not only for the ecosystem services they provide, but for the scientific lessons they can teach us.

Related: How to photograph bees

Unusual bee-haviour

All bees face pressure from parasites and predators. But we discovered a unique strategy in one Australian species known as the capricious masked bee (Amphylaeus morosus).

Of the more than 2,000 species in the highly diverse Colletidae bee family, only the capricious masked bee is known to be social. Females that choose to cooperate can dramatically improve their defence against enemies such as parasitoid wasps and flies.

In these cooperative groups, one female protects the developing brood while the mother is away on foraging trips. (European honeybee queens rely on workers for such tasks, while they stay home.)

The guards do not produce their own offspring. However, guarded colonies do tend to produce more offspring – and the extras are always males.

However, having too many nest guards in the population can lead to an excess of males. When males greatly outnumber females, far fewer males (compared to females) will reproduce and pass on their genes. This reduces the genetic “value” of males and in turn cooperative behaviour.

Eventually, the relative benefit of cooperative nesting is diminished. We suggest this limits the frequency of the nest guard strategy, putting the brakes on further social evolution.

The birds and the bees

When we took a closer look at the diet of other Australian colletid bees (also known as plasterer bees due to the way they smooth the walls of their nest cells with secretions that dry to a cellophane-like lining), we found it varied considerably.

One group in particular only visited a very restricted range of plants. This group, the euryglossines, account for almost a quarter of all Australian bee species. So why are they so fussy?

The answer may lie in the nature of the food itself. Euryglossines clearly prefer plants in the family Myrtaceae. These include the gums, melaleucas, and tea trees that dominate Australian landscapes and provide massive amounts of pollen and nectar. Their shallow, brush-like flowers are also easy for small bees to access.

These same distinctive flowers are heavily used by parrots such as ringnecks, lorikeets and rosellas – who also love pollen and nectar. This floral system has likely been shaped by co-evolution of parrots and gum trees, and we suspect it was later exploited by euryglossine bees and helps account for their high species diversity. Clearly they are both onto a good thing.

This research supports what many have suspected for years. Natives typically need other natives to flourish. Our native bees rely on our native plants, even if some have more flexible diets than others.

Spend some time looking at a flowering gum and you’re almost certain to see some of our tiniest but hardest-working pollinators – along with some of the brightest and loudest.

Related: Bumblebees with backpacks

How to observe Australian bees

It is all very well for expert bee nerds, like us, to tell you about the value of native species. But to really appreciate our native bees, you should try observing them for yourself: they are all around us, but often smaller and less ostentatious than European honeybees.

Native bees are easy to spot, even in urban environments. Parklands, roadside verges, and even our gardens are full of them. Look for them at work pollinating flowers – they might look like little dark flies initially, but closer inspection will reveal their true bee shape.

They can be nesting in bare patches on the ground, the soft stems of tree ferns or grass trees, in the “bee hotels” made by people, or even pruned rose and hydrangea bushes. Just check for little perfectly round holes with insects buzzing around. With a bit of patience, a cold drink, and a comfy stool or cushion, one can watch these entrances and see critters hard at work.

Social Australian stem nesting bees are surprisingly complex, even though their colonies rarely contain more than four or five females. Watch for guard bees plugging the nest entrance with their red or black abdomens, while other females go to collect food. With extra patience it is possible to see ants or tiny wasps gather around the nest entrances, waiting for an unguarded moment to attack.

Australia has more than 1,650 native bee species. We encourage you to enjoy them on flowers, in the ground, in stems, or wherever you can find them. These little animals have a lot to offer us in terms of how we understand the world, in addition to being vital parts of the ecosystem. And importantly, they are our responsibility to understand and protect.

The authors would like to thank Michael Schwarz and Mark Stevens for their help in drafting this article.

Authors: James B. Dorey, Adjunct Associate Professor, Flinders University; Lucas Hearn, Researcher, Flinders University; Mike Lee, Professor in Evolutionary Biology (jointly appointed with South Australian Museum), Flinders University, and Patricia S. Slattery, Postgraduate Student, Flinders University

This article is republished from The Conversation under a Creative Commons license. Read the original article.

Related: 200 years since the honey bee came to our shores, it’s hard to imagine an Australia without it

The post Move over, honeybees: Aussie native bees ‘deserve more attention and respect’ appeared first on Australian Geographic.

It’s obvious why the town has captured the attention and inspired so many visual people, including great film makers such as Wim Wenders and Werner Herzog. Coober Pedy is a deeply strange and surreal place with a vast manufactured moonscape concealing a cosmopolitan subterranean universe below. The place is a true frontier town, yet with a melting pot of culture akin to the diversity of a large city.

The town is seared into our folklore as a place of dreams, ambition and greed, and of fortunes lost and found, where people come to disappear and start their lives again. From the surface, Coober Pedy looks a ghost town, an eerie patchwork of cone-shaped mounds, embellished in parts by little collections of derelict machinery telling the story of the decline of the prospector and the creep of industrial mining, all set in a lonely and vast lunar-like landscape. Writer DBC Pierre wrote that Coober Pedy has “a theme park vibe… [and is] a dreamer’s place in the middle of nowhere… with a camaraderie peculiar to outposts”.

The whole town thrills with an absurdity and defiance of the environmental extremes. Golf is played at night with glowing balls on a grassless course. There’s an underground Serbian Orthodox church, hotel and campsite. A complex warren of doorways, air vents and chimneys poke out of the ground and are cut into knobs and hills, looking as if, Australian Geographic writer Bruce Elder reflects, “the whole place was inhabited by five-foot-high rabbits walking about on their hind legs”. 

I put together a list of the many photographers who have already done photo stories on Coober Pedy, partly to support my feedback when passing on photo essay pitches that were straightforward portraits of the town. General surveys of places are rarely enough of a story as we need a twist or alternate view on what has been captured before to move the narrative on. Some photographers returned over and over again, obsessed as if they were struck by a kind of ‘opal fever’ themselves, a hypnotic condition that photojournalist Dean Sewell says “anchored fortune hunters to these desolate places for life”.

Dean has been drawn back to Coober Pedy many times “enthralled by the prevailing lawnessness, a darker undercurrent… with people on the run from someone or something, either a jilted wife, business partners where dealings went awry or the government – and include survivalists, fortune hunters, grifters or alternative lifestyle seekers”.

Dean’s Oculi Collective colleague, photographer Abigail Varney, spent four years documenting the town after an initial visit to capture the dugout interiors grew into a whole book project.

For Chilean photographer Tamara Merino, who only chanced upon the town in 2015 by accident after a flat tyre, Coober Pedy sparked her global photo series ‘Underland’ on the theme of underground living around the world.

French photographer Antoine Bruy won an array of international prizes for his unique vision of the mining settlement. 

Italian photographer Mattia Panunzio wondered how he would meet locals to document their hopes and struggled when the town’s residents were hidden down mines or dugouts, but found himself embraced by members of the large Italian community.

Tamara Merino ‘Underland’ 

Chilean Photographer Tamara Merino lived underground in miner’s subterranean homes for more than a month forging friendships within the closed community. One of the few female miners, a German woman called Gaby, invited Tamara (who had her German background in common) to stay as long as she wanted. Participating in the community Tamara was able to intimately witness the private lives of people hidden underground.

See the rest of Tamara’s ‘Underland’ series exploring underground and cave-dwelling communities around the world, here.

Abigail Varney ‘Rough & Cut’

Australian photographer Abigail Varney’s dreamy Coober Pedy project ‘Rough & Cut’ took her four years, unpicking the layers of the town, way past the initial drawcard of the dugouts.

Abigail says the town “had such a strong sense of atmosphere, of awe, something I’d never experienced, having grown up in Melbourne. The light, the colours spoke so clearly to the extremities of the place. The unexpectedness [of Coober Pedy] was a big one for me. That element of surprise around every corner, it was a sprawling sculpture park at times – full of personality and creativity. I realise I was mostly drawn to the quirkiness and idiosyncrasies of the place, I understand also that my presence there kept things light and playful. There are undertones to a more unsettling part of Coober, that people go there to escape, to disappear. You can’t not feel this, I tend to touch on this feeling subtly throughout the work. But never pulling so far in that direction”.

Abigail Varney’s book ‘Rough & Cut’ is available from Perimeter Books.

Antoine Bruy ‘The White Man’s Hole’

French photographer Antoine Bruy visited Coober Pedy in 2016 as part of his yearlong odyssey across Australia. His survey of Coober Pedy, called ‘The White Man’s Hole’ , a reference to the commonly assumed indigenous name for the town, is the second chapter of his project ‘Outback Mythologies’.

The strangeness of Coober Pedy’s lunar-like landscapes, the horror of the man-made waste and dereliction, and the dystopian atmosphere is compounded by Antione’s abstract hard flat style and his choice to use black and white photography that strips out the intense colours, the red sands and dense blue skies that we associate with the Australian outback.

Mattia Panunzio ‘There’s a lot to see if you look’

Italian photographer Mattia Panunzio visited Coober Pedy in July 2022 as part of a larger ecological interest in mining sites around Australia. There he was surprised and delighted by the large community of Italian miners, some of whom hosted him in their dugouts, showing him their treasures, and making pizza together.

Mattia reflects “It might be hard for people who never moved overseas to understand this, but what finding an Italian club in the middle of the South Australian desert meant to me is absolutely indescribable. When I first walked in, I was amazed and surprised by the number of objects, signs, flags and stickers that reminded me of home. It was like being in an Italian osteria, 16 000 kilometres away from Italy”.

For the rest of Mattia’s series ‘There is a lot to see if you look’ and other projects of his, including a beautifully seen survey of mining sites head here and instagram.

Related: Coober Pedy: outpost in the outback

The post Photographing Australia’s underground town – Coober Pedy appeared first on Australian Geographic.

The following images are the ones you couldn’t get enough of.

Eastern water dragon photographed on the Illawarra escarpment in NSW by Keelan Orrock.

“The water dragon brings the ancient natural world into the modern urban sphere,” says photographer Keelan Orrock. “It’s a nudge to the human species, a reminder that we share our spaces with creatures that have been here for 20-million-plus years. Being a common sight in most neighbourhoods with a water source, they were one of the first animals I became infatuated with. Seeing myself in the reflection of this dragon’s eye was a special moment. A reminder of where my love for the natural world started; as a kid chasing lizards through the bush, barefoot.

“I was walking through the rainforests that hug the base of the Illawarra escarpment, Dharawal/Wodi Wodi country. With only my macro lens in hand, I was crawling through the leaf litter searching for fungi to photograph. I glanced forward and was met with the soul-piercing stare of a large male eastern water dragon. His eye appeared as a ring of fire amongst the leaf litter, and being early morning and quite cool, he was in no rush to go anywhere. I had ample time to crawl nice and close, which presented an opportunity to capture all of the detail visible to the naked eye, and then some.

“I am a nature photographer and my work aims to draw elements of the natural world, which generally sit in our periphery. I split my time between artisan sourdough baking, nature photography and writing about the natural world. I have a deep connection to all elements of nature; flora, fauna and fungi. Capturing the magic of ecology in single images is my favourite type of photography. A blend of art and science.”

@delving.through.dharawal

“On an early morning dive in late June, a fever of cownose rays appeared in the bay right underneath myself and my dive partner Emilie Pettersson,” says Peter Hutchins.

“Starting off as a pleasant morning dive in late June, with heaps of schooling fish and excellent water visibility, we went out to the [Fairy] Bower break and to our surprise we both saw maybe two cownose rays fly past into deeper waters. Thinking that any subsequent sightings would be over we continued our surface scouting in about 8m of water towards the famous Bower pool. Then, there they were in crystal clear water skimming a sandy bottom. About 75 various hued cownose rays, gliding in formation around and under us. Slow and methodical, graceful and mesmerising.

“The whole event lasted for more than an hour, with the fever sometimes splitting in two. Absolutely magical to watch from above, and if approached and anticipated correctly, you can dive down and wait on the bottom for them to fly by providing that once-in-a-lifetime eye-to-eye experience.”

Sony A7III, Sony AF 16-35mm f/4, F/8.0, 1/400, ISO 800, Seafrogs housing, handheld.

@peterjhutchins

Australian photographer Christian Spencer’s hummingbird series was captured over four years in Brazil. According to Christian there are only a few days each year when the sun aligns with the migration of the birds to capture this prism effect. The breathtakingly fast beating of hummingbirds’ wings in the sunlight forms a rainbow in the air.

Christian began painting in Adelaide in 1996 and moved to a station in the Flinders Ranges, South Australia, where he used his photography as a reference point for painting.

@christianspencerphoto

“To photograph the biggest shark in the sea is by no means an easy feat,” says Brooke. “Luckily for me they’re mostly not worried by humans at all so swimming side by side with one is easy, but you need to swim fast. My favourite angle to capture is a top down photo so that I can fully capture the beautiful spot patterns of the whale shark’s skin as I have managed with this shot. To do this I swam directly above it, kicking as hard as I could to keep up with it, angling the camera downwards. For this photo I was lucky that the shark swam over a shallow section of reef and the white sand below created a perfect contrast and you properly see the elegant shape of them. Photographing them over deep ocean often means their appearance camouflages with the water so it’s difficult to get a nice amount of contrast.”

Brooke grew up in a small town in Victoria. “I’ve always loved the ocean and during my childhood I spent a lot of time in and around the water. As many fellow Australians can probably relate, the ocean is one of our greatest playgrounds and many of us have a close relation to it from a young age. If you had asked me years ago where I thought I’d end up as an adult, becoming an underwater photographer on Ningaloo Reef would have surprised me.

“I bought my first underwater camera back in 2014 and began to teach myself the basics of underwater photography. I spent hours in the water, learning on the go through experimentation. I am fully self taught. Dreaming of turning my new-found passion into a career, I sought out locations where underwater photography was a possible full-time job. This landed me in Exmouth, where I now live and work.”

Canon R6, Canon 8-15mm Fisheye Lens, Nautical Housing and Glass Dome Port. 1/400s. f9  ISO320

@brookepykephotography

“Spotted handfish (Brachionichthys hirsutus) are a critically endangered fish with only a thousand or so individuals believed to be left,” says photographer Matt Testoni. “They live exclusively in the south of Tasmania and their grumpy faces made me instantly a huge fan. Over the year I visited them dozens of times, however breeding season is when your mind really is blown away by them. The mothers lay their eggs on a stalked ascidian [sea squirt] and sit by them for weeks at a time keeping guard. The mother pictured in the photo was so close to her eggs the whole time, which is possibly a sign that it was her first brood. Other larger handfish mothers tend to wander around within 5 or 10cm of the eggs while the smaller and perhaps more inexperienced mothers keep a very tight watch over their babies. 

“Using an adaption, called a snoot, that funnels strobe light I was able to light her and her eggs up like an actress on a stage. It took lots of patience and years of buoyancy control to be able to hold the camera in one hand and the snoot in another, but after a fair amount of practice it all came together. 

“I’m based in the south of Tasmania and am currently studying fish communities as part of my Marine Biology Masters Degree at the Institute of Marine and Antarctic Studies (IMAS). I’ve always loved wildlife and while doing a dive trip to the Great Barrier Reef I decided to buy a small camera to document the journey. From there I fell in love with photographing the underwater world.

“While I do occasionally take above-water photos, nearly all my work is exclusively below the sea. Experiencing animals underwater is something that continues to inspire me. unlike above-water encounters, everything is so foreign and often fish and other animals are extremely curious and will regularly come in for a closer look at the strange underwater creature that’s suddenly appeared in their world.”

@matt_testoni_photography

“The dive spot in the middle of a sheep paddock in Mt Gambier is a sinkhole with some of the most crystal clear water in the world!” says Adam Stern. “I have been running freediving training camps there for a few years and am lucky enough to have seen the sinkhole in different seasons, times and conditions. In the middle of summer, in the middle of the day, the sun shines from directly overhead and sends a single beam of light into the sinkhole. It’s one of the most magical sites I have ever seen underwater. Because the water is so clear I was able to swim 60 metres away from the diver and capture this shot of them inside the beam of light, as if they were being abducted!

“I’m a competitive freediver and the Australian freediving champion. I bought a camera in 2015 to take photos for social media and as time went on I fell in love with underwater photography. I love how the underwater landscape dwarfs the humans within it. Most of the photos I take aim to show the insignificance of the diver amongst the expansive underwater world. Because I more or less travel full-time on the competitive circuit I’m constantly diving in spectacular locations and I take my camera with me everywhere to capture it all.”

Sony A7s Mark 2 for the photos with a Nauticam Housing

@adamfreediver

“I am lucky to work in some of the most biodiverse ecosystems in Australia,” says Isaac Wishart. “Working as an Ecological Restoration Specialist, I have the opportunity to see some of the rarest and most beautiful flora and fauna in my local area. This forest dragon is one I managed to photograph while working on a private property that bordered Springbrook NP. I always carry my camera on me for these special encounters.”

@gc_hinterland_herper

“Revolver, aka The Big Gun, is the highest single-drop waterfall in the Kimberley, which is situated on Miriwoong and Gija land,” says Ben Broady. “Revolver in full flood is a sight to behold, often creating it’s own micro climate directly above the falls from all the mist and spray. Revolver is nestled in the Carr Boyd Ranges on the Western Edge of Lake Argyle.”

@ben_broady

“This night I went out with a torch searching for geckos to photograph,” says Brooke. “I often find them walking up my windows at night, but that’s usually the smaller ones. I wanted to find some different species. Looking around in the red dirt and shrubs of the Ningaloo coast, I found this fellow searching for his dinner. Using a flash and 100mm macro lens I managed to quickly get a cute portrait. Needless to say he posed perfectly for my camera.” 

@brookepykephotography

“Daffy is the name of this female peregrine falcon (Falco peregrinus) who was rescued by my friend David McMahon,” says Vikrant Deshpande. “David is training Daffy with the skills required for her survival in the world.”

“I was born and grew up in the central part of India. I come from a family of wildlife enthusiasts and spent my childhood viewing wildlife in the central Indian forests. I always wanted to share my wildlife experiences with the world because not everyone can go to the forests to view wildlife. I am a mechanical engineer who migrated to Australia in 2008 and now work in Perth. I’m fascinated by Australia’s birdlife and always try to capture different bird behaviours, often travelling long distances in search of new species.”

@vik_d_photography

Zoe took this photo early in 2022 at a little lookout near Echo Point in Katoomba, NSW. She says she was trying to capture the beautiful fog when she heard the cockatoos stirring in the gums behind. “As the sun cracked the horizon, they flew from the trees right over my head, and I pointed my camera and hoped for the best.” Zoe grew up in Katoomba and then served in the Australian Defence Force for almost a decade.

“After leaving the services, photography became more than just taking photos; it became a form of therapy – a way to find peace and calm the mind. Being out in nature also helped; nature is very healing. I also hope to be a full-time photographer; for now, hiking and taking pictures is a lot of fun.”

Sony A7Riii , Sony 20mm 1/100 sec, f4 , Iso 300

@zomartinphotos

“I just love the range of different colours that were dancing around in the sky, especially the blues, which I think is always a bonus when you get to witness them,” says photographer James Garlick. “Also in this shot you can see Venus poking through the branches as it gets ready to disappear below the horizon.

“Growing up I always liked taking photos. It wasn’t until a friend taught me the basics of using an SLR film camera that the passion really kicked off. Long story short, I ended up taking a strong interest in portrait photography and started my own business as a wedding and portrait photographer.

“Then one night back in June 2012 a fellow photographer contacted me saying ‘apparently there’s going to be an Aurora tonight, do you want to come and photograph it?’ I happily obliged! When we reached our beach destination the place lit up and light moved across the night sky, and it was like nothing I had seen before. From then on I was hooked on chasing the aurora and night photography.”

CANON 5DmkIII +16-35 2.8 lens 3200iso 13secs

Facebook – Jamesgarlickphotographer

“I was on a walk through the dry sclerophyll forests of Royal National Park, Dharawal country, in early spring,” Says Keelan. “It had rained the night before, though the day cleared bright and early. The sun was hitting the Hawkesbury sandstone, which lines the creeks that dribble through the sclerophyll. The overall temp was cool, though on the sandstone it was incredibly warm and I wasn’t the only one here that was aware of this. I glanced down and there she was – my favourite of all the venomous snakes in Australia, in a perfect coil, soaking every up every drop of sunshine she possibly could. That stunning glossy black with the ever-striking red is a colour combination I’ll forever marvel over.”

@delving.through.dharawal

“This year has been without a doubt the most amazing and electrically charged wet season during my 10 years in Broome,” says Matt Moreton-Deakin.

@from.miles.away

“This image of toddler Joban Yunupingu is one of my favourites, and most successful,” says Melanie Faith Dove. “It has been widely shared and published in both mainstream and social media, and has even been represented in a children’s book. This special moment really struck a chord; a split-second encapsulating an ancient story passing down through the generations, spanning tens of thousands of years. There were many photographers shooting that day, but nobody else took this shot, proving that everyone has a unique eye. I love the challenge of capturing the decisive moment and communicating my vision with the broader world.

“I have been a documentary photographer for more than 25 years, working for newspapers and magazines, authoring several books, and more recently scaling back to work with a select few organisations that I deeply respect, one being the Yothu Yindi Foundation. I have had the absolute honour, privilege and joy of witnessing, learning from, and documenting its annual Garma Festival in Northeast Arnhem Land since 2015. Garma is Australia’s leading Indigenous cultural exchange event and attracts thousands of people from around the nation and the world.”

“I was on a six-week birding trip to WA from Adelaide and drove to Newman to a spot near the lookout where I knew the birds were,” says Chris Haskett. “After seeing the birds just before sunset I went back early morning for some photos. The background was spinifex and red Pilbara rocks while the birds were in soft shadow. They were hopping all around the gully and I noticed a termite mound had whitewash, so I was hoping it was a regular perch spot for the birds. After setting up for a shot and waiting, the bird perched perfectly for me. There were also four other birds in the family group also.”

@kookaburra-images

Cameron Blake is a wilderness photographer in Tasmania. Well known for his photography workshops exploring rugged regions, he was schooled in photography from an early age, as his father worked for many years with Rudolph Gunz, an Olympus Optical distributer in Melbourne.

@camblakephotography

“I am a keen naturalist, wildlife photographer and field ecologist based in Melbourne, Victoria,” says Owen Lismund. “My interest in birds started at a young age, when I became curious about what species occurred in my local area, and grew from there. I started photographing birds with a point-and-shoot camera during this period and am drawn to wildlife photography because it’s a fun and challenging way of documenting all the wildlife I see. It’s also rewarding to share this with other people and hopefully increase the public’s awareness of and appreciation for the natural world. Nowadays I’m often out looking for wildlife in my spare time, which has led me to see a lot of amazing animals and places, and have plenty of good experiences along the way. I have been fortunate enough to work as a field ecologist and I am also currently doing research on Australian lizards.

“This image was achieved with a bit of planning and a lot of good luck! I was on a fieldwork trip with my mate Dan Terrington and on a free night we were staying not far from an area where plains-wanderers regularly occur. We went for a quick spotlight in some good-looking native grassland habitat and within 10 minutes, barely 100 metres from the car we found this bird virtually at our feet. I took a few shots and then we let her continue on her way. It was easily the quickest I’d ever found one of these birds after a lot of nights out surveying for them over the past few years. I had previously gained an understanding of this birds’ habits through helping PhD student Dan Nugent with his fieldwork, who has been doing important work studying this species and their ecology.”

@owen_lishmund

“The summer Milky Way arch shines its brightest over a barren salt lake in the South Australian Outback, one of the darkest locations in the world, with nothing but the stars to light up the landscape,” says Wil Godward. “So many objects to spot in this image: the emission nebula Barnard’s Loop around the Orion constellation and the Gum Nebula, which shines its bright red glow. The large and small Magellanic Clouds. The brightest star in our night sky Sirius, the planet Mars and the star cluster Pleiades. My favourite part of this image is the red air glow seen above the horizon. This is caused by chemical reactions in the upper atmosphere. 

“I committed to a 12-hour return trip to photograph this one photo. Was it worth it? Yes! This shot took over an hour to complete and many more hours to process. So blessed to be able to access these amazing skies.”

@godwardphotography

“I was driving along a road on Bruny Island and saw a flock of yellow-tailed black cockatoos eating seeds from a banksia plant on the side of the road,” says Luke Tscharke. “Usually by the time you safely pull over and get out of the car, the birds fly off and you miss the shot. However, on this occasion, I was lucky that they stayed put and continued with their antics. I could get some great clear shots of their behaviour with a nice soft background and the lighting was just right. Proof that it pays to give it a go, even if sometimes you get disappointed!”

@tscharke

Deepak Kumar was on the hunt for a pink robin but couldn’t secure a good shot with the cloudy conditions. He spotted this flame robin foraging on the road, pulled over and spent an hour with the bird.

“I work as a nurse in Melbourne and have been in this profession since 2011,” he says. “I started taking bird photos in early 2019 and got serious about it in 2020.

“I grew up exploring nature and the wildlife around me. I love birds in particular because I love the challenges that bird photography presents. I love the long drives, exploring wilderness away from concrete jungles, and the peace and quiet are some of the aspects of bird photography that I love.”

Nikon Z9 & AF-S Nikkor 600mm F4.

The post The photos you loved most in 2022 appeared first on Australian Geographic.

We send Australia’s most experienced photographers far and wide across our vast nation. These assignments involve months of planning, making contacts and following up leads, regrouping from dead-ends, sorting out permits, often through multiple state departments, and where possible, consultations with First Nations.

Our visual storytellers need to have the survival skills to safely navigate remote locations on their own, to be able to work and file on the hoof, to have the social and emotional intelligence to flesh out the different strands of the story, and make meaningful connections in the field in order to produce work with depth and uncover new angles.

Our photographers can pivot between documenting aerial, video, stills and audio to provide the comprehensive, often sensory, detail that our stories are renowned for. Dean Sewell spent weeks in his swag for us, working on one story that he began more a decade ago. Adam Ferguson travelled thousands of kilometres up the Dingo Fence to Cameron Corner, in the extreme far west corner of NSW, making friends with the people who live their lives along the legendary fence. Annette Ruzicka’s year flew by largely in the field, criss-crossing the country for AG, from WA’s Kimberley to the alpine ranges of Victoria and Southern NSW before heading back to the tropical Top End to observe crocs. James Bugg was given some loose map coordinates to hunt down the most pristine of alpine bogs and Matthew Newton was set loose on one of the toughest and most remote hikes in the country, Southwest NP, Tasmania.

We try to commission experts in their topic areas. Photojournalist Justin Gilligan has documented the ocean’s plastic pollution for years from his home on Lord Howe Island and already knew the key characters in our complex shearwater story. We regularly work with conservation-led photographer Doug Gimesy. A leading voice in the field of environmental photography, he offers an especially clear understanding of how imagery can shift mindsets. Other photographers, such as veteran photojournalist Melanie Faith Dove, were scrambled at a moment’s notice to cover this year’s huge weather events. Randy Larcombe and Emma Phillips were asked to document innovators who have made positive contributions to preserving our natural world.

To all these photographers and the many more we have sent into mines, storms, jungles and on epic treks, or have come to us with their research or passion projects, we thank you for your commitment to telling stories that make us care more for our world.

The post A year in the field: AG photographers on assignment in 2022 appeared first on Australian Geographic.

Many of Michael’s photos are captured in remote places. “I’ve battled mosquitos, flies, midges, dingos, rogue bulls, heat and dust, and I’ve loved every minute of it!

“My images are an expression of my search for beauty and my never-ending quest to connect with nature. Western Australia offers a strong palette of contrasting colours, textures and patterns.

“I hope my images encourage others to seek their own journeys to explore and marvel at this beautiful planet that we find ourselves on.”

For the curious among you, here’s the gear Michael uses to capture these extraordinary landscapes:

• DJI Mavic Pro 3 Cine Drone
• DJI Mavic Pro 2 Drone (backup drone)
• Nikon Z7 for most ground based photography
• Nikon P1000 for telephoto photography
• DJI Pocket and DJI Action for Videos on the ground.

The post Coloured candy for the soul: Aussie Mick’s search for beauty is found in the Australian landscape appeared first on Australian Geographic.

Christian began painting in Adelaide in 1996, moving in 1998 to a station in the Flinders Ranges, South Australia, where he used photography as a reference point for painting.

But he soon realised his photographs “were already a painting captured in a second”.

“The camera is my brush,” he says.

Christian’s new book Birds: Poetry in the Sky, is a must-have for all bird and photography lovers.

The post ‘The camera is my brush’: See this bird photographer’s stunning images appeared first on Australian Geographic.

But while the sea has its big celebrities, it’s the lesser-known characters that Òscar chooses to photograph, hoping to play a small part in their conservation, by way of raising their profiles.

“The big guys – whales, dolphins, sharks, turtles… they already have big PR teams that speak for them,” Oscar tells Australian Geographic.

“The little guys don’t get the attention. So I try to change that a little bit.

“I firmly believe that if you love something, you will take care of it. But to love it, you have to know about it first.”

One creature that has stolen Òscar’s heart is the nudibranch.

“I’ve been interested in them for so many years now and the passing of the time hasn’t tarnished my interest. It is the contrary, in fact, the more I see, the more I know I haven’t seen yet, so it’s a never-ending affair.”

Nudibranchs (Nudibranchia), or sea slugs, are found in oceans worldwide, usually in shallow waters. There’s more than 2000 known species of the weird and wonderful marine molluscs.

While living in the Mediterranean, Òscar often travels to Indonesia, which is where this set of nudibranch photographs (in the above gallery) were taken.

“The area enjoys the benefits of being in the touching point of three different oceans. That provides the biggest amount of different species. Besides that, the weather is perfect.”

Òscar calls himself a ‘nudibranch hunter’.

“The pictures of the nudibranchs can be classified as muck diving pictures. Muck diving means that you roam over the sand, over areas with debris that you would never put on the front side of a postcard, and away from the reefs,” he explains.

“There’s nothing wrong with the reefs, of course, but there’s a lot of species of nudibranchs that don’t live there.”

Related: Beguiling beauties: nudibranchs

The post ‘Nudibranch hunter’ shares stunning images of Indonesia’s colourful and quirky sea slugs appeared first on Australian Geographic.

I’m not talking any old rainforest, but the ancient one surviving in Queensland’s Lamington National Park. As one of the last few remaining extensive areas of subtropical Gondwanan rainforest anywhere in the world, Lamington is revered for its rainforest bushwalking experiences. I’ve hiked many trails inside this 21,176ha World Heritage wilderness, but never at night.

But on this chilly Sunday evening in late May I’m waiting at O’Reilly’s Rainforest Retreat – a family-owned ecotourism operation on the western side of Lamington Plateau, in the Green Mountains section of the park. The temperature is hovering around 7°C and the crisp air feels even fresher as the last of the sun’s warmth retreats and night falls. I’m about to take my first nocturnal tour of this place that I know so well by daylight. My guide is wildlife photographer Isaac Wishart, who’s about to lead me into the Wishing Tree Track, one of 16 listed nature trails leaving from O’Reilly’s.

I discovered Isaac’s captivating images on Instagram and was drawn to his photos of a glowing, vibrant emerald fungus with the scientific name of Mycena chlorophos growing on the rainforest floor, the bulbous eyeball of a white-lipped tree frog and dripping luminescent trails of glow-worms. I reached out to Isaac, curious about how he goes about capturing Lamington NP’s extraordinary nocturnal biodiversity. So on this nippy evening I’m accompanying him on one of his night-time expeditions to discover a side of Lamington most people never see.

Oh, and did I mention Isaac goes barefoot?

Isaac grew up on the Gold Coast in Mudgeeraba, a semi-rural neighbourhood surrounded by bush, where Judy Wishart, a single mother, raised him and his three brothers. “Mum would drop me and a mate into the bush and off we’d go barefoot, hiking, fishing, looking for reptiles for hours,” Isaac recalls. “Then she’d come and pick us up again.”

When he was 12, Isaac acquired his first snake, a spotted python he named Grub, which lived in a tank in his bedroom. During Isaac’s teenage years, four more snakes, one monitor lizard and two turtles joined his reptile collection. “While my brothers stayed in their rooms playing games, I looked after my pets,” he says.

After high school, Isaac volunteered at the Gold Coast hinterland’s Gecko Environment Council, attracted by their ethos of protecting the natural world. “I’d visit state forests and national parks taking photos of wildlife on a Canon 1000 camera Mum gave me,” he says. From that voluntary role Isaac accepted a paid position as a bush regenerator. For the past eight years, Isaac has assisted during the week with the recovery of Gold Coast hinterland ecosystems that have been degraded, damaged or destroyed. But on nights and most weekends he’s outside exploring barefoot and taking photos.

“I love visiting Lamington because of the diversity of the ecosystems, and the array of animals and plants living in them,” he says. “In the protected rainforests of Binna Burra and O’Reilly’s you’ll find species in high abundance you won’t find anywhere else in Australia.”

Lamington’s intactness makes it relatively easy for Isaac to capture subjects such as bioluminescent fungi or glow-worms without having to go for long hikes. I’m hopeful that tonight we’ll see some bioluminescent species.

With daylight fading on the Wishing Tree Track we turn our torches on. Not being as sure-footed as barefooted Isaac, I’m taking my time, trying not to trip over. Isaac is actively looking for critters that I’ve got minimal chance of spotting with my untrained eyes.

He disappears inside a hollowed-out Queensland brush box tree, the exterior of which is charred black, and he soon locates a southern leaf-tailed gecko. Its lichen-like patterns are superb camouflage against the dark bark of the tree trunk. Isaac spots the motionless gecko by using his torch to light-reflect its eyeshine. These nocturnal lizards patiently wait for unsuspecting insects – crickets, cockroaches, moths – or spiders to pass. When they sense movement, they pounce.

We veer left and head down a track to Glow Worm Gully. O’Reilly’s discourages people from using this trail by themselves at night. The retreat instead runs a glow-worm tour every night of the year to a safer and more accessible area. But this is Isaac’s home territory and he knows it as well as anyone. We drop our bags and turn off our torches to allow our eyes to adjust to the darkness. Flickering tiny specks of glowing blue-green light appear across the embankment, looking like the inhabitants of a small village switching on their lights for the evening. Despite the common name, they’re the larvae of a small fly known as a fungus gnat. These tiny carnivorous grubs lure prey close with blue-green light, created by a chemical reaction when enzymes and a pigment called Luciferin in their bodies come in contact with oxygen in the air.

Isaac picks up his Nikon D850 camera and I enquire about lens choices. He explains they vary between a Laowa 100mm for macro subjects, or a Tamron 15–30mm for wide-angle shots. The settings also vary, but are usually a 30-second shutter speed, f-stop or aperture size of 7.1 and an ISO of 640.

Isaac nimbly scrambles onto higher ground and I shine the torch for him to prepare his tripod and camera, careful not to shine light directly on the larvae. An eerie silence hovers in the rainforest while we wait in darkness for the long exposure to finish. My ears tune in to our surroundings. Rushing water babbles in the nearby creek. A gentle breeze shifts the neighbouring trees’ elongated limbs. They rub against each other, creaking and moaning like arthritic old men. I look up and a space between the treetop canopy reveals a dazzling night sky.

Isaac shows me the image on the camera display screen and I’m awestruck by its intimate detail. My naked eye missed the sticky silk threads the larvae create to catch passing invertebrates. But on the screen I see jewelled strands covered in sticky droplets dangling on the surrounding foliage. For about 20 minutes we wait in this quiet haven as Isaac experiments with subjects and camera angles. I observe his calm manner and infinite patience with these constantly moving creatures.

We search for bioluminescent fungi. They’re not always easy to find, and despite an enthusiastic effort, our quest is fruitless. But we have a source of intelligence. Isaac contacts Matt Kelly, a guide who’s worked for nine years at O’Reilly’s. He lives on site, is a rainforest expert and provides us with the location of a patch of ghost fungi that he’d noticed earlier by the roadside near the retreat’s entrance. This common fungus is found up and down Australia’s east coast after good rain, and grows on wood, on trees both alive and dead.

Dr Sapphire McMullan-Fisher is an ecologist with a passion for fungi. Currently based in Victoria, her particular interest in subtropical fungi began when she was living on Queensland’s Sunshine Coast. She joined the Queensland Mycological Society and learnt about fungi found in south-eastern Queensland and northern New South Wales. “I’d visit Lamington NP and see the amazing fungi making the most of the moist rainforest conditions to push up their reproductive structures,” she explains.

“The mycelium, the body of the fungus, gathers nutrients to make baby mushroom shapes; they’re preparing to reproduce. They wait for rainfall when the reproductive structures can stretch out like little water balloons. Moisture in the air is usually the trigger for fungi to reproduce by sending out their spores. When you see fungi that’s magically popped up overnight after rainfall, that’s because of all the hard work [that] was done [previously].”

Sapphire says that where the glow occurs depends on both the species and individuals – for some, the mycelium glows, for others, parts of the mushroom glow and in a few the whole mushroom glows, even the spores!

“It’s quite eerie to see, that very nebulous glow. I love to [explain to] people that the fungi actually glow all day and all night,” Sapphire says. Unfortunately, there have been few studies of luminescent mushrooms in Australia.

“There’s been a series of good scientific South American experiments on bioluminescent fungi in Brazilian rainforests,” she says. And so far, the evidence suggests none of the pet theories about the luminescence either attracting insects or defending itself from insects are well supported.

“So I think it’s still a mystery as to why the fungi glows. And I guess that’s the delight of nature that we still don’t know.”

Barry Davies has a degree in terrestrial ecology, but he’s now nearing 70 and admits that was a very long time ago, so he prefers to be called a naturalist. Residing in Beechmont, a rural town close to the boundary of Lamington NP, he regularly drops in for a visit.

For more than 20 years Barry was a guide at Binna Burra Lodge located inside the park. He now conducts specialist wildlife tours through his business, Gondwana Guides, and has led many night tours through Lamington.

“I encourage people to stop, stand still, be quiet and listen,” Barry says. “Once they start listening, the rainforest becomes a whole different world.”

Spiders are easy to find because they’re active at night. “Funnel-web, trapdoor and tube spiders are easily spotted because they are sedentary,” he explains.

Using a red-light torch, Barry regularly shows his groups a particular trapdoor spider with its tunnel entrance open and legs sticking out waiting for something to pass. “I get people to look in and they’re blown away by the engineering and construction skills; that a spider can build a [home] with a door with a hinge and a bevelled edge that plugs up and seals the tunnel is amazing.”

Barry also likes the luminescent fungi and only recently – in early June – has seen some examples of ghost fungus. “It’s surprising to see the fungi now because it’s quite unseasonal,” he observes. “Their season has been much longer than I ever remember – likely because it’s been very wet and mild until recently.”

With the fungi come the snails. “Suddenly there are snails everywhere,” Barry says. One snail species that is easy to see because its shell can be almost as large as a tennis ball is the giant panda snail. This rainforest specialist is attracted to the ghost fungus.

Fungi expert Sapphire explains that the snail’s size “is because they have such a fabulous damp fungifilled spot to live in”. Fungi in rainforests are an important food source for invertebrates such as insects and snails. “They eat both the mycelia and reproductive parts of the fungi. These invertebrates are then eaten by insect-eating birds and frogs,” Sapphire says. “But there’s cause for concern with bird populations crashing for decades and then the so-called Insect Armageddon [dramatic global decline of insects] five years ago.

“With all the invertebrates disappearing, we need to look at the bottom of the food chain, which is the fungi and bacteria and other microbes that actually feed on the microfauna the bigger animals eat.” Sapphire says that researchers of birds, frogs and other higher animals have not looked closely enough at their food sources.

“And, more importantly, their food’s food!” she adds. “Threatened birds have been singing their hearts out to warn us that their whole ecosystem is in trouble. We haven’t learnt enough about the bird’s food chain, which is scary. There are also frogs and dead trees we know are in trouble. And we probably have fungi that are in trouble too, but we just don’t have the data to prove it.”

Barry Davies is fascinated by strangler figs. On night tours he asks everyone to turn off their lights, then he shines a torch inside the hollowed-out section of one specimen, where its host tree has died. “Once the host tree has rotted away, there is a lattice work of aerial fig roots that have grown down from the trunk of the fig, which is growing up to the canopy,” he says. “You can see the light shining out of the lattice all the way up to the start of the trunk. Everyone is suitably wowed.”

One story he loves to share is the role a tiny wasp plays in pollinating the strangler figs. When they are ready to be pollinated, the female flowers inside the fruit of the fig emit a scent that attracts the winged females of the fig wasp. They arrive carrying fertilised eggs and burrow into the fig via an opening so small that they lose their wings in the process. These female wasps then wriggle around within the fig, pollinating its flowers and laying their eggs within them.

Wasp pupae hatch from the eggs and develop into mature wasps entirely within the fruits. The males, which never develop wings, fertilise the females then crawl up and bore a hole to the outside of the fig before dying – completing their entire life cycle within the fruit of the fig. The fertilised females then crawl up through the flowers, picking up pollen on the way. They only have a few days to fly to find another fig, where they dig a hole, crawl in, lay their eggs and the cycle begins all over again. “The little grubs feed, pupate, hatch and the process continues, never stopping, which means there are always ripe fig fruits in the forests all year round,” Barry says. 

This means fruit-eating animals such as bowerbirds, rifle birds, pigeons and flying foxes, which are important dispersers of seeds in the rainforest, can live in the forests throughout the year.  “Those huge fig trees are critical to the long-term survival of the forest. Therefore, remarkably, the forest’s long-term survival is dependent on a wasp only 2–3mm long!” Barry says.

Despite the dampness of the rain-soaked earth and the rapidly dropping temperature, Isaac is at his happiest without shoes. “Everyone looks at me, wondering who is that barefoot man picking up rainbow fruits?” he says. “People ask if I’m trying to get grounded, or if I have forgotten my shoes. I just like going barefoot. I get plenty of funny looks and a lot of high fives too.” 

His work as a bush regenerator means he must wear work boots during the week, so he loves nothing more than going without them on the weekends. “There are many pluses to going barefoot,” he says. “I can find leeches a lot faster than most, and I can feel the snakes under my feet.”

I’m not a snake fan like Isaac. My love affair with Lamington has been about the rainforest mosaic. You can start your journey of discovery in the warmer subtropical rainforest around O’Reilly’s with the strangler figs and booyong trees, then climb Mt Bithongabel (1195m) into the cool temperate rainforest where the coachwoods and – my favourite – the Antarctic beech trees reside. 

These rainforest patriarchs – with their shamrock green, moss-coated limbs – are estimated to be more than 2000 years old and are our present-day links with ancient Gondwana. Near Binna Burra, as the elevation drops into the warm subtropical rainforests, there are wet sclerophyll forests with awe-inspiring giant New England ash and tallowwood. 

But exploring Lamington NP at night is like stepping into a new world. As the sun disappears, the bush wakes up species that you don’t see during the day. 

“You can go to the same location on different nights and see something new each time, which is a drawcard – and fun,” Isaac explains. “And a lot of the nocturnal species are reptiles.”

I’ve been on bushwalks during the day where trails are busy with other bushwalkers. At night you rarely see another soul. And if you go with someone who knows where to look, you will see a whole lot more.

Related: Bioluminescent beauties: Australian creatures that glow

The post Where the rainforest glows appeared first on Australian Geographic.

OVERALL WINNER

Nature’s Prey 

Ashlee Jansen, Western Australia

Humpback whale (Megaptera novaeangliae), and Tiger shark (Galeocerdo cuvier)

Coral Bay, Western Australia

A humpback whale carcass found on the ocean floor, stripped clean of its flesh by surrounding sharks. This sub-adult whale died while making the annual migration north along the Ningaloo Reef. A harsh act of Mother Nature, but an important part of the natural ecosystem. 

Sony A7R II, Canon EF 8–15mm f/4, 1/320, f/10, ISO 400, handheld, Nauticam underwater housing

Judges’ comments:
This captivating image of a dead whale speaks to the circle of life – one death supports the renewal of other ocean communities. The beauty of the image lies in its artful circular composition, seen in the curves of the whale’s skeletal ribs mirroring the patterns in the sand, keeping our eye within the frame moving between the living and the dead. 

ANIMALS IN NATURE

Winner

Night Light Dining 

Jannico Kelk, Queensland

Dusky leaf-nosed bat (Hipposideros ater), and Firefly (Lampyridae)

Each spring, the Great Dividing Range is treated to a magical event. After sunset, bioluminescent fireflies emerge from the darkest corners of the forest for a short time. However, they’re not entirely safe. Insectivorous dusky leaf-nosed bats leaving their roost capture fireflies mid-flight, displaying a stunning acrobatic aerial battle. 

Ella Bay National Park, Queensland 

Canon 7D, Tamron 24–70mm, 3.27 x 7, f/11, ISO 400, 5 x Yougnuo YN-560IV, Zoomei Q666C tripod, Cognisys Range IR high speed motion sensor, seven images compiled from the same location and time

Judges’ comments: A dynamic moment captured using a considered combination of flash and slow shutter. The photographer has cleverly captured moving wildlife travelling at different speeds.

Runner-up

Midnight Seahorse

Knobby seahorse (Hippocampus breviceps)

Matt Testoni, Tasmania

A knobby seahorse hunts its prey in the cold night-time waters off Kettering, Tasmania. Sitting still amongst the seagrass, they become almost invisible to the untrained eye. It’s an amazing experience seeing these tiny seahorses hunt their crustacean prey late at night.

Kettering, Tasmania

Olympus OMD EM1 Mk II, Olympus 30mm macro, 1/100, f/7.1, ISO 200, handheld, external Sea&Sea YS-D2 strobe (flash) with Retra Snoot attachment, Isotta underwater housing

Judges’ comments: Rather than celebrating its unique shape through a profile capture, the photographer has chosen to shoot the seahorse as if sitting for a portrait. It appears to be suspended in space with a constellation of backscatter. Continuous lighting rather than a strobe has been used to great effect.

Related: AG Nature Photographer of the Year 2022: Animals in Nature shortlist

ASTROPHOTOGRAPHY

Winner

The Outlier

Jason Perry, Victoria

A beautiful dead tree stands above the rest as the fog lingers over Lake Toolondo and the Milky Way lines up horizontally across the night sky. When I saw this scene that night, it was as if the tree and the Milky Way were somehow connected despite the distance.

Toolondo Reservoir, Toolondo, Victoria

Nikon D850, Nikkor 14–24mm 20mm, 20, f/2.8, ISO 8000, tripod, 15 images stacked for noise reduction

Judges’ comments: This is a beautifully layered image with a gentle tonal palette. The trees provide drama without detracting from the night sky. There is a moody depth to the image, the Milky Way silhouetting the trees while also appearing to illuminate the foreground.

Runner-up

Flinders Rise

William Godward, South Australia

One of the most amazing things to see in the Australian outback is the colours across the landscape at sunset and sunrise. I love how the Milky Way is perfectly positioned here with the silhouette of the ridge line. I started shooting the image just before astronomical twilight, and finished on the foreground just before blue hour.

Wilpena Pound, Flinders Ranges, South Australia

Sony A7 III, Sony 24mm 1.8GM, 30–60, f/2.0–f/2.8, ISO 6400, tripod, 25 x image horizontal panorama, tracked using a Skywatcher Star Adventurer 

Judges’ comments: This is an otherworldly image, the red landscape conjuring thoughts of another planet. The Milky Way leads the eye from the sky and draws us to the rock in the foreground, connecting the galactic ballet with the sturdiness of the land.

Related: AG Nature Photographer of the Year 2022: Astrophotography shortlist

BOTANICAL 

Winner

A Pink Tomb

James Dorey, South Australia

Darkness rolls over Lake Crosby adding an eerie element to the smooth pink salt. All that falls on the lake is slowly preserved as the wind-driven tide ebbs and flows, leaving a little more salt every time. Objects mar the lake’s alien texture and the lake mars them in return.

Lake Crosbie, Victoria

Canon EOS 5D Mk IV, EF 16–35mm f/2.8L III USM, 30, f/11.0, ISO 100, remote LED light, tripod, manual mode 

Judges’ comments: The photographer has cleverly elevated the seeming insignificance of a fallen branch to a revered botanical subject in this ethereal image. The mysterious scene has been enhanced by the salt’s pink hue being captured in such delicate light. 

Runner-up

Gnarled Mossy Cloud Forest

Justin Gilligan, New South Wales

The plateau of Mount Gower (868m) is home to a critically-endangered ecological community known as the gnarled mossy cloud forest. This stunted forest is home to many endemic and endangered plants found nowhere else, bound by dramatic slopes that descend through the clouds into the sea below.

Lord Howe Island, New South Wales

DJI Phantom 4 Pro, 24mm, 1/240, f/4.5, ISO 100

Judges’ comments: The angles in this image appear to defy reality, with the impossibility of the scene provoking more questions than answers. The elemental force of the water against the dense and busy textures of the rainforest create an energy-infused and vertigo-inducing landscape, setting it apart from other submissions. 

Related: AG Nature Photographer of the Year 2022: Botanical shortlist

JUNIOR

Winner

Impermanence

Cian O’Hagan, New South Wales – 16 years old 

My image ‘Impermanence’ was captured at my local beach after harsh winds had uncovered numerous objects beneath the surface. It depicts a decaying seabird stretched out amongst the sand and is indicative of the dangerous and unstable nature of life amongst the coastal elements.

Dudley Beach, New South Wales

Nikon D3500, AF-P 18–55mm VR, 1/160, f/4.0, ISO 800, handheld

Judges’ comments: This simple photograph is contemporary in its execution. The photographer’s hand is strong – stark lighting and a severe palette reflect the sometimes harsh reality of nature.

Runner-up

Abstraction of an Icon

Cian O’Hagan, New South Wales – 16 years old

Forester kangaroo (Macropus giganteus tasmaniensis)

My image ‘Abstraction of an Icon’ is an expressive depiction of a kangaroo spotted whilst climbing along the rocks at Friendly Beaches, Tasmania. I used a slow shutter speed to obscure the form and to capture the power, grace and speed of this national symbol. 

Friendly Beaches, Tasmania

Fujifilm XT3, XF 18–55mm, 1/8, f/7.1, ISO 160, tripod

Judges’ comments: Artistic and engaging, the photographer has captured harsh velocity but with a soft, gentle palette.

Related: AG Nature Photographer of the Year 2022: Junior shortlist

LANDSCAPE

Winner

Breaking Dawn

Yan Zhang, New South Wales 

The eastern horizon has already started to glow, but the reflections of stars linger on the snow of the Tasman Glacier, still visible thanks to the lingering moonlight. This image was a product of my four-day expedition to the Tasman Glacier, where I climbed to the top of Hochstetter Dome (2834m). 

Tasman Glacier, New Zealand

Nikon D810, 14–24mm f/2.8, 10, f/5.6, ISO 1600, Berno C2980 tripod

Judges’ comments: There is a magical sparkle in this technically excellent image. The bright stars are echoed in the glittering snow, and the landscape offers a natural arabesque that walks our eye through the valley.

Runner-up

Forces of Nature

Ellie Morris, Western Australia

A stormy afternoon at the start of autumn in WA’s wheatbelt watching dark clouds moving across the land, dropping rain as they went. As the wind picked up, clouds of dust were created ahead of the rain and hail that followed.

Perenjori, Western Australia

Canon EOS 5D Mk IV, Canon EF 24–70mm f/2.8L II USM, 1/125, f/5, ISO 400, tripod

Judges’ comments: The tension between the formality of the recently harvested field and the crazy weather system elevated this picture. The viewer doesn’t know where to look first, as the rare capture of a dust devil operates separately from, yet seen in the same frame as, a rain bomb.

Related: AG Nature Photographer of the Year 2022: Landscape shortlist

THREATENED SPECIES 

Winner

Ocean Giant

Jake Wilton, New South Wales

Whale shark (Rhincodon typus)

Status: Endangered

A whale shark engulfs a bait ball of fish on the Ningaloo Reef. Little is known about this behaviour, as it is so rare only a handful of records exist. The sharks are too slow, so must rely on the efforts of other predators such as tuna to catch them.

Coral Bay, Western Australia

Nikon D810, Sigma 15mm fisheye, 1/400, f/9, ISO 400, free diving at 10m depth, single breath

Judges’ comments: This photograph skilfully documents the dynamic between the bait ball and the whale shark, capturing this natural feeding behaviour with amazing light on the bait ball. 

Runner-up

Head On

Matty Smith, New South Wales 

Great white shark (Carcharodon carcharias)

Status: Vulnerable

To make this charismatic great white shot I needed a shark that showed non-aggressive behaviour to avoid risk to us both. I had initially used a fine mix of tuna oil and flake to lay a scent trail to attract the shark (licenced) but the shark was never actually fed.

South Neptune Islands, South Australia 

Judges’ comments: A highly engaging portrait of a largely misunderstood animal. It is a terrific demonstration of the over-under technique, with excellent light on the shark and the water’s surface. Surprisingly, even though the jaw is agape, this image doesn’t evoke the terror some people may feel for this animal.

Related: AG Nature Photographer of the Year 2022: Threatened Species shortlist

MONOCHROME

Winner

Fish Rock Cave

Matt Krumins, Victoria 

Grey nurse shark (Carcharias taurus)

A school of critically endangered grey nurse sharks hover almost motionless in front of the 24m-deep entrance to Fish Rock Cave. It’s such a privilege to see this number of sharks in one place, and whilst ominous in appearance, these incredible animals are generally considered harmless unless provoked.

Fish Rock Cave, South West Rocks, New South Wales 

Nikon D850, 16–35mm f/4, 1/200, f/8, ISO 320, 2 x Sea&Sea YS-D1 flash, handheld, Nauticam underwater housing

Judges’ comments: Clever compositional layering draws the viewer into the depths of this graceful image. The seeming chaos of this aggregation intensifies as the eye lingers and even more sharks become apparent. It is captivating and holds the eye.

Runner-up

Crackle and Pop

Jarrod Koh, South Australia

A storm passed in front of our house. I have never been so close to lightning strikes. The thunder rolled like undulating galvanised steel sheets. This is a single frame capturing the ferocity of the downpour and the energy released from the lightning strikes. 

Middleton, South Australia 

Nikon D810A, Sigma Art 50mm f1.4, 30 seconds, f/8, ISO 200, tripod

Judges’ comments: Excellently composed, captured and processed, the dramatic weather in this scene partners with an unexpected serenity evoked by the surrounding softness. The monochrome format has been used well to clarify the complexity of the scene.

Related: AG Nature Photographer of the Year 2022: Monochrome shortlist

URBAN ANIMALS

Winner

The Tunnel of Eerie Blue Light

Zichen Wang, New South Wales 

Australian glow-worm (Arachnocampa richardsae)

The abandoned tunnel is illuminated by thousands of glow-worms (Arachnocampa richardsae). Glow-worms typically live in damp sandstone crevices, but this tunnel is home to a particularly large population. The site is closed to the public, so I took this photo through an iron gate, standing in a puddle of mud.

Helensburgh Glow Worm Tunnel, Helensburgh, New South Wales

Sony α7R II, Sigma 85mm f1.4 Art, 12 mins, f/1.4, ISO 800, Sirui W-2204 waterproof tripod, image processed using three shots at four minutes/shot to capture shadow detail and one shot at one minute to recover highlight detail, noise reduction applied using Topaz Denoise AI and Adobe Photoshop 

Judges’ comments: Eye-catching and mysterious, the viewer is drawn to the wildlife inhabiting the tunnel. The photographer has documented animals that might not immediately be considered as wildlife or easily seen with the naked eye. 

Runner-up

Sleeping Dragon

Gary Meredith, Western Australia

Long-nosed dragon (Gowidon longirostris)  

A long-nosed dragon sleeps on wire mesh outside a building at a remote gold mining operation in the Great Sandy Desert. This lizard may have positioned itself in such a way that the insects attracted to the light above may be an easy meal at sunrise the next day.

Telfer, Western Australia

Nikon D850, Nikkor 16–35mm f/4, 1/60, f/4, ISO 1250, Nikon SB-700 with soft box, Godox remote flash trigger, handheld

Judges’ comments: This image feels like a scene out of a Hollywood film with its cinematic lighting, colour palette, expert use of leading lines and depth of field. 

Related: AG Nature Photographer of the Year 2022: Urban Animals shortlist

OUR IMPACT

Winner

Snagged

Alan Kwok, New South Wales

While trying to jump fences, kangaroos sometimes get their feet snagged on the wire. Their upper body flips toward the ground, tangling their legs in the wires. Known as ‘fence hanging’, the individual has no way of getting up or freeing itself and usually dies, unless a human can free it.

Darlington Point, New South Wales 

Canon 1DX, Canon 100–400mm f/4–5.6L Mk II, 1/200, f/14, IS0 2500

Judges’ comments: A brutal photograph, cleverly captured with shallow depth of field and framing to tell an important story about animal welfare. Using a soft light and colours, the photographer has crafted an image that is captivating enough to stop us turning away from the horrible event that is shown.

Runner-up

Landing On Mars

Jiayuan Liang, South Australia

This photo of Broken Hill Mine was taken during my journey to document Australia’s historical mines. The Miners Memorial building on the top of the mine looks like a spaceship landing on Mars. It shows how landscape was changed by mining activities.

Broken Hill Mine, Broken Hill, New South Wales

Sony ILCE-7RM4, Sony FE 16–35mm f/2.8, 13, f/4, ISO 1600, tripod

Judges’ comments: The beauty of a ravaged landscape has been captured here. The buildings allow us to appreciate the relative scale of the mine, and we are challenged by the photographer’s ability to see the blight of the mine so handsomely. 

Related: AG Nature Photographer of the Year 2022: Our Impact shortlist

PORTFOLIO

Winner

Alejandro Trevino, New South Wales

Judges’ comments: An expertly sequenced portfolio unified by a consistent colour palette and subject. The use of light across the work establishes a sense of place, and viewers will be surprised to see such diversity in the water off Australia’s most populous city.

Breeding Behaviour

Alejandro Trevino, New South Wales

Giant cuttlefish (Sepia apama)

Giant cuttlefish bodies are streamlined, making them efficient at swimming. On certain occasions such as their annual spawning aggregation, the males engage in a fierce mating competition. At this time they display elaborate colours and patterns and enlarge their bodies to attract a mating partner.

Sydney, New South Wales

Sony A7 III, Sony FE 28–70mm f3.5–5.6 OSS, 1/80, f/3.5, ISO 100, handheld while freediving, Seafrogs underwater housing with 6″ dome port

Giant Cuttlefish and the Winter Garden

Alejandro Trevino, New South Wales

Giant cuttlefish (Sepia apama)

Giant cuttlefish are often seen and approached by swimmers and divers along the southern coast of Australia in late winter. This is the largest of all cuttlefish species, and despite being colourblind, they are masters of camouflage with the ability to change their size, shape, colour and even texture of their bodies.

Sydney, New South Wales

Sony A7 III, Sony FE 28–70mm f3.5–5.6 OSS, 1/200, f/3.5, ISO 250, handheld while freediving, Seafrogs underwater housing with 6″ dome port

Marine Tempest

Alejandro Trevino, New South Wales

Port Jackson shark (Heterodontus portusjacksoni)

Over the breeding season (winter into spring), female Port Jackson sharks lay a pair of eggs every fortnight and place them in narrow gaps between the rocks for protection. Almost 90 per cent of laid eggs fall prey to other sharks, making the embryo-to-hatchling period the most dangerous time of their lives.

Sydney, New South Wales

Sony A7 III, Sony FE 28–70mm f3.5–5.6 OSS, 1/160, f/3.5, ISO 125, handheld while freediving, Seafrogs underwater housing with 6″ dome port

Mating Octopus

Alejandro Trevino, New South Wales

Common Sydney octopus (Octopus tetricus)

Common Sydney octopuses enter their reproductive cycle in September. This photo shows a female resting inside her den (sunken tyre) while a male approaches from above with his hectocotylus reaching the female’s mantle cavity for mating. Females often cannibalise their mating partners and this male remained at a safe distance.

Sydney, New South Wales

Sony A7 III, Sony FE 28–70mm f3.5–5.6 OSS, 1/160, f/6.3, ISO 800, handheld while freediving, Seafrogs underwater housing with 6″ dome port

Shark Passage

Alejandro Trevino, New South Wales

Spotted wobbegong (Orectolobus maculatus)

Spotted wobbegongs are another common carpet shark species found in Sydney. They are safely approached by divers every day. Their skin pattern provides a unique camouflage which blends with surrounding rocks and seabed where most of their time is spent. Wabigang and dhabigang are words from the Dharug and Tharawal Aboriginal language groups, meaning ‘shaggy beard’. 

Sydney, New South Wales

Sony A7 III, Sony FE 28–70mm f3.5–5.6 OSS, 1/160, f/3.5, ISO 800, handheld while freediving, Seafrogs underwater housing with 6″ dome port

The Secret Cave

Alejandro Trevino, New South Wales

Port Jackson shark (Heterodontus portusjacksoni)

From winter into spring, Port Jackson sharks arrive at the temperate waters of Cabbage Tree Bay. These sharks are active at night and rest on the rocky reef during the day. I had followed this shark into a narrow cavity where suddenly this spectacular shelter and grooming station appeared.

Sydney, New South Wales

Sony A7 III, Sony FE 28–70mm f3.5–5.6 OSS, 1/80, f/3.5, ISO 800, handheld while freediving, Seafrogs underwater housing with 6″ dome port

About the awards

The bioregion that encompasses Australia, New Zealand, Antarctica and New Guinea possesses a unique natural heritage, stretching back more than 80 million years to the break-up of the great southern continent of Gondwana.

The South Australian Museum and Australian Geographic focus on enhancing a general knowledge of this extraordinary legacy by encouraging photography of the region’s nature and landscapes, and promoting it in an annual competition to find the Australian Geographic Nature Photographer of the Year.

See the stunning Australian Geographic Nature Photographer of the Year exhibition at the South Australian Museum 27 Aug–30 Oct, and the Australian Museum in Sydney 17 Sept–11 Dec

 We thank Museum Director Brian Oldman, Tim Gilchrist and all the staff of the South Australian Museum for their excellent and diligent stewardship of the Australian Geographic Nature Photographer of the Year, and extend our gratitude to ReAmped Energy and all the sponsors for their support.

The Australian Geographic Nature Photographer of the Year competition and exhibition is owned and produced by the South Australian Museum.

With thanks to our Presenting Partner ReAmped Energy.

The post Winners: Australian Geographic Nature Photographer of the Year 2022 appeared first on Australian Geographic.

 1. Get to know the meteor shower
Initially you want to know when a meteor shower will peak – this is the night predicted to produce the most meteors. This can be achieved using astro apps such as ’Skyguide’ to help you plan your night out and compose your shot. I also use ‘Windy’ to predict how clear the night will be. In an ideal world, we want to work with clear, dark skies for best results. Take a headlamp when setting up in dark locations. 

 2. Always shoot Astro
Using the fastest lens you can, always shoot astro. The Nikon f/2.8 and f/1.8 give amazing results for astro with their superior light gathering abilities. Stopping down from the Nikon f/1.8 to f/2.0, or f/2.2 for example, will reduce vignetting. 

 3. Use an ultra-wide lens
Shoot with an ultra-wide lens to capture more of the sky and increase your chance of a meteor landing in the frame. I use the Nikkor Z 14-24mm f/2.8 S and the Nikkor Z 20mm f/1.8 S for the majority of my astro work.

Related: AG Nature Photographer of the Year 2022: Astrophotography shortlist

 4. Have a solid set-up
When setting up your photography area, you want to mount your camera on a sturdy tripod, obtain focus and then turn your autofocus off before you begin shooting.

 5. Check your shutter speed
A shutter speed of 20 seconds or more is preferred to improve your chances of capturing a meteor. Anything longer and you may start to see star trails as the earth rotates on its axis. To counter this, I use a star tracker, which allows me to push my exposure time out to 2–3 minutes.

 6. Adjust your ISO settings
ISO should be high to capture the faint light of the start. I would recommend ISO4000 or higher on a standard tripod set up, and ISO800 – ISO1600 on a star tracker mount.

Related: 7 dazzling astronomy photographs

The post Top tips to capturing the upcoming meteor shower from a photography expert appeared first on Australian Geographic.

Operating annually since 2005, the competition acknowledges the technical skill required to “capture the beauty of the sky and the intrinsic interest of astronomy in an aesthetically pleasing manner”.

Related: The man who coloured the stars: David Malin

The awards were presented on Saturday night during the CWAS (Central West Astronomical Society) AstroFest conference.

The winning entries will be exhibited at the CSIRO Parkes Observatory’s Visitor’s Centre until October before touring elected venues around the country.

Related: AG Nature Photographer of the Year 2022: Astrophotography shortlist

The post 7 dazzling astronomy photographs appeared first on Australian Geographic.

There’s a reason that Lord Howe Island has a peak season, and an off-season. The former is made up of postcard days: dramatic undulating hills complement the blue patchwork lagoon, fairy-floss clouds chug overhead and iconic cloud-capped mountains round out this subtropical dreamscape. The winter months, in contrast, are largely overlooked because of rain and wind. Seasonal nesting seabirds have flown the coop and many of the lodges close and commercial operators take a well-earned break.

It was during the depths of the off-season that I was tasked with this test – the mettle of this device would be measured by my ability to create a portrait of the island itself.

During my time with this device, there were a range of features that I found noteworthy and up to the challenge:

• Camera and lens: The Samsung Galaxy S22 Ultra incorporates a selection of high quality glass lenses, including a powerful 30x and 100x zoom to suit a range of shooting options including landscape, general lifestyle and wildlife. The shooting options include a 12MP ultrawide lens, plus dual 10MP telephoto cameras that combine to offer 10x optical zoom and 100x space zoom, offering an extreme range of zoom options for a camera phone.

• Fast processor: It’s also obvious that the Galaxy S22 Ultra has a super fast chip, allowing for a quick frame rate, which is beneficial for wildlife and bird photography. Apparently, the 4nm processor is the fastest chip ever in a Galaxy smartphone, with minor delay between frames, even when shooting at high speed.

• Low-light capability: Thanks to a big sensor, the Galaxy S22 Ultra delivers impressive pictures with a beautiful dynamic range. Unlike other camera phone images, there are no bright or dark areas due to the sensitive exposure range. The Night Mode also works well, particularly during sunrise/sunset and in the forest.

• Image quality: The 2.4um pixel sensor packs a punch and is Samsung’s largest pixel sensor ever, enabling its camera lenses to capture more light and data. I was surprised at the high quality of images that came from camera.

• RAW app: The app contains a suite of in-camera editing tools like a DSLR camera. During shooting it was possible to correctly expose for the highlights in the frame, and darken photos with ISO settings and shutter speed. It’s also possible to adjust white balance to make your photo more warm or cool, and manually focus on your desired subject. This was particularly useful during tricky lighting conditions, such as sunrise, when I could expose for the sky and bring up the shadows in the foreground.

• Image formats: There are a range of picture format ratios from which to choose, including 3:4, 9:16, 1:1, that provide options to create image variety quickly for fast upload to social media. This is an advantage over a DSLR and is a real opportunity to enhance creativity.

• Battery life: The battery lasts for more than a day. Working remotely, I didn’t need to worry about missing a moment with considerable charge. The battery also charged efficiently, which is handy for a quick turnaround. I charged the phone during the evening and at no stage was I concerned about the charge and could make pictures when the opportunity arose without worrying about battery life.

• Portrait mode: Portrait mode is offered in a range of image formats and does an excellent job balancing light in the foreground and background to ensure the exposure of the portrait is optimised, doing a fantastic job with selfies.

One major advantage of this device is that you don’t need to be a mobile photography expert to make the most of the immense capabilities of the Samsung Galaxy S22 Ultra. Navigating the setting options was obvious after a quick session to familiarise myself following unboxing. The camera app has an intuitive interface with a suite of features – the sky really is the limit here.

On reflection, I enjoyed the challenge of creating content with the Samsung Galaxy S22 Ultra. If I can create these images during the depths of the Lord Howe Island off-season, just imagine what you can achieve with your loved-ones and loved-locations in the picture.

This article is brought to you by Samsung.

The post A day in the life of Lord Howe Island in photos appeared first on Australian Geographic.

Growing up in Esperance, Western Australia, Jaimen Hudson had salt water in his veins. His parents owned the local dive shop, and he spent his spare time diving and surfing in the turquoise waters.

After his accident, he mourned the loss of the ocean in his life. But now, Jaimen has formed a new connection to the ocean via drone photography, and shares the pristine marine environment with millions around the world.

Read more about Jaimen:

Related: Jaimen Hudson: The ultimate optimist

The post Drone photography: The Esperance coast as captured by Jaimen Hudson appeared first on Australian Geographic.

The accident in 2008 left Jaimen a quadriplegic. Today, he’s paralysed from the chest down with the use of only one wrist, and no use of his fingers. However, despite the massive obstacles placed in his path, he is the living embodiment of optimism. 

“I’ve been lucky to always have a positive outlook; I don’t dwell on the negative,” Jaimen says. “It sucks that I have to have carers in the morning, is the honest truth. But then, in reality, I’m so grateful that there’s people that are willing to do that for their job or I’d be completely screwed. When we travel to Perth, complete strangers will come to my house and help get me out of bed and shower. I’m so lucky that there’s people out there that want to do that.” 

Jaimen’s determination to be positive started soon after his accident. “I think even when I was in hospital, I realised what has occurred is irreversible, there’s no point in me dwelling on it. I couldn’t even scratch an itch on my face for like six weeks because I couldn’t move my arms at all. But I think eventually I’ve just moved on with my new life,” he says. 

“Don’t get me wrong, I wish I could kick the footy with my son. But I’m also very lucky that I found a woman to have a baby with me in the first place, to get married. I never thought I would be lucky enough to be a father.” 

Growing up in Esperance, Western Australia, Jaimen had salt water in his veins. His parents owned the local dive shop, and he spent his spare time diving and surfing in the turquoise waters there. After his accident, he mourned the loss of the ocean in his life. But Jaimen has created a new quasi-connection to the sea, through drone photography. 

Today, Jaimen’s drone cinematography showcases stunning wildlife scenarios, including super-pods of dolphins surfing the perfect waves, or southern right whales interacting with each other and sometimes inspecting humans, all with the glorious backdrop of Esperance’s picture-postcard coastline. 

“One of my dolphin videos was uploaded by the World Surf League and got 130 million views,” he says. But Jaimen’s main motivation is not social media numbers. It’s his love of the wild ocean, and connecting others to wildlife. 

“I share it with people all over the world that I’ve never even met before,” Jaimen says. “There’s so much negativity online these days, but I think I’ve lucked into one genre where it’s kind of hard to be mad at what I’m doing.” 

Filming incredible footage of dolphins punching through the back of crystal-clear waves is tricky for anyone. For
Jaimen, the usual challenges are magnified. But in the last year he has been able to film by himself for the first time, thanks to a new car, which he describes as an “incredibly amazing and expensive technology.” 

“I have no triceps, so I can’t transfer out of my chair independently,” he explains. So, using the car’s hoist, Jaimen and his wheelchair are lifted into the driver’s position, where the wheelchair docks. “I have on my left-hand side a brake and accelerator. And on my right-hand side, I have a tiny little wheel that you turn, and that turns the big steering wheel.” There’s a special backrest for support, and he wrangles his seatbelt with his teeth. 

Jaimen continues: “And then when I find whales or dolphins, I’ve got to pull up and unclick my seatbelt, undo the backrest, and get the drone off the back seat and put it on my lap. It’s quite a process.” Jaimen says that often the wildlife has moved on, requiring him to do it all again. 

“Sometimes I actually wish I had a film crew there to document it because the struggle is real!” he says. “The wind’s blowing, I’m trying to get the drone out, but I drop something…I have to laugh because I’m like, this is crazy!”

But all jokes aside, Jaimen’s new car is a game changer for his lifestyle. 

“Oh man, free is the only way I can describe it,” he says. Jaimen explains that someone normally assists him to go to bed, get up in the morning, and even to shower, and he was craving some autonomy.

“So the independence of just being able to drive somewhere on your own is actually so surreal,” he says. “And honestly, the first time I went to Bunnings independently, I cried.” Having the car even allows Jaimen to drive his son places, once he’s been strapped in. “Then I can use the knuckle on my thumb to undo his seatbelt, and he climbs onto my lap and we can do an activity, just the two of us. Things like that just help me feel more like a regular dad.” And with a second baby due shortly, he looks forward to being as hands-on as possible.

The story of Jaimen and his wife, Jess, originally from Canada, is like a fairytale. Jess arrived in Esperance to work as a beautician and the pair met through a mutual friend. Jaimen says 10 years ago, they travelled to Bali together as friends and returned home as a couple. 

The pair got engaged on remote Middle Island, some 120km east of Esperance, on the beach between the striking bubblegum-pink waters of Lake Hillier and the vibrant blue of the Southern Ocean. 

“It’s like the least wheelchair-friendly place in the world,” he says, laughing. In this special location that so few humans visit, Jaimen proposed with a diamond he’d stashed in his drone bag.

Although Jaimen sells prints and calendars, and works for various production companies, he describes his droning activities as his hobby. His main gig is running his family’s business, which has diversified from diving into fishing and wildlife tours. On the day I meet him in his Esperance office, the phone is running hot with bookings for the tours and their self-contained holiday units. For Jaimen, working in tourism has been a critical part of his good mental health. 

“Working gave me a distraction from my disability and things I couldn’t do, so coming down here, answering the phones, gave me a purpose and I think everyone needs a purpose in life.” He adds that he aspires to help provide this opportunity to others living with disabilities through his position on the board of the Disability Services Commission for WA.

Hoping to experience some of the wildlife and seascapes Jaimen treasures so much, I’ve booked his Esperance Island Cruises for a morning of touring the Recherche Archipelago. It’s a glittering day as we cruise by national park islands spotting Australian sea lions, waddling Cape Barren geese, and a white-bellied sea-eagle that’s offered a fishy treat. 

Before returning to the port, we drop in to Blue Haven beach, one of Jaimen’s favourite droning sites. Here the granite headlands curve down to meet white sands and vivid, aquamarine waters. Right on cue, a pod of dolphins rides our bow wave, before peeling off to mob a nearby paddleboarder. I feel as though I’m in one of Jaimen’s drone videos, and I can see why he finds it so addictive.

After years of being behind the camera, Jaimen recently found himself the star of a documentary movie. Wildlife cinematographers and family friends Leighton and Jodie de Barros created the film Jaimen Hudson: From Sky to Sea, which was released in cinemas in March 2021. The movie covers Jaimen’s ambition to dive again, and follows him to Ningaloo Reef in the state’s north. In the movie, viewers get to experience Jaimen’s joy of being back in salt water snorkelling with whale sharks, dolphins and massive humpback whales. There is one special moment of connection between Jaimen and a particular whale. “I felt like it was in slow motion; like I had this whale eye to eye with me as it slowly swam through,” he recounts. He pauses, adding: “I know the ocean welcomed me back.”

Jaimen has two new projects currently in the pipeline. One is a documentary about how climate change is affecting certain marine areas in Australia more than others. “We want to look at why that is and also just show the fantastic wildlife above and below the water,” he says. 

Second, there’s a potential television series with the theme of “Quad for a Week”, with Jaimen hosting a couple of notable Australians who would temporarily live like a quadriplegic, including getting in and out of bed with a hoist, and the assisted-showering rigmarole. “I think that would spread a lot of awareness, and perhaps help people have more empathy for those with a disability.”

Leaving Jaimen’s office, I can’t help feeling inspired. Here’s someone who faces enormous challenges daily, and yet still insists he is lucky. His positivity and boundary-pushing attitude seem to promise a very bright future. Watch this space, Australia, because Jaimen Hudson is just getting started.

Related: Drone photography: The Esperance coast as captured by Jaimen Hudson

The post Jaimen Hudson: The ultimate optimist appeared first on Australian Geographic.

It marks the 10th year of our partnership with the South Australian Museum, and it’s gratifying to see the competition flourish with yet another record year for entries.

Photography is critical to how we communicate at Australian Geographic. The power of images to tell stories or focus on issues transcends traditional linguistic and cultural barriers. They can act as attention grabbers that allow us to follow up with more complex ideas and information. They have the power to pull us in, whet our appetite and stimulate our curiosity. They can also shock us or sadden us – maybe even galvanise us into action.

The wildlife conservation movement relies heavily on the impact of strong imagery to move people to care enough to advocate, donate funds or become involved in practical ways. Nature photography was once the preserve of an elite group of professional photographers, but technology has revolutionised the business of both photography and publishing.The sophistication of cameras, including those on our smartphones, plus the endless possibilities to share your photos via social media, provide many good reasons why photography is such a rapidly growing recreational activity.

Our involvement with this competition is very much part of our wider mission to encourage photography of our region’s landscapes and wildlife. Our region offers so much for any would-be photographer, and not just in our wild and remote areas.The flora and fauna in our backyards and city parks are all worthy subjects too. Photography encourages you to look carefully at the world around you. It increases knowledge and understanding, and raises awareness. Nature photographers are active conservationists, and that is the real power of this competition. Some of us will be looking carefully at the f-stop number or the lens type, but for most, it’s a chance to be inspired by the beauty of nature.

We commend all those who entered. The wonderful judges have done a superb job. It’s never easy. We thank Museum Director Brian Oldman, Tim Gilchrist and all the staff of the South Australian Museum for their excellent and diligent stewardship of the Australian Geographic Nature Photographer of the Year, and extend our gratitude to ReAmped Energy and all the sponsors for their support.

The 2022 shortlisted images:

Related: AG Nature Photographer of the Year 2022: Animals in Nature shortlist

Related: AG Nature Photographer of the Year 2022: Threatened Species shortlist

Related: AG Nature Photographer of the Year 2022: Urban Animals shortlist

Related: AG Nature Photographer of the Year 2022: Astrophotography shortlist

Related: AG Nature Photographer of the Year 2022: Our Impact shortlist

Related: AG Nature Photographer of the Year 2022: Landscape shortlist

Related: AG Nature Photographer of the Year 2022: Botanical shortlist

Related: AG Nature Photographer of the Year 2022: Monochrome shortlist

Related: AG Nature Photographer of the Year 2022: Junior shortlist

The post Shortlist: 2022 Australian Geographic Nature Photographer of the Year awards appeared first on Australian Geographic.

The Animals in Nature category showcases native or introduced animals photographed in a natural environment.

Related: Shortlist: 2022 Australian Geographic Nature Photographer of the Year awards

The post AG Nature Photographer of the Year 2022: Animals in Nature shortlist appeared first on Australian Geographic.

The Astrophotography category showcases photographs with the night sky as the focus. This can include astronomical objects, celestial events and areas of the night sky including time lapse images. Landscape or other forms can be included provided the subject of the image is largely celestial. Note: this category does not include images taken through telescopes.

Related: Shortlist: 2022 Australian Geographic Nature Photographer of the Year awards

The post AG Nature Photographer of the Year 2022: Astrophotography shortlist appeared first on Australian Geographic.

The Botanical category showcases vegetation as the focus of the photograph.

Related: Shortlist: 2022 Australian Geographic Nature Photographer of the Year awards

The post AG Nature Photographer of the Year 2022: Botanical shortlist appeared first on Australian Geographic.

The Junior category showcases photographs taken by entrants under the age of 18.

Photographs must fit the criteria of any of the other categories.

Related: Shortlist: 2022 Australian Geographic Nature Photographer of the Year awards

The post AG Nature Photographer of the Year 2022: Junior shortlist appeared first on Australian Geographic.

The Landscape category showcases landscape or seascape photographs, showing the natural environment as the focus of the photograph.

Related: Shortlist: 2022 Australian Geographic Nature Photographer of the Year awards

The post AG Nature Photographer of the Year 2022: Landscape shortlist appeared first on Australian Geographic.

The Monochrome category showcases monochrome photographs (including black and white, sepia-toned, and infrared photographs. The subject(s) of the photograph must qualify for any of the other categories in the competition.

Related: Shortlist: 2022 Australian Geographic Nature Photographer of the Year awards

The post AG Nature Photographer of the Year 2022: Monochrome shortlist appeared first on Australian Geographic.

The Our Impact category showcases photographs depicting  human impact on nature, be it terrestrial, aquatic or atmospheric. This impact may be positive or negative. The choice of subjects may align with the other categories or extend beyond these to subjects relating to environmental projects, scientific exploration, pollution, climate change, etc.

Related: Shortlist: 2022 Australian Geographic Nature Photographer of the Year awards

The post AG Nature Photographer of the Year 2022: Our Impact shortlist appeared first on Australian Geographic.

The Threatened Species category showcases photographs of flora or fauna listed as vulnerable, endangered or critically endangered on the IUCN Red List.

Related: Shortlist: 2022 Australian Geographic Nature Photographer of the Year awards

The post AG Nature Photographer of the Year 2022: Threatened Species shortlist appeared first on Australian Geographic.

The Urban Animals category showcases native or introduced animals photographed in a setting showing built form or other evidence of human activity.

Related: Shortlist: 2022 Australian Geographic Nature Photographer of the Year awards

The post AG Nature Photographer of the Year 2022: Urban Animals shortlist appeared first on Australian Geographic.

The Elvis Presley Memorial Garden within Melbourne General Cemetery, Parkville, is an elaborate and slightly kitschy tribute commissioned in 1977 by the then president of the singer’s official Australian fan club.

The memorial is celebrated in a collection of photographs (one shown above) shot by the late Australian photographer, Polixeni Papapetrou, entitled Elvis Immortal.

The images show Elvis fans visiting the memorial on the anniversary of the star’s death throughout the years 1987 to 1993.

The movie

The latest movie about The King, as he was known, a biopic simply entitled Elvis was shot on the Gold Coast by award-winning Australian director Baz Luhrmann during 2020–21, providing a much-needed economic spark during the pandemic to southern Queensland and the Australian film industry. 

Elvis will screen at Sydney’s State Theatre on June 15 as part of this year’s Sydney Film Festival.

On the same night the festival will also screen the National Film & Sound Archive’s brand-new restoration of Strictly Ballroom.

“Being able to present Luhrmann’s latest film direct from Cannes, while also screening the restored version of his directorial debut is an exciting coup for the Festival,” says Sydney Film Festival director, Nashen Moodley.

The exhibition

Coinciding with the film’s release is an exhibition at the Bendigo Art Gallery, entitled Elvis: Direct from Graceland.

Created in partnership with the singer’s estate, the exhibition (exclusive to Bendigo Art Gallery) celebrates Elvis’ extraordinary fashion and style, featuring costume pieces, iconic outfits, vintage memorabilia, and household items from his Graceland home. 

The post Australian Elvis fans treated to new movie, new exhibition appeared first on Australian Geographic.

According to Søren, they create one of nature’s most spectacular phenomena.

“I was inspired by classical landscape painting, calligraphy and Japanese wood cuts when creating this series of images of the landscape and great flocks of starlings performing an unrivalled display of collaboration and performance skills,” he says.

“The starlings move as one unified organism that vigorously opposes any outside threat. A strong visual
expression is created – like that of an ink drawing or a calligraphic brush stroke – asserting itself against the sky. Shapes and black lines of condensation form within the swarm, resembling waves of interference or mathematical abstractions written across the horizon. The graphic and organic shapes of the starling murmurations range from meditative to highly dramatic as they perform their incredible ballet about life and death.”

Related: Photographer’s incredible images of budgie bonanza

In Australia, the common starling has become a familiar sight around human habitation throughout the east and south-east of the country. It was introduced into Australia in the late 1850s through to 1870 and has become well established and is expanding its range. Flocks are often seen at dusk wheeling in large circles as they search for a roosting site for the night.

Søren is best known for his photographs of world icons in music, film and art, including; Björk, Paul McCartney, Amy Winehouse, Patti Smith, Pharrell Williams, Samuel L. Jackson and David Lynch. BLACK SUN is his latest project and lifetime passion.

You can see more of Søren’s extraordinary work at Nanda\Hobbs gallery, 25 May–11 June in Chippendale, Sydney.

The post Breathtaking video and photographs of starling murmurations 5 years in the making appeared first on Australian Geographic.

Among them are Justin Gilligan and Doug Gimesy, both winners of our own Australian Geographic 2021 Nature Photographer of the Year awards.

Justin Gilligan

It was Justin Gilligan’s confronting photograph showing Colombus crabs (Planes minutus) trapped in face mask packaging in the waters of Lord Howe Island that earned him runner-up in last year’s Australian Geographic Nature Photographer of the Year awards in the ‘Our impact’ category.

Now, another image taken at Lord Howe Island, where Justin is based, has impressed the judges at this year’s Wildlife Photographer of the Year awards.

Justin’s photograph, titled ‘Rich reflections’, in which he created the reflection of a marine ranger among seaweed, has won the award’s ‘Plants and Fungi’ category.

With only a 40-minute window where tide conditions were right, it took Justin three days of trial and error before successfully capturing the image.

“It’s humbling to be recognised in this prestigious competition and exhibition,” Justin says.

“Seaweed forests support hundreds of species while capturing carbon and producing oxygen for our planet. But, just as warming water threatens our coral reef systems, it is also threatening our fragile seaweed forests.

“Being recognised in this competition provides an important platform to inspire and educate thousands of people around the world about critical conservation issues.”

Doug Gimesy

Melbourne-based conservation and wildlife photojournalist Doug Gimesy took out two accolades in last year’s Australian Geographic Nature Photographer of the Year awards.

The first was ‘Animal portraits’ category winner for his stunning image of a white-capped mollymawk (Thalassarche cauta) in flight over New Zealand’s Stewart Island.

Doug also won the ‘Our impact’ category for a photograph drawing attention to the cruel trade of wildlife trafficking, showing a blue-tongue lizard (Tiliqua nigrolutea) tragically stuffed inside a DVD player within a parcel bound for Asia intercepted at a Melbourne postage sorting facility.

But it was Doug’s series of grey-headed flying-fox (Pteropus poliocephalus) images that earned him two Wildlife Photographer of the Year Highly Commended awards.

These photographs highlight the impact of extreme heat on local bat colonies, all taken within 25km of Melbourne’s CBD.

The first image, ‘A caring hand’, shows an orphaned pup lying on a ‘mumma roll’, sucking on a dummy, and cradled in the hand of a wildlife carer.

“She was three weeks old when she was found on the ground in Melbourne,” says Doug.

“At eight weeks, the pup will be weaned onto fruit, then flowering eucalyptus. After a few months, she will join a crèche and build up flight fitness, before being moved next to Melbourne’s Yarra Bend bat colony, for eventual release into it.”

The second image, ‘A deadly huddle’, was taken during an extreme heat-stress event, as temperatures exceeded 43°C.

“The flying foxes descend from the safety of the tree canopy in a desperate search for somewhere cooler and less exposed,” says Doug.

“Ironically, and sadly, this behaviour results in what experts call ‘clumping’ where large numbers of bats congregate in close proximity, and with no evaporative cooling they become even hotter. This behaviour is often a precursor to mass deaths, where one may fall, taking others down with them.

“On the ground, exhausted, and unable to climb, the bodies pile upon each other compounding their heat stress and suffocating some. Sadly, on this day hundreds of bats were piled on top of each other, dead or dying, at the base of several trees.”

Greyheaded flying-foxes, endemic to eastern Australia, are not only facing the threat of heat-stress events, but also destruction of their forest habitat.

“My hope is that the images I take and the information I share will inspire people to stop, think, and treat the world with greater kindness,” says Doug.

The Wildlife Photographer of the Year exhibition, on loan from London’s Natural History Museum, is now on display at The Australian National Maritime Museum in Sydney.

Related: 2021 Australian Geographic Nature Photographer of the Year winners

The post Australian wildlife photographers recognised on world stage appeared first on Australian Geographic.

Why are they here? Because this is the only place in Australia where the critically endangered orange-bellied parrot (Neophema chrysogaster) breeds.

The volunteers are part of the Tasmanian Department of Natural Resources and Environment’s OBP Tasmanian Program which conducts a yearly census of the number of orange-bellied parrots that return to Melaleuca after migrating for the winter to coastal Victoria and South Australia.

In December the group announced “we are excited to report that the final census count of birds confirmed to have returned to Melaleuca in 2021–22 is… 70!”

“Just five years ago, the wild OBP adult population size was 17 birds, including only four females. Ten years ago, there were only 22 adults in the population. Now, in 2021, we have the highest number of birds in the Melaleuca wild population in at least 15 years.”

Just last month volunteers were treated to an amazing show when the usually elusive birds were seen gathered in a large group.

Luckily, photographer Cameron Blake was there to capture the spectacular event.

“It only lasted about five to 10 minutes,” says Cameron.

“These birds are notoriously flighty and very hard to bunker down into one spot.

“It was magnificent to see them in the wild and in such an abundance of numbers.”

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“All of a sudden, the single strand lit up with colours far beyond those of the rainbow. I literally couldn’t believe what I was seeing. I was breath-taken. It was so beautiful. It was a completely accidental discovery. 

“I took a series of photos at the time, but continued to experiment with the ‘technique’. Then, late one afternoon I saw the tiniest web near our backyard shed shimmer a little in the light. I ran inside the house, grabbed my camera, and took this shot.”

Related: The wonderfully diverse world of spider silk

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“To the naked eye, an Aurora will look more like a white flickering light,” Ryan says, “but on this particular day they were like dancing curtains of light across the sky with a yellow green glow. It was really magical to see them moving around right in front of you.”

So how did Ryan get such a great shot? He says it’s all about timing.

“The most clear view South you can find is the best spot to begin. I check sites like spaceweather.com and the Facebook page ‘Aurora Australis Tasmania’ ahead of any photography trip.

On 20th of March, I saw some discussions that the Aurora Australis was visible in New Zealand. The sun was going down in Hobart, and there were completely clear skies. I decided to head to the location that I picked earlier and I set up my camera before it completely got dark,” making way for a great shot.

The post Photographer captures stunning image of Aurora Australis appeared first on Australian Geographic.

I recently spent two weeks travelling around the island to capture breathtaking shots of Tassie’s wildest wildlife.

Here’s my insider knowledge on where, how and when to seek out the likes of the Tassie devil, little penguin and platypus, just in time for those travelling during Easter holidays.

1. Do your research: Tasmania has a lot of locations to cover and a lot of forest. We began planning our trip by searching forums, using Instagram locations and chatting with friends who had visited. Everyone has their favourite location, so map out spots to decide if it will fit the schedule. While people might share a favourite location, part of the adventure is trying to find locations yourself that might not have been recommended before.

2. Surround yourself with native bushland: If camping in the wilderness isn’t for you, book accommodation with native bushland on the property, the more remote the better. We found it common that properties had hectares of native bushland full of wildlife. A useful trick when booking accommodation is to check out TripAdvisor reviews, not to see how comfortable the bed is, but see what others have written about their own wildlife experiences and sightings. Searching keywords such as platypus, devils and quolls is a great way to find out what people had seen and what time of day. If there’s a listing with plenty of good reviews about wildlife, then you’re in luck!

3. Take it off road: Often some tracks to remote locations are not always in good condition and require access with a 4WD vehicle. The last thing you want is to head to a location to find that you can’t access it or even worse you end up getting stuck. We were fortunate enough to get access to a Toyota Fortuner Crusade, which was perfect for our trip. A seven-seater 4×4, it allowed us to pack plenty of luggage with our camera and hiking equipment.

4. From sunrise to sunset: We spotted an incredible number of animals before sunrise when heading to different photo locations. Sunrise and sunset are the best times to see wildlife as a lot of animals are nocturnal or most active in the early hours and others avoid the hottest parts of the day. An added plus is the golden light, which is great for photography. This is the best chance to see wombats, platypus, echidnas, possums, spotted quolls, pademelons and even the white wallaby! Keep in mind when driving to slow down  because a lot of wildlife will jump out on the road, so be very careful.

5. Grab yourself a bird book: Tasmania has an incredible variety of birds and 12 endemic species, so one to keep an eye out.

6. Stop, look and listen: When hiking, make sure to stop every now and then to have a look around. We always made sure to stop and listen for a little while as often when walking it can scare off shy birds and wildlife that might be close by. Sit down for a while to really notice how much wildlife is around to spot. We found that our best experiences, such as an echidna walking over my foot, was because we sat whilst out in the bush. If you’re a photographer, you know that patience is key!

7. Be prepared: Pack the right gear for long bush walks. Staying comfortable is key, especially when the duration of the walk could change, as well as the weather.

8. Talk to the locals: Whenever we had a chance, we sparked up a conversation about what we were looking for and any tips of places to check out. It’s surprising how much people are willing to share and even point out the best locations on a map. When looking for areas to free dive off the shore we found that locals were the only way of knowing where is best to go. Locals will be about to provide the correct and most useful information when it comes to wind direction, swell and remote locations.

9. Ethical Wildlife Tours: When booking a tour, choosing one that is ethical and doesn’t exploit the local wildlife is a great option. Wild Ocean Tasmania was an unbelievable experience. The whole tour is a suitable, carbon off-set and has the animal’s best interest at heart the whole time. They provide the opportunity to interact with long-nose fur seals from a floating platform to minimise splashing as this has proven to not disturb the animals or change their behaviour patterns. It’s also a great way to support the local tourism industry.

10. Don’t rush the trip: If there’s a location that is enjoyable and there’s plenty of wildlife, then sometimes it’s better to stay. Booking too many locations, will means spending half the trip on the road.

When we booked Bruny Island, we had only booked two nights. On the day we arrived we knew two days weren’t enough. Bruny Island is an incredible destination to see endemic birds and wildlife. We ended up extending our stay and it was one of our best decisions. We got to explore a whole different side to the island and had the opportunity to see the rare white wallaby, an animal that we both desperately wanted to photograph.

It’s now easier than ever for Aussies to travel to Tasmania by car as from March until June, Spirit of Tasmania ferry passengers can take their car at no charge, meaning now is the perfect time to drive down to Tasmania and discover what the state has to offer.

Follow Alex’s behind the scenes journey around Tasmania via Instagram.

The post Top 10 tips: photograph wildlife like a professional with Alex Kydd appeared first on Australian Geographic.

Due to Australia’s geographic isolation, a high percentage of these species are endemic and are also evolutionary marvels. Australia’s biodiversity is spread over an enormous landmass as well as a lengthy coastline, but there are plenty of native species that survive, and thrive around our homes and cities.

We are so fortunate to have fascinating, beautiful and accessible wildlife right on our doorstep. Australian biologist and writer Tim Low once wrote that “nature is sold to us as something separate that lives far away from us in wild places, when really it’s all around us, engaging with us more than we guess. The wilderness begins right here where we live.”

So from weedy seadragons and spider-crab mass migrations in Port Phillip Bay to monitor lizards in Darwin’s parks and powerful owls in the suburbs of our eastern state capitals, wildlife is closer than perhaps we realise. The creatures that share our homes, backyards and cities often benefit from us and our altered environments.

Carpet pythons take up residence in roofs and sheds for shelter and access to prey. Infamous flying-foxes camp in our parks for easy access to the fruiting and flowering trees we plant. Tawny frogmouths sit on fences and posts to hunt moths and other invertebrates attracted to streetlights.

We are all familiar with the visible birdlife that visits our yards – lorikeets, brush turkeys and cockatoos, and reptiles basking on warm pathways; however, a large proportion of wildlife is small, cryptic and nocturnal, going unseen in our daily lives. This can make it challenging to locate, observe and photograph.

But you don’t have to travel far to have wild experiences with nature or capture striking wildlife photographs. Start by watching and taking notice of your own backyard and local area. If you put time into observing and listening to that space, you will begin to recognise the clues to the critters that share it with you – diggings in the garden, rustles outside your window or the double note of a boobook owl calling from nearby. This is how my journey into urban wildlife photography began.

Look in your own backyard

When I first started photographing wildlife as a hobby, I had my sights set abroad. I dreamt of making images of the exotic, charismatic megafauna seen in nature documentaries, and ignored the familiar species I took for granted when I was growing up on Australia’s east coast.

I travelled to South-East Asia to photograph wild orangutans, elephants and herpetofauna, though when I returned I found that I actually had more meaningful encounters (and essentially made better images) when I shifted my focus to native wildlife that many would refer to as ‘common’.

Take the time to learn more about the backyard animals your photographing

Although I spent my formative years on my parents’ acres, I hadn’t even considered these common species as valuable subjects to photograph because I was always chasing the rarer species I hadn’t seen before.

While working back in Australia, I visited their place often, and started pursuing backyard wildlife photography. This enabled me to capture images of frequently photographed animals in new ways or when displaying interesting behaviours.

Noticing conical-shaped diggings in the gardens and lawn, I knew that bandicoots were frequent visitors to the yard. I saw native bees foraging in the flowering plants, heard frogs croaking from the downpipes and discovered which branches the tawny frogmouth favoured as vantage points.

Focusing my photography on backyard and urban subjects meant that I could learn more about the animals, observe them at close quarters and photograph them with greater success than I could with an overseas subject while on a busy guided safari with limited time.

Interact with the human-made, urban environment

Previously, I had always kept a scene as natural as possible, making sure I positioned myself so that nothing human-made was in the shot; however, now I embrace, and actively shoot, images that show animals interacting in these artificial habitats.

It is important to note that, ethically, post-processing should not be used to remove and alter elements within an image. Reading about and knowing the species (their preferences, behaviours, mating and seasonal changes) assists in understanding the most appropriate times to observe and photograph them. For example, knowing the times of year when trees fruit and flower, or the breeding cycles of frogs, will help to know when animals will be active, visiting or calling.

The right lighting

There’s a range of approaches and equipment that can be used to capture urban wildlife images. Using a torch to spotlight in trees and gardens is a simple, successful way to locate frogs, insects, spiders, nocturnal birds and mammals from their eyeshine.

I use white light until I find an animal, and then switch over to red light to minimise disruptions to the animal’s vision. Another positive to this when photographing is that their pupils will remain dilated and natural looking. This can easily be achieved with a piece of red transparent plastic over your torch. I use quite a large range of gear, from telephoto, macro and wide-angle lenses, to remote and camera trap technologies to make my images.

The lenses

I use a telephoto lens on the wildlife that I need to keep my distance from and that are easily spooked – turtles, mammals, birds and nests. Macro is used for shooting small subjects at 1:1 ratio and getting details that are often not visible to the human eye – perfect for invertebrates and frogs!

I use wide-angle lenses for the wildlife I can approach and get closer to without disturbing, which allows me to capture the subject in its environment. When photographing an animal, its wellbeing is the first priority, meaning that the individual should not be disturbed, handled or staged to obtain a shot.

Photographing nocturnal animals

A challenge of photographing nocturnal life is that flashguns or strobes are often required. When shooting a nocturnal animal, flashes should be used conservatively.

We can only observe so much, however, and if animals don’t want to be seen, they won’t be. In order to see, even when I am not present, I use motion activated trail cameras that record images or videos of wildlife at all hours. This can be beneficial in monitoring species on your property, the times of the day or night they move through and which trails, trees or areas they prefer.

Additionally, I set up DSLR camera traps, to capture high-quality images of backyard wildlife, which means that the animals are not affected by my presence in any way (because I am not physically there) and go about their natural behaviours and movements.

Enter competitions

There are many ways to get started and involved with wildlife photography, from training courses, photography clubs or groups, online communities, to photo holidays and tours with well-known photographers.

Photo competitions such as the Australian Geographic Nature Photographer of the Year celebrate the diversity and beauty of wildlife photography and are valuable to enter and draw inspiration from. Wildlife photography in Australia has vast potential, and shooting in your backyard or local parks and national parks is a great way to find subjects that are both stunning and accessible.

We need to value the wildlife we share our spaces with. Next time you see that possum scampering along the powerline, the frogmouth on your letterbox or a bluetongue lizard basking in your garden, don’t take it for granted, but pause for a moment and really appreciate it.

Enter your images into the 2022 photography competition here.

The post Urban wild photography tips appeared first on Australian Geographic.

I have been a Canon user for decades and always aspired to own some of the company’s famous L-series lenses, denoting its professional grade of optics and – in the longer focal range, further denoted by the famous ‘white lens’. Many years ago, I got lucky finding a second-hand EF 70-200 f/2.8 IS USM. This lens is awesome – fast, sharp and up to a beating on outdoor assignments – but it is also heavy.

For that loss of one stop of light between Canon’s two EF 70-200 pro lenses (f/4 compared to f/2.8), there is a significant weight advantage; the f/4 lens weighs nearly half the faster version; with the f/4 at 780g versus the f/2.8’s 1480g, making it a far more enjoyable lens to lug around in your backpack. Plus, you sacrifice very little (if anything) in terms of image quality and overall performance. This lens offers five-stop image stabilisation, a reduced minimum focusing distance and a maximum magnification of 0.27x versus the original version’s 0.21. It retains the 20/15 element/group count of the original version, along with a nine-blade rounded aperture and improved weather sealing.

I have used this lens now for two separate assignments – one was cycling focused, while the other saw a mix of portraiture, wildlife and action photography, with both of these being in remote, rugged areas, with plenty of dust, snow, grit and wild weather to test the build quality of this lens (it passed with flying colours). The zoom is relatively silent in operation and the lens’s lighter weight is a huge advantage when it comes to moving quickly to get the perfect shot. The resulting images were very sharp with plenty of colour and, when using it at f/4, the blurred background retained that ‘creamy’ appearance that is so beloved of those trying to isolate a subject against a background. The claimed five stops of image stabilisation in this lens also came in handy in low-light when shooting hand-held, rather than having to take up valuable photography time setting up to use it with a tripod.

For this writer, the EF 70-200 f/4L IS II USM is the ideal addition to my photography bag when on any assignment, whether that is for a few days or for a serious and remote expedition. The robust construction, fast focusing, excellent image stabilisation and that light weight all make it ideal for those types of shoots. It’s a not inconsiderable amount of money (even though it is a hell of a lot cheaper than the f/2.8 version, which retails at $3199), but that outlay does result in a very sound long-term investment for photographers. Add this lens to a wide-angle (say, Canon’s EF 16-35 f/4L IS USM or the EF 24-70 f/4L IS USM) and you’d have a lightweight, robust twin-lens kit that’ll enable you to bring back some amazingly sharp and detailed images from that next adventure. It was a sad day when I had to give this lens back to Canon Australia.

RRP: $2049 See Canon Australia for stockists.

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Getting to understand your subject and anticipate its movements, knowing the distance you can approach without startling them and studying and learning their habits will make getting your image considerably easier.

This has also given me a love and appreciation of my preferred subjects namely spiders in all their diverse and amazing forms. They can be fast and move erratically, but when feeding or interested in a mate you can approach quite closely. You may even have time to do a handheld focus stack which is a great technique to increase the depth of field.

A handheld focus stack is quite easy with a bit of practice and some additional software. You have to start with your camera settings in manual including your focus. Select your ISO and white balance as you don’t want the camera altering them.

Once you have selected your aperture and shutter speed for correct exposure, adjust your focus ring so the front of your subject is in focus. Holding the camera steady, slowly move the camera forward taking one image after another with the focal plane overlapping.

Don’t adjust your focus ring. I normally have my camera on continuous shooting mode and just hold the shutter button down to avoid skewing the camera to the side.

There are quite a few different software programs available to stack your images, I have used Photoshop for years but recently started to use Zerene Stacker, I have found it to work extremely well with a hand-held focus stack.

With macro photography you will often rely on using an external flash to achieve the correct exposure without your ISO being extremely high. A flash can cause hot spots on your image and make the light look unnatural. The best way to soften the light is to diffuse the flash.

There are many different diffusers available for different speed lites but it’s not that difficult to make your own. I’m currently using a Canon  MT 24ex twin flash speed lite and I soften  the light with 4mm packing foam and white satin fabric. The twin flash has its own problems as it will leave two spots on your subjects eyes, making them look unnatural .

By having the flash heads firing into one diffuser you can eliminate that problem. You may need to experiment to achieve a satisfactory result.

If you are using a speed lite, set the power output to manual. I normally have mine set to 1/16^th, you may find it rather slow to recycle if you are taking your shots quickly and the subject may move before you can get enough shots for a stacked image, so an external battery pack can be used on many different flash units.

This will help with the recycling speed and the internal batteries last much longer. I recommend a Godox propac 960, they are capable of powering two speed lites. 

There are many dedicated macro lenses available made by several different manufacturers.

My personal  favourite is the Canon MP-E 65mm 1 to 5x macro lens. This lens is only for close work and will not focus to infinity unlike 1 to 1 macro lenses, it is quite an expensive lens and not the easiest to start with.

There are many alternatives available to achieve macro images, including  extension  tubes, bellows or a macro filter to increase magnification on a standard lens. The Raynox DCR-250 Super Macro lens is great for any kit zoom lens and gives fantastic results.

I started taking photos when I was in high school but it wasn’t until 8 years ago that I started macro photography. In that time I have gone from taking shots of every bug I could find in the garden to researching Peacock spiders.

This journey started with developing a love for spiders and wanting to find more species to photograph. Adam Fletcher, an old friend from high school, Michael Duncan who is an entomologist and myself got together through our shared passion for spiders and photography to set up Project Maratus, Maratus being the genus name for Peacock jumping spiders, of which there are now seventy or more known species.

Project Maratus is a not for profit self funded group undertaking and promoting research into the iconic Australian Peacock spiders.

These spiders are “Australia’s mini birds of paradise” with their intricate often flashy courtship rituals. Little is known about their status in Australia’s environment.

We are the first coordinated approach into investigating their distributions throughout Australia and the habitats they depend upon. This information plays a vital role in understanding their evolution and ecology in our environment.

Australia should embrace the peacock spider as a natural wonder of it’s rich and diverse environment. Their courtship interactions are truly unique and this interesting behaviour is the focus of unlocking many future scientific discoveries in communication and signalling in species.

This is a mammoth commitment by our small group often involving many 1000s of km’s of driving at a time from habitat to habitat and weeks away from home. Our dedication and passion for the natural world is what drives us. To date we have discovered seven new species which have been described and named.

We continue to conduct research trips every spring in search of new habitats to explore, in the hope of  extending the range of known species and ultimately discovering new ones.

The most important thing to remember is there is no right or wrong way with macro photography, its about experimenting and enjoying our natural world.

The post Small subject matter, big impact! appeared first on Australian Geographic.

Time your visit:
Shooting in a rainforest is all about timing. It’s best to be in a forest when it’s overcast or raining. On an overcast day the clouds act as giant diffuser, softening the light, which helps prevent harsh highlights and deep shadows. If there’s moisture in the air you’ll also most likely find mist enveloping the forest, which is ideal for capturing those atmospheric shots. Unfortunately it isn’t always possible to be in the forest when it’s overcast or raining. If you’re holidaying, you may not get the conditions you would like. As a general rule of thumb it’s a good idea to visit early in the morning when the light is low and the air is cooler.

Go wide:
My choice of focal length is always to use a wide-angle lens because they have several advantages in a rainforest. Firstly, they exaggerate a sense of perspective, which can help give the viewer a sense of being in the middle of the forest. Another advantage is the ability this type of lens offers to capture everything in the frame. For example it’s great when shooting from a low angle and looking up at the canopy. Trees or people standing in the centre of the frame make great subjects when shooting from low angles, giving an undeniably surreal feeling to an image.

Use a Polarised filter:
One of the most important items you can own apart from your camera and lens. Polarisers help reduce the glare on water and saturate the green foliage to give your images more impact and eliminate unwanted distractions. Even on a sunny day a polariser can dramatically improve your photos.

Use a tripod:
A sturdy tripod is an essential piece of equipment every landscape photographer should have in their kit. It’s important you use a tripod in the rainforest because it’s often dark beneath the canopy. When you’re shooting at small apertures (f/11 to f/16) and thus requiring slower shutter speeds, hand holding your camera isn’t always an option. By using a tripod you’ll be able to increase your exposure time while still capturing a sharply focused image from the foreground through to the background.

Be selective:
Rainforests are busy environments, often cluttered and full of distractions. It can sometimes become overwhelming when you’re trying to choose your subjects. An over abundance of trees, foliage, roots, rocks, vines can make or break your shots. The old adage of ‘less is more’ is correct, and composition is equally important as light. A great rainforest image requires balance and structure in order to make visual sense of it. You might already have an idea in your mind for the type of pictures you want to create. Scope out the location and look for details which immediately catch your eye. Once you’ve found your subject, study it from various angles to work out what is effective and then frame your composition.

Drew Hopper is Australian based travel, documentary and editorial photographer specialising in Australia and Asia-Pacific region. His latest assignment with AG was photographing Koalas after the devastating 2019/2020 bushfires.

The post Photographing the forests appeared first on Australian Geographic.

Justin Gilligan @justingilligan

Justin Gilligan is by far one of the best underwater photographers in Australia, if not the world. He’s won numerous awards and features in the pages of Australian Geographic almost every issue. There are two very important reasons to follow Justin though. One, Justin’s scientific background means he writes detailed captions that explain exactly what you’re looking at. Two, at the moment he’s stationed out at Lord Howe Island for work, and regularly captures incredible images of the sea life living in the island’s world-famous reefs. 

Related: In pictures: coral spawning on Lord Howe Island

Su Rammohan @theinsectdiary

Su is one of the best macro photographers out there, and she beautifully captures the diverse insect life right out of Bunbury, Western Australia. Her instagram awakened me to the incredible colours of Australia’s native cockroaches, which to be honest was shocking to me because I’m so used to seeing non-native cockroaches. Her close-ups of blue-banded bees and ultra-colourful peacock spiders are also worth sticking around for. 

Related: Photographing WA’s colourful insects

Alex Pike @alexjpike

Alex is one of the younger natural history photographers that I love to follow. This is mostly because a lot of his photographs hit home. What I mean by that is, he often captures the ecosystems and animals that people living on the coast are all too familiar with. My personal favorites are his over-under Images of rock pools, where for instance you can see the banksia anemones below and the sky above. 

Related: Portals of life: inside Australia’s rock pools

Gary Meredith @gaz_meredith_images

For those who love outback wildlife, Gary Meredith is a must-follow. His images of the dingoes of the Great Sandy Desert are hard-work and it definitely pays off. Wild and unpredictable, the dingoes are a difficult subject, but Gary understands their behaviours well and that’s why he gets the images he does. You’ll also want to stick around for Gary’s award-winning images of rainbow bee-eaters and his fascinating images of the arid regions’ cave bats.

Related: Photographing the dingoes of the Great Sandy Desert

Sarah Lloyd @sarah.lloyd.tasmania

Now, I don’t want to call this too early, but Sarah Lloyd’s photography of Tasmanian slime moulds may be my favourite thing ever. First of all, slime moulds are just bizarre. They’re like fungi, but way weirder. They’re single cell organisms that, when observed up-close, are colourful and even sometimes, sparkly looking. And they always have cool names, like ‘dog vomit’.

Luke Tscharke @tscharke

Luke Tscharke is my go-to for Tasmanian natural history photography. He has even been compared to the late, great Peter Dombrovskis, whose photographs famously helped stop the Franklin River dam. Each time a Luke Tscharke image pops into my newsfeed, I get a crazy desire to travel to Cradle Mountain immediately. But the number one reason to follow Luke on instagram is for his unique blend of landscape and astrophotography, which makes for absolutely mind-blowing images of the Tasmanian environment. 

Charles Davis @charlesdavisphotography

Charles Davis is a master of alpine photography. As Australians, we’re not used to seeing our wombats, echidnas or kangaroos froclicking in snow, and so each time I see a Charles Davis image of, for example, a wombat with snow in its whiskers, I swoon. And it’s worth pointing out, there’s no one capturing images like Charles. In this Australian Geographic article, he tells us the extreme lengths he goes to to capture these images, and it’s seriously insane.

Chris Bray @chrisbrayphotography

There is one very key reason to follow Chris Bray. He lives on Christmas Island and is constantly posting about the island’s incredible wildlife. He has the Christmas Island red crabs, great frigate birds and whale sharks well and truly covered. My favourite thing by far, however, are his videos of the annual Christmas Island red crab migration, particularly the one where the adult red crab sits in a sea of baby red crabs and gorges itself on them.

Related: Free online photography course with Chris Bray

Matt Wright @_faunagraphic

Owls-lovers rejoice, I have the perfect Instagram for you. Matt Wright is a bird photographer who specialises in photographing Australia’s beautiful owls. And he goes to great lengths to get these images. There isn’t an Aussie owl Matt hasn’t photographed, but his images of powerful owls are particularly breathtaking, especially when he captures them proudly holding their prey in their talons. Matt’s photography is also eye-opening. He regularly photographs owls who are victims of road collisions and rodenticides.

The post Follow these Aussie natural history photographers and you’ll be occupied until the end of time appeared first on Australian Geographic.

Equipment

• A DSLR, mirrorless camera or a compact underwater camera such a GoPro.
• An underwater camera housing/case to allow you to use your camera in the water. I personally shoot with an AquaTech water housings and Isotta water housing, which have a wide selection of housings for all the major camera brands and models.
• An ultra-wide angle or fisheye lens. I personally shoot with a Canon EF 8-15mm f/4 Fisheye lens and Canon EF 16-35mm f/4 lens.
• A dome port on the front of the camera housing is essential for shooting over unders. You want to use an 8” or bigger dome. My personal favourite is a custom 12” dome made by Matty Smith.
• An underwater flash or strobes. These are essential if you are planning on shooting over unders in low light such as on sunrise or sunset. When shooting on sunrise or sunset we want to expose for the sky. By doing this below the water would be dark
  and underexposed hence why the strobes are required to properly expose the scene and illuminate below the water. Shooting with strobes is a more advanced technique and I would suggest getting comfortable shooting over unders with natural light first
  before experimenting with strobes.
• When I am shooting over unders I will often be in the water for a prolonged period of time so I wear a wetsuit to prevent heat loss and to protect from sunburn. A mask, snorkel and fins are also required if you are planning to shoot over unders while snorkelling. Below is a list of all the equipment that I personally shoot over unders with:
  List of Equipment I Shoot Over Unders With
• Canon EOS 5d MK IV
• Canon EF 8-15mm f/4 Fisheye
• Canon EF 15mm f/4 Fisheye
• Canon 16-35mm f/4
• AquaTech Elite II 5d4 Underwater Housing
• Isotta 5d4 Housing
• AquaTech 8” Dome Port
• Custom 12” Matty Smith Dome
• 2x Inon Z-330 Strobes

Planning

There is a bit of planning involved with shooting over unders. Firstly, you need clear water, if the water is murky or dirty I won’t bother shooting.
A local knowledge of the area you are shooting in is also essential. A knowledge of how swell, wind, tides and currents will affect the visibility of the water is required. The ideal weather conditions for shooting is when the wind is light and the swell is small as this makes the surface of the ocean calm making it easier to shoot over unders. Conditions when the ocean is rough and turbulent from swell and wind will make shooting much more
difficult.

Calm bodies of water such as sheltered beaches, lagoons, rivers, inlets and protected bays are ideal places to shoot over unders. I also find that shooting in shallow water will give you the best results. It is always good idea to check a location first to see if it is a suitable place to shoot.

Entering the ocean is always a risk so ensure you are a capable swimmer and never go out shooting in dangerous conditions beyond your capability.
The conditions on the ocean can change rapidly so make sure you always check the weather and surf forecasts before you go out shooting.

Shutter Speed

If you are shooting a static scene during the day where there isn’t much movement I would suggest using a shutter speed of 1/125sec or faster. If you are photographing moving subjects where you have wildlife such as a turtle or a stingray use a shutter speed of 1/320sec or faster to freeze the movement. These are just general guides though and you can get as creative as you like by shooting with faster or slower shutter speeds to create different effects.

When shooting with strobes your cameras shutter speed will be restricted by your cameras flash sync speed which may vary depending on the camera you’re shooting with. I shoot with a canon 5d Mk IV which has a sync speed of 1/250sec. This means that when shooting with strobes 1/250sec is the fastest shutter speed I can shoot with. However, I can shoot all shutter speeds slower than this. When I am shooting with strobes on sunrise or sunset I will shoot with a shutter speed between 1/250sec down to 1/60sec.

ISO

During the day time, I shoot with an ISO of 200-400 depending on the lighting and time of day. If I am shooting a slower shutter speed I will lower the ISO and for shooting a faster shutter speed I will increase the ISO.
When shooting on sunrise or sunset I will use an ISO of 500 up to 1000. You can shoot at higher ISO depending on how your camera handles the noise.

White Balance

When shooting during the daytime I will have my white balance set to daylight. This will give you consistent colour for the images that you will capture during the session. When shooting on sunrise or sunset with strobes I will have my white balance set to automatic and will correct the colour during post processing if need be.

Focusing

When shooting over unders I always shoot with autofocus. I have my focus set up with one autofocus point right in the middle of the focus area. I will
always look though the view finder to make sure I am getting an accurate focus on my subject. When shooting in low light such as on sunrise or sunset I will often focus using the live view on my camera or use a water proof torch and aim the torch on my subject below the water to where I want to focus. When shooting with a fisheye you can have the focus set to infinity, however I find you get the best results shooting with autofocus.

I will always focus on my subject below the water as this gives the best depth of field and leads the eye nicely from the foreground through to the background. The next step now that you’ve got your camera settings all set, you want to submerge your camera and housing below the water. Looking through the viewfinder I will focus on my subject below the water by half pressing on the shutter button. While keeping my finger on the shutter half pressed I will then lift the camera housing half above the water and recompose making sure I have an even balance above and below the water. I find that this is the most difficult part of the process and can take a lot of practising to get it right. The next step is to fire the shutter and there you go you’ve captured an over under image! You also need to be quick as you only have a few seconds to capture the scene before the dreaded water droplets start forming on your dome, which will ruin a shot. You might be a little disappointed at first but like anything practice makes perfect and over
time you will find out what works best for you.

Tips

• When you are shooting over unders I can guarantee that you will always get water droplets form all over the dome. To reduce water droplets forming I will cover the dome in a layer of saliva and leave it to dry over-night. Then when you are out shooting next wash the saliva off so the dome is nice and clear. This will help minimize the water droplets on the dome. Before you take a photo give the housing a quick dunk under the water then take the shot so you don’t have water droplets on the dome.
  
• After every use (especially in saltwater) make sure you wash your housing in fresh water and let it soak for about 30mins submerged in fresh water to remove any salt build up.
  
• Always make sure any o rings on your camera housing are lubricated with silicone grease and are free of debris such as sand or hairs.
  
• Each time before you shoot submerge your camera housing below the water and hold for 10 seconds to make sure you’ve got a water tight seal and no water is leaking into your housing. If you treat your housing well, it will treat you well for many years to come. So, get on out there in the water and get shooting!

The post How to Shoot Over Under Images with Jordan Robins appeared first on Australian Geographic.

The post Free online photography course with Chris Bray appeared first on Australian Geographic.

                                               Image credit: Chrissie Goldrick

• Ideally carry two cameras and two lenses to save changing them.
  This allows you to capture a variety of shots at wide, medium and long focal lengths. A wide-angle zoom on a full frame DSLR, such as the Canon EF24-105mm f/4L IS,  and a second camera with a longer lens, such as the Canon EF 70–200mm f/2.8L IS USM III, is a  good combination.

• At lower altitudes,  up to 500 feet, the ground moves faster, whereas at higher altitudes of more than 1500 feet ground speed is reduced. The lower you are, the faster your shutter speed needs to be. In general, a shutter speed of 1/2000th will freeze ground motion at lower altitude. At higher altitude, shoot at 1/500th to 1/800th as a minimum, although in all cases,  if there’s plenty of light you can always afford to shoot faster and eliminate all risk of motion blur or vibration caused by the aircraft.

                                                 Image credit: Chrissie Goldrick

• Set the camera to manual exposure and use auto ISO. This set-up allows you to select your desired shutter speed and the camera then automatically shifts ISO to maintain the correct exposure as you pass over different areas and light sources. Use exposure compensation to allow your images to be brighter or darker. Shoot on autofocus but select
  AI Servo.

• Mirrorless cameras are a good choice for aerials. Canon’s new EOS R features a digital viewfinder that shows exactly how the image will look before it’s taken, giving you confidence to press the shutter and nail that shot.

Jay is a Melbourne-based photographer with a passion for photographing African wildlife. He has been working as a Canon ambassador for the past 10 years.

The post Bird’s eye view appeared first on Australian Geographic.

It’s a sunny but chilly Friday afternoon in early May and William Creek’s quirky hotel has been inundated with enquiries following an ABC TV news item the night before. Footage of water surging down through Queensland’s braided inland river channels, turning the red desert green in its wake before emptying into the vast dry lake bed, has pitched William Creek into the global spotlight.

Trevor Wright, proprietor of the William Creek Hotel, woke this morning to more than 200 emails in his inbox, which sent him and his staff into a flurry of activity to meet the sudden demand.

As well as running the hotel, campsite and bar, Trevor, a well-known outback identity, is an experienced bush pilot who runs his own charter airline, Wrightsair. It’s based here at William Creek, which is reputed to be the busiest outback airstrip in Australia.

I’ve been invited by Canon on a guided photography weekend organised under their Canon Collective program, which teams dedicated amateurs with talented professionals in inspiring locations.

During the next two days we’ll make good use of Trevor’s airstrip and his team of expert young pilots as we explore this locality from the air.

My seven fellow participants and I and our two tutors can’t believe our luck. We’ve come here to learn to take aerial photos, so the flooding event at the lake is an unexpected bonus.

We have the use of a couple of eight-seater fixed-wing aircraft, GippsAero GA8 Airvans. Affectionately nicknamed flying bricks, each has a large sliding door that can be pulled back during flight for an uninterrupted view of the landscape below.

Everyone’s excited about the photographic possibilities offered by the rising waters, but on the first day we fly off in the opposite direction, to photograph a recently discovered geological marvel – the Painted Hills – in the late afternoon light. The strange, Martian-looking landscape, daubed with strokes of ochre, yellow and red from minerals leaching from the rocks, rises up from the otherwise flat gibber- and claypan-studded plain on the vast Anna Creek cattle station. It’s not accessible to the general public by road but it’s possible to fly in from William Creek and land on a recently constructed airstrip to explore the area on foot, or simply enjoy from a scenic flight.

Canon tutor Steve Huddy has advised us on the camera settings best suited to a low-altitude flightpath over the fast-moving scene in rapidly changing light. We reset our cameras accordingly before strapping in for take-off. During the flight we take turns rotating around the aircraft to sit in the hot seat next to the open door for an unimpeded view of the drama.

Everyone here is a dyed-in-the-wool Canon devotee, me included. Today I’ve agreed to try out a new Canon camera system but I’m a little nervous. I know my way around my trusty old DSLR kit with my eyes shut. But this new camera is foreign to me and I can’t afford to miss any shots. I give it a go but keep my usual camera within easy reach.

The sky’s the limit

We land for a terrestrial walking tutorial among the hills and valleys before taking to the skies once more to make the best of the approaching sunset.

As the light turns gold, the multi-hued hills ignite and the colours intensify to everyone’s breathless delight. The photographers’ silent concentration is palpable now, broken only by the hum of engines and whirr of camera shutters in overdrive. Before long it’s dark and we’re back at William Creek for the night. Everyone heads away to their cabins to begin downloading and checking the day’s images before dinner in the bustling restaurant of the William Creek Hotel.

We’re up and out next day before the Sun for the pre-dawn light over Lake Eyre. As our aircraft climbs above William Creek, the only other thing on the move is a giant road train barrelling down the Oodnadatta Track, sending up a rust-red dust cloud in its wake. A thin white band appears on the horizon broadening with every kilometre until it turns into the salt-encrusted shore of Lake Eyre North. The pilot descends to 500 feet, the door is tugged open, with some effort, and the shooting begins. As the Sun appears, it illuminates seemingly limitless waters.

The vastness of the scene is hard to capture in a single frame but the ever-cheerful Steve Huddy offers encouragement as we rotate around the aircraft to take up the coveted shooting position at the door. The low angle of the early sunlight throws the crystallised salt formations along the shoreline into sharp relief and it’s these intriguing abstract sculptures on which Steve recommends we focus our lenses.

When not shooting through the door, I’m experimenting with the new mirrorless model. It’s lighter than my Canon EOS 5D Mark III so I’m starting to see the benefits, but I’m certainly not game to rely on it solely just yet. We explore the far reaches of the lake for a couple of hours, flying in low along the Warburton Groove, where the fast-flowing floodwaters from the north funnel down a narrow channel before emptying into the lake proper.

By late morning we’re back at camp and gather together to share the morning’s images and learn a few image processing tips and tricks from Canon professional Jay Collier, and from each other. Everyone seems grateful for the downtime to process photos, charge batteries, eat, and explore the William Creek precinct.

In the afternoon we’re in the air again and this time Trevor Wright is at the controls. Trevor’s a trove of local information and keeps us entertained with his witty anecdotes and stories of his 35 eventful years at William Creek. He knows the lake well and flies us around even more of its jaw-dropping immensity. He explains how the wind can move the entire body of water from one part of the shallow lake bed to another. The putty-coloured water ripples gently in today’s light breeze and the numerous islands and crusty shorelines provide interest, colour and texture for our photos.

Burning the midnight oil

The clear autumn sky above William Creek is perfect for stargazing so later that night when the Moon’s up, Steve and Jay lead us beyond the lights of the little township to a rusty disused former Ghan railway bridge to learn the art of astrophotography. I point my tripod head and camera at the sky and snap away, adhering to the expert instructions, but can see nothing at all on the playback screen in the inky darkness.

The Milky Way, almost invisible to the naked eye in the night sky, looms miraculously out of my photos when I download them the next morning and I’m thrilled to have acquired a new skill.

Our cohort of shutterbugs hail from all corners of Australia and all walks of life. They’re united by a love of photography and the wild places it can take them and they all cherish the opportunity to travel with like-minded souls.

Heather Rose from Vermont in Victoria is a regular at Canon Collective’s one-day workshops in Melbourne with Jay Collier, but it’s her first trip away with the project. “Every time I work with Jay I learn something new,” she says. “He has a knack of figuring out exactly where people are at with their photography. He’s not intrusive and is always able to teach me something new.” Heather is an experienced aerial photographer, but this year Lake Eyre is something special. “It’s a once-in-a-lifetime opportunity to see the lake the way it is at the moment. I love the abstract nature of what you can see in there and what others can see in your images of it.”

A bird’s-eye view

Onofrio Deserio from Pascoe Vale in Victoria is a keen birdwatcher and it’s that passion that has brought him to photography. “The natural extension of identifying birds is to record them with a camera,” he says.
There aren’t too many birds to shoot in this arid region of SA so I ask him what drew him to photograph here. “I needed to do more than shoot 2-inch-high birds and I wanted to try my hand at this kind of landscape photography,” he says. “It has been amazing to see Lake Eyre as this great ocean, like an inland sea.” For Onofrio, one of the highlights has been the contrast between the surrounding desiccated desert and the life-giving waters with their promise of new growth.

“It’s so difficult to capture because it’s so large,” he says of photographing the lake. “Even the widest-angle lens has a tighter perspective than the human eye, so I decided not to take photos all the time but to look with my own eyes and take in the abstract shapes and patterns. I hope I have also captured that in my photos.”

We bookend our stay at William Creek with one final flight back over the Painted Hills in the fleeting dawn light. I set up both cameras in the way I’ve been taught and snap furiously away while I’m ‘on the door’. But the rest of the time I decide to follow Onofrio’s example and simply gaze out through the perspex window to try to absorb the beauty and power of a landscape that few will ever get to experience.

It gives me time to reflect on the true magic of photography as a pastime or a profession – of its ability to take us to places off the beaten track and encourage us to really look closely to identify and capture the beauty in any scene and, hopefully, communicate that beauty to others.

The post Taking to the Eyre appeared first on Australian Geographic.

I could say Guthega wombat, which made the Australian Geographic cover, but because I know I could do it again, I couldn’t honestly call it my absolute favourite. It’s the images that I could never take again and took weeks of waiting to capture, like the mother and baby wombat walking through fresh snow under dead snow gums. It can sometimes be very hard for a photographer to leave behind the emotional attachment that some photos have. You may find that capturing a particular photo has put you through hell and back and this is the reason you think it’s great, but it might not be as appealing. It’s definitely the photos that combine the pay off from hard work and wonderful aesthetics that end up being my all-time favourites.

What are some of the biggest challenges when it comes to taking photographs in cold conditions?

The hardest part is the distance you have to travel to find the animals. I can easily ski 20km in a day following tracks, and this is when you have to pack light on camera gear and heavy on things that will keep you happy and alive (like more layers and more food). When I go out, I have to pack many different layers for all possible weather conditions, varying from light clothing when the sun’s out, to jackets and gloves that will hold up in blizzards. Keeping warm when you find an animal is also difficult, because sometimes you will have to lie in the snow for two hours waiting for an animal to walk your way, and shivering doesn’t make for steady photos.

How can you combat some of these issues?

I only wear wool and Gortex layers when I go out. I’ve learnt the hard way that cheap gear and cotton make for a very uncomfortable time. Not everyone has the money to buy high-grade Gortex but wool layers are cheaper than ever, and companies like Kathmandu do functional shells these days too. Wool is especially great, because you can sweat into it, get it wet, and it will still keep you warm and it won’t smell. Plus, it dries fast. Gortex breathes and keeps snow and wind out. I find too many people bring heavy, thick insulating layers to the snow, these are great until you need to move then they become very uncomfortable, so you’ll always be better off with a good lightweight shell that breathes, combined with layers underneath.

Certain body parts need more love than others. For example, arms and legs can handle being cold, and so can toes and fingers. But your head and core need all the love. I always pack a balaclava, a wool beanie, goggles and big sunglasses, For my core, I always have a wool shirt, a puffy vest, a thicker wool layer and a good Gortex shell. As long as you have a thin wool layer over your fingers and toes, they should stay attached. The best place to look for functional snow photography clothing is hunting brands, because at the end of the day photography and hunting are very similar, and you can guarantee that the hunting folks have put more thought into functional clothing than anyone else. I use hunting gloves with flip over mittens, as they are perfect for getting your trigger/shutter finger out and back inside quickly.

What kind of gear is necessary for taking the perfect alpine images?

The best gear for taking good alpine images is the lightest gear you can get. I don’t take a tripod out because they slow me down, and I don’t take out my 200–400 f4 because it weighs too much. Instead, I sometimes opt for a 28–300mm lens, and one body. The room I save then goes to clothing and food. There is a common saying in photography that the gear that gets you the photo is the best gear you’ve got at the time; the 28–300 lens isn’t the best lens I have, but it is sharp, light, and covers a massive range very quickly.

Skis are my next most important piece of gear – one push from a ski can equal up to six steps, and you can glide over the snow rather than struggling and sinking into it. Plus, if you have made it to the top of a mountain, you definitely don’t have to worry about walking back down. The more ground you can cover in a day, the more likely you are to find subjects to photograph.

As I said before, the clothing you take makes all the difference, and a few core things are especially crucial. The last thing should be a no-brainer but so many people neglect it: water. Cold air sucks moisture out of your body like the Dementors from Harry Potter suck souls. Always pack a good amount of water and have it accessible.

What do you like most about photographing in Australia’s alpine region?

I grew up in the mountains, and I feel safe, relaxed and free out there. But this isn’t how most people feel, so I take advantage of that fact and have carved out my niche around it. Australia has more snow-covered area than the Swiss Alps, and the little part tourists see around the resorts is just a drop of what’s waiting out there. The further you go the more magic you find. Snow is an amazing thing; it adds beauty to normally mundane things like rocks, trees and creeks. The thing I enjoy most about photographing wildlife in the snow is the simplicity it provides.

What advice do you have for people who would like to get into alpine photography?

My advice is to learn how to ski on touring skis, because until you can escape the confines of the resorts and the roads on skis, you will never truly be able to take full advantage of what’s out there. Invest in some good Gortex and some suitable footwear. However, snowshoes are also fantastic if you can’t ski. Start slowly with your exploring and never go further than you are comfortable with, because safety comes first and the weather can change fast in the mountains. Even the best of us get lost in blizzards and fog.

Learn how to shoot in manual and learn how to expose for white. Your camera will freak out at pure white, and will try to underexpose your images every time, so once you can expose for white, everything else will also be exposed and you will nail your photos every time.

Learn to love walking up hills and get as fit as you can, because trust me you’re going to be grunting up lots of inclines in deep snow, and even the smallest bump covered in snow can feel like Everest.  

The post How to master alpine photography with Charles Davis appeared first on Australian Geographic.

James’s work has not only graced the cover of Australian Geographic, but has recently been compiled into a book, Bees of Australia, published by the CSIRO. Through his macro photography, he’s revealed the huge diversity of Australia’s native bees. “I can share the countless colours and structures that our Australian native bees put on display,” he says. “Before macro photography introduced me to our native bees I would have had a hard time imagining the blue, purple, red, green and indeed rainbow-coloured bees that I have now seen.”

See more: Blue banded bee, a native beauty

Photographing bees, however, is a hard skill to master. “Macro photography is a very technical form of photography where depth of field, focus and light can be extremely limiting. At the same time, macro photography can be very rewarding; you might very well be photographing something that has rarely been photographed before.”

Here, James offers insight into his favourite images, how to spot bees and not disturb them, and he shares his tops tips:

Male Golden-Green Carpenter Bee. (Image Credit: James Dorey)

Gear

I personally shoot on a Canon EOS 5D Mark IV, which is a fantastic all-round camera, but quite expensive if you aren’t working professionally. Previously I have used a Canon EOS 60D to similar effect – this camera is also easy to pick up on the cheap second-hand. I have a small arsenal of lenses for macro photography as well. When shooting in the field I use the Canon 100mm L series macro for the small stuff and the specialist Canon 65mm MPE for the tiny stuff. When shooting in my studio, I will use both above lenses as well as my two Nikon microscope objectives (4x and 10x) stuck onto the end of a big Canon 100-400mm lens. Lighting is critical and so I usually use 2-3 off-camera flashes with DIY diffusers, although this is not always necessary or practical when shooting in the field.

See more: This huge black bee is a gentle giant

Be familiar with your gear

You don’t need to be a pro, but make sure that you know the basics. In today’s digital era, it has never been easier to take some test shots and see how an image is turning out, so don’t be afraid of firing away and “chimping” (checking your LCD screen a lot) between shots to get comfortable with how the images are turning out. Make sure that the images aren’t too dark, aren’t too blurry and are in focus. Moving off auto-mode is very helpful and a great way to learn how photography works, but doing so too early can also overwhelm a photographer.

See more: Neon cuckoo bee, a shiny parasite

Female Colletid Bee. (Image Credit: James Dorey)

Spotting bees

Spotting bees can be difficult. But a sure-fire way to find them is to go where they go – flowers! Not all flowers attract bees, for example many garden varieties are introduced or are too modified and so might not provide food for bees. Native flowers such as melaleucas and gums are often hot-spots for native bees. When certain native plants are blowing up with bee activity in the warmer months it’s a great idea to put down your camera and spend some time watching how the bees behave, where they land on the flowers and what disturbs them. Practice knocking the flowers, or casting them in shadow to see what frightens them away. Once you have done this, not only will you know how to avoid scaring them, you will also have a better understanding of their behaviour.

Go towards the light

Photography is literally all about light. Camera sensors and film simply record the light that comes into your lens, mastering this light is how we fill our canvases. Shoot in the golden hour or under overcast skies to get interesting or soft light. Shoot with a bit of paper reflecting light back onto your subject and filling in the shadows. Find the light, learn how it changes an image and once you are confident learn to manipulate it before it gets into your camera and onto your sensor. Lighting is one of the ways that photographers can express their creativity and indeed transform an entire scene.

See more: The blue beauty with an impressive coat of fuzz

Go a step further with your macro

Depth of field is so limiting for macro photography, people have worked out a way around it. This powerful technique is called focus stacking and it can be extremely useful to the macro photographer. Multiple photos can be taken through a subject by either moving the camera or the focus, so that in a series of photos you get an entire subject in focus. These images can later be “stacked” together in post-processing using programs like Zeren Stacker, Helicon Focus and (somewhat clumsily) Adobe Photoshop. Focus stacking is also often used in landscape photography to get a whole scene in focus. But beware: your subject must be completely still or close to it, otherwise you will have trouble stacking the images together in post-processing. Online forums such as photomacrography.net are a great place to get started with focus stacking.

(Image Credit: James Dorey)

It’s not all technical

Sure, becoming familiar with your camera and lighting will elevate your photography but don’t forget composition. In other words, where you place the objects, subjects and indeed everything and anything in your frame. This is one of the most difficult things to master but, like lighting, playing with composition allows a photographer to express their creativity and imagination. Creative possibilities aside, there are some simple rules that you can follow to improve your photography. The ‘rule of thirds’ is one of the easiest to adopt into your shooting style. By dividing your frame into thirds horizontally and vertically you create four points of interest where those lines intersect, this is where a viewer’s eye is drawn – whatever you want your viewer to look at, place in one of those spots. Another good rule is to leave more space on the side of the frame that your subject is looking at. This directs the viewer’s eye towards that empty space and lets them explore the image more deeply.

See more: Bees more deadly than spiders in Australia

Favourite photography subjects

My favourite bees to photograph are always those with brilliant colours, particularly those that you don’t come across all that often. Neon cuckoo bees are certainly up there for their rich blue and black colouration as well as green carpenter bees for their large size and incredible metallic greens. Not far behind however, are the wonderfully diverse euryglossines that include small to medium sized yellow, green, orange, red and black bees. I have yet to find a bee that is not gorgeous – but I might be a little biased.

You can purchase a copy of Bees of Australia HERE.

The post How to photograph bees appeared first on Australian Geographic.

This prestigious competition, run by the South Australian Museum, is now in its 13th year and continues to be a brilliant showcase for the unique flora, fauna and landscapes of this part of the world.

Australian Geographic is proud to be a partner in the contest. We understand the power of beautiful photography and are keen to encourage excellence in this pursuit and an appreciation of the special natural values of our own backyards, quite literally.

GALLERY: 2017 AG Nature Photographer of the Year winners and runners up

Congratulations to the winners and runners-up for the 2017 competition:

Overall winner

Justin Gilligan ‘Predatory Pursuit’ (pictured, above)

Portfolio prize

Julie Fletcher Portfolio

Animal portrait

Winner: Jennie Stock ‘Windblown Egret’

Runner up: Tracey Jennings, ‘Shortfin Scorpion Fish’

See all shortlisted photos in this category.

Animal Behaviour

Winner: Scott Portelli, ‘Devouring a home’

Runner up: Jason Hosking, ‘The Rehearsal’

See all shortlisted photos in this category.

Animal habitat

Winner: jason Stephens, ‘Happy Wanderer’

Runner up: Tracey Jennings, ‘Arborek Jetty’

See all shortlisted photos in this category.

Botanical subject

Winner: Justin Gilligan, ‘Final Stand’

Runner up: Raoul Slater, ‘Fungus Pair’

See all shortlisted photos in this category.

Landscape

Winner: Julie Fletcher, ‘Spirit in Country’

Runner up: Ryan North, ‘Kosciuszko Ice’

See all shortlisted photos in this category.

Monochrome

Winner: Brian Jones, ‘Iceberg at Paradise Harbour’

Runner up: tracey Jennings, ‘Whaleshark’

See all shortlisted photos in this category.

Our impact

Winner: Justin Gilligan, ‘Gill Net’

Runner up: Lea Acaddan, ‘Tied’

See all shortlisted photos in this category.

Threatened species

Winner: Elizabeth Howell, ‘Coming In For a Drink’

Runner up: Trevor Penfold, ‘Wandering Albatross’

See all shortlisted photos in this category.

Junior

Winner: Georgia Poyner, ‘The Dancer’

Runner up: Tess Poyner, ‘Morning Mist’

See all shortlisted photos in this category.

GALLERY: 2016 AG Nature Photographer of the Year winners and runners up

The winning photos will be exhibited at the South Australian Museum in Adelaide, SA (11 August to 24 September) and the Australian Museum in Sydney, NSW (11 August to 10 December).

The photos will feature in the next issue of Australian Geographic (AG#140) and be published on a hardcover book available for sale through Magshop.

Receive great savings and a gift when you subscribe to our magazine

The post Winners of the 2017 AG Nature Photographer of the Year competition appeared first on Australian Geographic.

Green and gold nomia bee
Lipotriches (Austronomia) australica

One of the first native bees that I ever photographed, this green and gold nomia bee is one of those that really kicked-off my passion for our native pollinators.

Leafcutter bee (male)
Megachile (Rhodomegachile) abdominale 

Male leafcutter bees often have highly modified forelegs that are by and large designed for use during mating. Males will often rob their forelegs over the eyes of the female while mating; this is possibly used for species recognition. In this species, the forelegs are unusually long.

Golden-browed resin bee (female)
Megachile hackeriapis aurifrons

Distributed across all of mainland Australia I’d recommend everyone to keep their eyes open for these beauties. A large black bee with a red face and red eyes, they are sometimes hard to miss.

Colletis bee
Palaeorhiza cnemidorhiza parallela

Caught in Rollingstone, Queensland this amazing colletid stunned me with its flambouyant colouration – I was particularly excited to see this individual through my camera!

Red singer bee
Amegilla asaropoda rhodoscymna 

A flash of red and a quick buzz was all I got when this red singer bee flew by. After much chasing and many failed swings of my net I had to wait to see this boy land before I could catch him.

Reed bee (male)
Exoneura sp.

As the name suggests these reed bees often make their nests in reeds or hollow out small pithy branches, provisioning their young with pollen and nectar at the end of their little nest.

Plasterer bee (female)
Callohesma flavopicta

Callohesma bees are often tiny; this individual is only at 4 mm long. However, if you get the chance to spot one (often feeding on gum flowers) you will be greeted with a pleasant array of pale yellows, greens and oranges.

Colletid bee (male)
Leioproctus amabilis 

Found in Barrington, Tasmania this big colletid was foraging beside the introduced honeybee and bumblebee in a bee-friendly yard. While direct conflict with introduced pollinators is rare it has been found that introduced pollinators compete with their native counterparts for resources.

Colletid bee (female)
Leioproctus sp.

I am often surprised by how little we know of our diverse and important native bees. This female Leioproctus is yet undescribed. There are over 1600 native bee species already described but the real number of species in Australia is thought to lie somewhere between 2000 and 3000 species.

Leafcutter bee (female)
Megachile lucidiventris 

Leafcutter bees typically have large and powerful mandibles for cutting circles out of leaves – commonly out of the leaves of roses, native ginger and other plants. They then use these cuttings to build a nest for their young.

Sweat bee (female)
Lasioglossum (australictus) lithuscum

Bees often harbour mites. Unlike the mite Varroa destructor that attacks European honeybees many mites form mutual symbiotic relationships with bees. Mites eat nest fungus that might otherwise harm the bee’s young, while the bees transport the mites between their nests. This is one possible reason for why this sweat bee if carrying these large mites.

Halictid bee (female)
Homalictus urbanus 

Homalictus bees are common across Australia. In shades of metallic green, blue, red and more these gems nest in the ground, often in reasonably sized aggregations.

Sugarbag bee (female)
Tetragonula sp.

One of everyone’s favourite groups of bees – the stingless bees are often cultivated and kept in little hives for the occasional harvesting of honey or just the enjoyment of seeing these bees go about their daily tasks.

Golden-green carpenter bee (male)
Xylocopa lestis aeratus 

Big and fluffy, these male carpenter bees look quite different to their female counterparts, but certainly they are no less beautiful.

Neon cuckoo bee (female)
Thyreus nitidulus

Many bees sleep outside of a nest at night, meaning that they can be find like this – roosting by locking their mandibles on branches and waiting for the light and warmth of the following day to begin their work once again.

The post A photographic guide to Australia’s bees appeared first on Australian Geographic.

I’m not exclusively a wildlife photographer but I have spent a good amount of time being bitten by bugs in Asian jungles, driving the North American west in search for grizzly bears and trekking endless miles through Tasmanian bush to check camera traps often in freezing winters. Like many, I have always had a fascination with the species and photography lining the pages of the best natural history magazines. To photograph them in a new way is tough, but not impossible – with some imagination and old fashioned hard work, you will soon find yourself on the right track.

My camera trapping work started when I returned to Tasmania after living and working in Asia for nearly two years. I gave myself an assignment, to photograph the Tasmanian devil in the wild. There were a few ethical boundaries I set for myself: no captive devils, no baiting and I would photograph them at night, they are nocturnal after all.

Behind the scenes, camera trapping for Tasmanian devils. (Image: Angi Kim)

The devil was a natural choice. It is iconic, mysterious and endangered. Additionally, after searching through image libraries it seemed no one was photographing the devil beyond wildlife parks or baited setups with horrible lighting. It has all the ingredients for an interesting personal project and photo essay.

After researching the species it was clear I needed to use camera traps to get the shots I was after. I studied the work of photographers who were also using camera traps on assignments to photograph elusive wildlife such as tigers, snow leopards, jaguars and many more. I began to understand the mechanics of how the camera traps worked and how I would go about taking on this project, and started shopping for a suitable infrared system, figuring out what I could source online and what I needed to design and build myself.

Devil’s in the detail

A devil unknowingly poses for a camera trap photo while scaling a log in the rainforest area of Cradle Mountain, Tasmania. (Image: Heath Holden)

The behavioural characteristics of Tasmanian devils presented some technical challenges. They are nocturnal which requires me to use flash – I am using multiple flashes and need to ensure they all wake and fire immediately when the camera is triggered. Getting that first shot is important and using a regular flash sync cable doesn’t send the required power signal the flashes need to wake fast enough, so how do I go about powering these flashes for extended periods?

Also, the devils I am attempting to photograph are wild and elusive, so where do I find them? Is my gear going to be safe set up in the bush for months at a time?

These are just some of the problems I had to work through. With trial and error, time and research I was able to solve them one by one. The camera traps I’ve built work well with minimal issues. Having worked with them for so long, I can usually diagnose and fix most small problems in the field.

Choosing a camera trap

Trail cameras

These are passive infra-red one piece units built into strong plastic waterproof cases. I use a Bushnell Trophy Cam. They have a sensor with a 40-degree angle of detection and when an animal wanders into that area, a video or still image is taken.

Image quality is ok, but they are most useful for monitoring a location for wildlife activity and determining whether it is worth setting up a DSLR trap. The camera I use runs on 12 AA batteries and can last up to 12 months depending on weather conditions and how often it is triggered. It shoots 1080p HD video and 8MP stills, the resolution and specs are now higher in the more current models.

Preparing the area and setting up a DSLR camera trap can take a couple of hours. You often have to create mounting points for the camera, IR system and the flashes. Then, once everything is mounted, comes the light placement and metering, avoiding shadows and doing your best to hide cables and keep any part of the gear out of the frame. (Image: Heath Holden)

During the day they record colour images and at night they switch to a black and white infrared image using a panel of IR illuminators to light the area. You can adjust basic settings such as trigger sensitivity, video recording time/number of images per trigger and delay between each trigger. These are an essential part of a camera trapping project.

DSLR camera traps

These are exactly what they sound like, a camera trap system using DSLR bodies and your own choice of lens.

For a complete working camera trap system you need many separate parts which all work together as one, they are listed below along with their purpose:

Camera body

Over the years I have used a range of Canon bodies, 1000D, 20D, 50D, 60D, 1Dmk3, 6D and an IR converted 5Dmk2.

I upgrade if I come across a second hand body at a good price. Canon bodies work well and seem to be durable enough to be left out in the weather when using a good housing, I haven’t had any personal experience with other brands but I know of photographers working with them successfully. They have good battery life when in auto-sleep mode, the infrared beam system will wake the camera instantly when triggered and you can get about a month using one standard battery.

A Tasmanian wombat (Vombatus ursinus tasmaniensis) approcaches a stream at Narawntapu National Park in Tasmania’s north-west. Shot by DSLR camera trap, no bait. (Image: Heath Holden)

I set the focus on the spot I want the wildlife to be photographed in, after a while I realised live-view was a very useful feature, at the time I was using a 20D (no live-view) and it was hard to get accurate focus using a wide angle lens while in awkward positions, often at ground level in forests and streams. The more recent cameras have a silent shutter mode which is also an advantage, each devil reacts differently to the camera trap going off but it makes sense that the least amount of noise you make the more natural the behaviour will be. You don’t need to go out and buy the latest 5Dmk8, the image quality of all DSLRs these days is really good; any second-hand body which is still in a reliable working condition will do the trick. My first feature story was in BBC Wildlife magazine and the double page opener was shot on a 10MP 1000D which I bought for next to nothing.

Lens

Typically if you’re working with camera traps you are targeting intimate shots of wildlife in their natural habitat, so wide angle is the most commonly used. When I’m using one of the smaller 1.6x sensor bodies I use a Canon 10-22mm f/3.5-4.5 USM zoom, usually set at 10 or 12mm, the kit 18-55mm f/3.5-5.6 EF-S lens or a 15mm f/2.8 fisheye. The distortion of the fisheye is easily fixed in Lightroom and the larger aperture is handy if I want to bring in some stars to the dark night sky. If I am using a full frame body I use a Canon 17-40 f/4L at 17mm.

Infra-red trigger system

The DSLR camera trap needs to be triggered by an IR unit. This is done by a passive or active infra-red sensor or beam. The passive system uses a sensor with an angle of detection (similar to the trail camera) and they monitor for infra-red radiation which is given off by animals – when detected, the camera will be triggered.

The first thing I look for when looking for a new location is scats, foot prints and piles of old bones. When I find a scene like this it is a sure thing I’m going to check it out a little further and put a trail cam there to see what activity is going on. (Image: Heath Holden)

This style of sensor is good if photographing a general area, if the wildlife is a bit unpredictable and isn’t on a clear path then this could be the option. The sensitivity is adjustable and the angle of detection can be varied by using shrouds on the sides of the unit. The active beam system consists of a transmitter and a receiver which pulses an IR beam between the two units, when this beam is broken it will trigger the camera. The active beam is more complex to setup but is more precise, you set the beam to cross exactly where you want the wildlife to be photographed in the frame. I have missed a couple of specific shots using the active beam – the devil didn’t quite break the beam and walked within an inch from crossing it, if I had been using a passive sensor I may have got the shot.

The active system is very programmable; you can fine-tune trigger sensitivity, trigger signal time, number of shots, time zones so you can program it to shoot only from sunset to sunrise or vice-versa. I use Trail Master infra-red gear but the other brands commonly used in the camera trapping world are CamTraptions and Sabre by Cognisys.

Footage of Tasmanian devils in the wild. (Video: Heath Holden)

Camera housing

There is not really an off-the-shelf option here, so some DIY, design and imagination is required.

I have built several different variations using different starting points including small rubbish bins, letterboxes, pelican cases and custom-made aluminium boxes. I have now come up with a consistent design that works well and fits different camera bodies. The pelican case seems to be the most common amongst other photographers working with camera traps around the world.

One point to remember when building a housing is to leave enough room above and beside the camera body for a hotshoe-mounted flash cable and a remote cable to be plugged in. I now have a couple of reliable housings which I confidently leave out no matter the conditions; they are totally weatherproof, unless the water rises from above… I had to save a camera when the stream I set up in rose suddenly and I returned to find the water level just touching the bottom of the camera (it lived to see another devil!). I have left cameras through full Tasmanian winters in well below-freezing temperatures with no problems other than a bit of lens fogging – this usually happens on sunrise and sunset when the temperature changes but it is not too much of a problem. One other problem is mud splashing up onto the lens port after heavy rain.

Flash

This shot of a possum is a good example of lighting style. There is a warm main light at camera left and a back light off to the camera right which you can see illuminates his tail and is a cooler temperature which creates depth and colour separation. (Image: Heath Holden)

In the beginning I was using my everyday Canon 580ex2 flash with an off-camera flash cable, it worked fine one day at a time, but the way it naturally operated didn’t allow the flash to sleep and wake properly so the batteries would barely last one full night. I would be camping out and trying to charge a bunch of AAs to reload it every night, it wasn’t really productive.

From my research I knew there were certain older Nikon flashes which held their charge well and would wake fast when triggered from sleep mode. I bought as many old Nikon SB28s as I could at a reasonable price, I have six now which gives me enough to run two or three camera setups, this flash can last a month or so on four AA batteries.

Using a Canon body with Nikon flashes has its problems, I had to build custom cables to switch the wire configuration from the corresponding Canon hotshoe to the Nikon flash terminals, I would then use Nikon’s old off-camera flash system with modified AS-10 adapters. In the field the flashes are mounted in a simple weatherproof plastic tube with a cap on the end and mounted with a small ball head to a tree.

Workflow and settings

This is a four-shot collage example of little things not quite working out. Out of focus, too close, wrong directions. The learning curve never stops, but it keeps you going. (Image: Heath Holden)

Before heading out to set up a camera trap I do a lot of planning. I first need to find a suitable spot with wildlife activity and obtain permission if it is a sensitive or private area.

I will session a location for at least six months making small changes depending on how productive it is. Sometimes I will have multiple cameras out in different areas. The locations are usually remote and can take an hour or more to reach and then a few kilometres of trekking; forgetting a cable, batteries or mounting gear can be a real inconvenience. Cable ties and tape have become a permanent fixture in my bag, you can mount anything with those items!

The setup

I compose the shot as I would if I were shooting normally and then build the lighting to suit the direction I hope the animal will pass through the camera trap. Sometimes I get an back-end shot but that’s not always bad. If it happens enough it means I need to turn the camera around. It is all a learning curve.

A wombat triggers a camera trap while walking along a west coast beach. (Image: Heath Holden)

Since I am targeting a nocturnal species and photographing in the dark, it is really the work of the flash to create the ‘feeling’ of the shot.

My work in editorial assignments and experience using flash has been a huge advantage in this work, I am really creating environmental portraits, just of devils not humans.

I zoom the flash heads and sometimes use a homemade snoot to control spill and shape the light. To avoid harsh lighting and horrible shadows I mount the lights as close as possible to the area in frame, this also helps by keeping the required power level low (meaning longer battery life).

Flashes are always set to manual power and I check the exposure with a light meter. Camera settings are usually f5.6 – f/8 and between ISO400 and ISO800. I use either manual or aperture-priority and vary the shutter speed from .5 sec to 1/100th in manual to control the fps speed of the camera in continuous mode, when in aperture-priority mode it will automatically crank out to 20 or 30 seconds, which usually only gives me one shot each trigger, but it has the possibility of letting some ambient moonlight bleed into the shot and eliminating a big black boring sky.

Tasmanian devil. (Image: Heath Holden)

Progress and outcome

What initially started out as a project to simply get some good natural shots of Tasmanian devils has now turned into a more extensive natural history story which I have loosely titled ‘The Life of a Tasmanian Devil’.

I’m trying to document as many aspects of the devil’s world as I can and there has never been a time when this species it needs it more.

This personal project fits well between other assignments; I have been documenting some of the Save the Tasmanian Devil Program research trapping trips and the lab work being done at the Menzies Institute for Medical Research to understand the devil facial tumour disease and try to create a vaccine to help the devils outlast this fatal disease.

I’m continuously photographing footprints, roadkill and landscapes which would be home to the devil. Wildlife parks also play an important role in this story; they have ongoing breeding programs and allow people to see this iconic species as it is very difficult to see them outside of a captive situation.

A large tumour can be see on this adult devil’s neck as it walks through an industrial area with crates and shipping containers. A family of devils was living in the area for around six months. Photographed by camera trap. (Image: Heath Holden)

I’m constantly writing down ideas for new shots and I will continue to work on this story and push it as far as I can.

You can follow Heath’s work on his website www.heathholdenphotography.com or on Instagram and Facebook.

The post Pro’s guide to wildlife photography in the field appeared first on Australian Geographic.

More than just a cliché, our holiday hideaway turned out to be utterly unforgettable: decorated with one of the largest returns of baby red crabs ever seen.

Image: Chris Bray Photography

Image: Chris Bray Photography

Growing up sailing around the world, I first visited this tropical paradise as a seven-year-old in 1990. Memories of snorkeling in crystal-clear water, nesting seabirds, blowholes – and of course the famous red crabs – drew me back almost 25 years later to start running the island’s first photography tours.

Jess and I have run these tours since May 2014, and while the famous red-crabs are ever abundant, I had a yearning to witness what Sir David Attenborough himself describes as one of his top 10 experiences: the annual migration of more than 50 million of these critters from their jungle homes down to the sea to spawn.

Image: Chris Bray Photography

Image: Chris Bray Photography

Dictated by the lunar cycle and rain, all indications were this spawning would occur at 4.00am on Christmas morning, so we had booked to fly in a few days early. As is often the case, though, nature had other plans and the crabs marched a month early! Although initially devastated, this cloud had a silver lining: the billions of miniscule baby red crabs drifting out at sea miraculously started to return to the island just as we flew in.

It was one of the most amazing spectacles I’ve ever seen – every morning for days on end, the shoreline of the cove (and elsewhere around the island) was painted red with a seething carpet of baby crabs – often inches deep – all clambering ashore and heading inland. The roads, pavements, even building walls were covered. Dive operators were reporting great swirling clouds of baby crabs never before seen, and even the locals agreed this was one of the biggest – if not the biggest – baby red crab returns ever.

Image: Chris Bray Photography

Image: Chris Bray Photography

Before sunrise on Christmas morning, we went down to the cove and watched a handful of adult red crabs that hadn’t received the change-of-date memo come down to release their eggs into the sea, while simultaneously millions of baby ones were crawling out.  

It was the best Christmas I’ve ever had, and we stayed for another four weeks, completely enchanted by this island paradise.

Image: Chris Bray Photography

Image: Chris Bray Photography

Chris Bray is an Australian Geographic photographer and adventurer. He runs photography courses around Australia and photo safaris around the world through his company Chris Bray Photography.

The post Deck the halls with billions of baby red crabs appeared first on Australian Geographic.

Having run photography tours on Kangaroo Island for the past four years, we’ve now compiled a list of the top five wildlife photography experiences that our guests love the most!

1. Swimming with wild dolphins

Kangaroo Island Marine Adventures – run by former crayfisherman Andrew – will whisk you out in his jetboat, reliably finding the resident pod of dolphins, which come right up and play around the boat.

While you can easily reach your waterproof camera underwater or put your GoPro on a stick, amazingly, you can even jump right in and swim around with the dolphins, for the most incredible photos (and an unforgettable experience).

Never baited or fed, these wild dolphins usually hang around out of their own innate curiosity until the chilly water temperature encourages you to climb back onboard. On your way home you’ll visit sea lion haulouts, osprey nests, cormorants and more as you cruise along the island’s spectacular coastline where the orange sandstone cliffs meet the sparkling water.

2. Sea lions at Seal Bay

This is sandy beach is the only place in the world where you can see and photograph the endangered Australian sea lions so conveniently and at such close quarters.

A parks guide will escort you down to the sands of Seal Bay from where you can photograph the interactions and behaviors of this energetic marine mammal. You can photograph sea lion pups playing in the white sand, bulls battling for supremacy; mothers suckling their young and, if you’re lucky, even catch one surfing back into the beach through the waves.

The best way to photograph these seals is to organise a private twilight tour after hours – not only for golden lighting, but you’ll be the only group on the beach so you won’t have other people in your shots.

3. Raptor Domain

Usually just getting a distant shot of Australia’s largest bird of prey – the wedge-tailed eagle – is exciting enough, let alone having one perch patiently right in front of you in perfect lighting and against a natural bush background for breathtakingly detailed portraits.

Add other rarely encountered bird species to the list including white goshawk, black-breasted buzzard and sooty owl, and you’re in bird photography heaven. The Raptor Domain is an environmental and educational raptor rehabilitation center catering for orphaned, injured and sick birds of prey. They have two public viewing education shows a day where you can manage some great shots of birds in flight, but again for photography it’s best if you can book a private session where you can position the birds just how you want, in perfect lighting against the perfect background for some incredible shots that you could never obtain in the wild.

4. Duck Lagoon

A beautiful, quiet location for a sunrise shoot, Duck Lagoon is often cold and misty while you’re setting up, but when dawn breaks this lagoon comes to life. Black swans slide through the golden veils of sun-lit mist, blue fairy wrens flit from twig to twig, lorikeets, rosellas and galahs screech and chatter overhead, swallows swoop through the beams of light and if you look to the trees, it shouldn’t be hard to find yourself a lazy koala or two as well.

I love it here, and you’ll get some magic shots – there’s even some little wooden bird hides along the lagoon’s shoreline and ancient rusty cars and bits of farm machinery around providing added visual interest.

5. Hanson Bay Wildlife Sanctuary

If you go for a stroll through the local koala walk, you’re guaranteed to find several lazy grey bundles in the trees to photograph, sometimes quite low and active.

The area is also alive with birdlife including the superb fairy-wren, spotted pardalote and scarlet robin. There’s usually a grey kangaroo or two grazing or lazing in the fields surrounding the koala walk, which in spring can sometimes turn into a carpet of yellow flowers.

Of course there’s much more to Kangaroo Island than just it’s wildlife – the island boasts impressive cave systems, unique rock formations including the Remarkable Rocks and Admiral’s Arch, desert dunes other stunning landscapes and seascapes.

To hone your photography skills and experience this natural haven, we offer five-night photography tours to Kangaroo Island every November. Limited to eight guests and including luxury accommodation, private doors-off plane charters for amazing aerial shots, private sessions at Seal Bay, Raptor Domain, dolphin swim, in the caves and more.

And Australian Geographic Members get $100 off!

Visit www.ChrisBrayPhotography.com for details and book early as this tour always sells out.

The post Top 5 wildlife photography opportunities on Kangaroo Island appeared first on Australian Geographic.

With the right camera settings and a good eye, it’s possible to take a winning shot. Here’s how.

(Image credit: Chris Bray Photography)

Camera settings

• Switch to Shutter Speed Mode (TV mode on a Canon, S mode for other cameras) and dial your shutter speed down to around 1/30th sec. You’ll get a feel for it, but it depends on how fast your subject’s moving – this is a good speed to start experimenting with for wildlife or cars. If your subject comes out sharp but there’s not enough background streak then use a slower speed, if the everything (including the subject) is blurry then try a faster shutter speed, or just practice panning more smoothly.
• Set your ISO to ‘Auto’ so it’ll do whatever it has to to give you that shutter speed irrespective of lighting conditions (it’ll usually pick the lowest, ISO100).
• Set your focus-mode to ‘AI Servo’ (‘AF-C’ or ‘tracking’ for non-Canons) so your camera will keep updating the focus to track your moving subject.
• Enable more than just one centre-AF point, so you don’t have to be so pedantic about making sure you don’t accidentally slip the one centre AF focus point off the subject as you track it.
• Lastly, set your camera’s ‘drive mode’ to continuous drive so you can just hold the shutter and rattle off a whole series of photos as your subject moves, concentrating on trying to pan smoothly.

Subjects

(Image credit: Chris Bray Photography)

Ideally, for panning, you want to capture something that’s moving past you square-on, as subjects moving towards or away from your camera will change size and perspective, making it hard to keep them sharp. A car driving along a road is an easy subject to start with as their movement is (usually) smooth, predictable and easy to track.

When shooting a subject like a bird or animal, the problem is that their limbs or wings move up and down as the subject moves forward.  Here, blur is unavoidable – instead, focus on keeping the animal’s head and face sharp in the photo.

Backgrounds

(Image credit: Chris Bray Photography)

If your subject is moving past a smooth, uniform background – like a clear blue sky – your pan won’t create any visual streaks or blur. For maximum effect, you want a background that has some texture, features and contrasts in it, as well as a fairly contrasting colour to your subject so it stands out.

Another issue is that photos may come out over-exposed, especially in the middle of the day. Don’t try to solve the issue by dialling down your exposure compensation to make the photo darker – that won’t help. A lot of light is captured at a slow shutter speed – you’ll need to increase the shutter speed until it can cope, even though that means less movement will be captured in the background.

Pan when light is failing

(Image credit: Chris Bray Photography)

As the Sun goes down and that amazing golden lighting starts to fade, it can be really hard to get nice, fast, sharp photos of wildlife anymore without cranking your ISO through the roof, which results in terribly grainy photos.

My tip? Stay out for an extra hour, embrace the slow shutter speed and aim to get some cool panning shots. It’s a ripe time for some creative movement photos where a bit of blur doesn’t matter so much.

Save settings

The camera settings for panning really are essentially the opposite of those you’d usually be shooting with.

It can take a little while to get your camera all set up, and sometimes the subject will have gone by the time you’re ready.  For this reason, save all these settings into a ‘Custom Mode’ or ‘User Mode’ (if your camera supports these) which lets you quickly snap to these ideal ‘panning settings’ instantly. 

READ MORE:

• Up close with brown bears
• How to photograph the Moon
• How to shoot storms
• Video tutorial: photography composition

The post How to take great panning photos appeared first on Australian Geographic.

Inexplicably, right beside the bears was a tiny huddle of half a dozen people sitting on camping chairs watching them – we couldn’t believe it.

A brown bear with a freshly caught salmon. (Photo credit: Chris Bray Photography)

Having just sailed through the Northwest Passage over the top of Canada and Alaska in the Arctic the year before, my wife Jess and I were used to polar bears and carried our healthy respect (and quite frankly, fear) for those predators with us into these warmer climates. Taking a few months off from running our photography tours around the world, we were just sailing our little 29-foot junk-rigged sailboat Teleport down through the Aleutian Islands and along the Alaskan coastline looking for things to photograph. And now we’d hit the jackpot.

The brown bears did not seem to mind the photographers’ presence, and largely ignored them completely. (Photo credit: Chris Bray Photography)

Anchoring up, we grabbed our camera gear and rowed our little inflatable dingy as close as we dared and snapped some awesome photos – but the idea of actually stepping out amongst all these bears seemed a little suicidal. Yet somehow, that little group of onlookers didn’t seem to care, and to our amazement, neither did the bears. We watched as one bear strode right in front of the group, passing less than 5m from them – without so much as a glance in their direction.

There was only one other boat in the bay, a fancy-looking powerboat – and in the evening, we saw a launch head ashore to collect the bear-viewers. Curious to learn how they did it, we rowed out to intercept them and they invited us to join them ashore the next morning.

A brown bear jumps through the water. (Photo credit: Chris Bray Photography)

That next day was one of the most incredible photography and wildlife experiences of my life – in fact, one of the best experiences of my life, full-stop.

Being able to quietly sit there all day while surrounded by a dozen brown bears as they caught salmon and played with each other was extraordinary. Several times, bears running down fish in the shallows body-slammed into the river to emerge with a salmon so close to us that we almost got splashed. We took back-lit photos of bears shaking water from their coat, others with surprised-looking salmon in their mouths, bears standing up and fighting each other, panning shots, full frame face shots and more. 

Too close for my telephoto lens at times, I occasionally swapped to my wide, which made me appreciate the stunning scenery around us too: the purple fireweed flowers and the multicolored, ash-draped mountains from an epic eruption back in 1912. I nestled my GoPro camera on a rock in the river, and two little cubs wandered right up to it and licked it. Bald eagles nest in the area too, and every time one flew over, all the seagulls hanging around for salmon scraps took flight. We even saw a wolf! 

Photography heaven.

A brown bear cub licks Bray’s GoPro camera. (Photo credit: Chris Bray Photography)

It turned out the operator – a bit of a local legend – has been running these  exclusive, private bear-viewing holidays around Geographic Harbour for about 20 years and thanks to his comprehensive briefings, has never once had an incident with a bear. Usually booked out years in advance, he flies guests in by float plane who then stay onboard for several days enjoying this wonderfully unhurried experience, complete with a private chef and almost no one else around. Compared to the overcrowded, bureaucratic and tightly scheduled viewing-platform experience of the more popular bear-viewing places like Brooks Falls, this place is simply magic.

Two brown bear cubs in the water. (Photo credit: Chris Bray Photography)

A family of brown bears. (Photo credit: Chris Bray Photography)

Ever since we found this place back in 2013, we’ve been running sold-out photography tours to Alaska every August, ending the two-week experience of spotting puffins, whales, glaciers seals and more with three unforgettable days in the Geographic Harbour with the bears in the middle of their salmon catching season. We love it, and every year as we step ashore amongst the bears with our little group of eight guests, we still have to pinch ourselves to make sure we’re not dreaming.

READ MORE:

• How to photograph the moon
• VIDEO tutorial: photography composition
• How to photograph storms

The post A photographer’s dream: up close with brown bears appeared first on Australian Geographic.

This prestigious competition, run by the South Australian Museum, is now in its 12th year and continues to be a brilliant showcase for the unique flora, fauna and landscapes of this part of the world.

Australian Geographic is proud to be a partner in the contest. We understand the power of beautiful photography and are keen to encourage excellence in this pursuit and an appreciation of the special natural values of our own backyards, quite literally.

GALLERY: 2016 AG Nature Photographer of the Year winners and runners up

Congratulations to the winners and runners-up for the 2016 competition:

Overall winner

Matthew McIntosh ‘Piercing Headache‘ (pictured, above)

Portfolio prize

Georgina Steytler Portfolio

Animal portrait

Winner: Wade Hughes ‘Red Whip Ambush‘

Runner up: Matt Curnock, ‘Blue-eyed flatback‘

See all shortlisted photos in this category.

Animal Behaviour

Winner: Matty Smith, ‘Glaucus Atlanticus‘

Runner up: Georgina Steytler, ‘Mud Skipping‘

See all shortlisted photos in this category.

Animal habitat

Winner: David Westcott, ‘Well, hello!‘

Runner up: Wayne Osborn, ‘Home Shrinking Home‘

See all shortlisted photos in this category.

Botanical subject

Winner: Julie Fletcher, ‘Aligning Planets‘

Runner up: Drew Hopper, ‘Mist Shower‘

See all shortlisted photos in this category.

Landscape

Winner: Julie Fletcher, ‘Desert Patterns‘

Runner up: William Patino, ‘Transcendence‘

See all shortlisted photos in this category.

Monochrome

Winner: Charles Davis, ‘Winters path‘

Runner up: Peter Hill, ‘Leura Falls Creek within a wet and foggy morning‘

See all shortlisted photos in this category.

Interpretive

Winner: Dianne Galbraith, ‘Swaying‘

Runner up: Joel Durbridge, ‘Float‘

See all shortlisted photos in this category.

Our impact

Winner: Doug Gimesy, ‘The Killing Field‘

Runner up: Alex Varani, ‘The whale sharks of Cenderawasih Bay – Two worlds‘

See all shortlisted photos in this category.

Threatened species

Winner: Bret Charman, ‘Palm Grove Dingo‘

Runner up: Georgina Steytler, ‘Buller’s Albatross, Thalassarche bulleri‘

See all shortlisted photos in this category.

Junior

Winner: Ryan North, ‘Rockpool‘

Runner up: Robert Irwin, ‘Toothy Grin‘

See all shortlisted photos in this category.

GALLERY: 2016 AG Nature Photographer of the Year winners and runners up

The winning photos will be exhibited at the South Australian Museum in Adelaide, SA (18 August to 3 October) and the Australian Museum in Sydney, NSW (19 August to 9 October).

The photos will feature in the next issue of Australian Geographic (AG#134) and be published on a hardcover book available for sale through Magshop.

The post Winners of the 2016 AG Nature Photographer of the Year competition appeared first on Australian Geographic.

A cold environment can be attractive for all sorts of reasons to a keen photographer. Landscapes of ice and snow allow for abstract and striking compositions and often the air is clear and the light clarity can be extraordinary. The accompanying photo I took of the mid-winter night sky above a snow cave in New Zealand is a good example of the sort of image I am talking about. One can’t help but think ‘brrrr’ when looking at that photo!

Successfully getting that shot meant having control over three aspects of the photo process unique to a cold environment, which on that occasion was definitely below freezing. First and foremost is personal preparation aimed at the ability to function for a length of time in an extreme environment. Second, ensuring the camera can function as it’s meant to will take some thought. Finally, the ‘in camera’ creative process may need some tweaking in situations where extremes of lighting contrast are at play.

Personal preparation

Possibly the most common concern I hear voiced on this topic is a worry that the camera will freeze or be damaged in cold conditions. In fact, rarely does a decent camera fail in the cold, it’s more common for the photographer to give up because of personal discomfort.

Corey Rich, an adventure sport photographer from California, has weathered conditions of all types around the world in his pursuit of stand-out images. I assisted Corey on an expedition to the Karakoram Himalaya in Pakistan and he was unequivocal in telling me that his best shots occur when pushing the edges of his physical comfort zone so that he keeps shooting creatively when others have called it a day. At the end of a long day in the mountains when a tired climbing team is snuggling into a snow hole as the sun drops below the horizon, Corey can be found resisting the overwhelming urge to join them and instead working to capture images that tell the story.

Tired climbers get cosy in a snow hole as photographer Corey Rich braves the cold for one last shot. (Image: Corey Rich)

The only way to extend cold tolerance as Corey likes to do is to be prepared with the means to stay warm for longer. As an Expedition and Wilderness Medicine doctor I teach about the subject of hypothermia and I emphasise that prevention is far better than cure on this issue. For the photographer handling a cold metal camera on the go or standing still next to a tripod as night falls in winter, the risk of getting too cold is very real and a drop in core body temperature can begin to subtly affect creative decision making (and the standard of your photos) even before significant signs of hypothermia start to show.

Layers of warm clothing (not forgetting your head), good wind protection, warm fluids to drink and fuel in the form of high-energy snack food to keep the fire burning inside you are all important. So too is sufficient protection for your precious extremities. Good insulating footwear and most importantly for the photographer, warm gloves that allow for finger dexterity are imperative.

In a really cold situation beware of water and wind making contact with exposed digits because the time to irreparable freezing will be short. It’s not uncommon for an Everest summiteer to whip off down gloves for an all-important selfie on top of the world only to suffer frostbitten fingers as a result. Gloves that allow for the operation of camera controls are a very useful item. Having said that, if anyone has found the perfect solution in that regard please let me know because I haven’t as yet!

Despite the best of preparation sometimes you will inevitable start to get chilled and then you’ll need a back up plan in place to re-warm like the one I had when I was photographing ice climbing in the dead of winter in northern Japan a few years ago. I retreated to a hotel at the end of the day and soaked for hours in an onsen (hot springs). Oh it was glorious.

Camera preparation

There are some simple rules to adhere to so your camera will behave itself in the cold. Alaskan landscape photographer Carl Battreall has spent his fair share of time in the frozen mountains of that beautiful US state. He has one golden rule: “let the camera stay cold but keep batteries warm”. The primary culprit when it comes to camera failure is the battery.

Carl explains, “You don’t want the battery to drain prematurely while in the camera in the cold, it is difficult to warm up to an operating level again in the field once it has died. When really cold [it’s a matter of degrees!] I don’t have a battery in the camera unless I am ready to take a photo”. I like to keep camera batteries close to my body where they can stay warm, in a pouch threaded through a cord around my neck does the trick and then in my sleeping bag at night. As a battery in my camera drops to around 50 per cent power I will take it out and rotate with a warm spare. Needless to say it’s important to carry spare batteries with you for this system to work. To my dismay I’ve found that buying third-party batteries is an inefficient use of funds, as they don’t last as long as the proprietary ones that come with your camera.

Pam Weiss and her dog Shadow enjoying a perfect March day, Portage Glacier, Chugach National Forest, Alaska. (Image: Carl Battreall)

To improve battery life become familiar with the camera menu and lens options available to reduce power consumption. Turn off all camera beep functions, turn off screen review after every shot, minimise use of live-view and turn off any lens or camera image stabiliser function (if available). Mirrorless cameras require that you use the power-hungry LCD screen for composition and for that reason many outdoor photographers I know prefer cameras with an optical viewfinder option that allows you to compose without using power. 

There is no question that cameras and lenses at the more professional end of the spectrum (i.e. more expensive end) are better weather-sealed and will resist moisture ingress. So, in regard to cold weather photography, it’s a case of buyer beware when it comes to what you can expect. The danger is that your cold metal equipment will form condensation on and within itself when brought into a warmer environment. Then, if returned to a sub-zero temperature before that moisture can evaporate, ice crystals may form and damage the sensitive electronics of your digital equipment. Cameras with better weather sealing are less likely to have this problem.

When I’m on a ship in Antarctica, after shooting outdoors I remove the camera batteries to take back to a warm cabin but leave the rest of my gear in a bag under cover outside in the cold. Similarly Carl leaves his gear outside his tent when in the mountains and he also suggests putting the camera in a ziplock bag to help keep condensation from forming on the camera.

One last consideration that pertains to all conditions but should also be included here is the need to turn off power and protect the camera interior from wind carrying dust and other particles when changing lenses on a DSLR body unless you want to spend computer time later on trying to remove those annoying dust specks from your digital files.

The photographic process

At a talk I gave for Ted’s Cameras and Canon Australia recently, a gentleman approached me afterwards and asked, “How do you photograph snow? I have trouble with the exposure and my photos of snow don’t work out”.

Photography in the cold doesn’t always feature snow or ice of course, but hopefully it will from time to time because it is so much fun to be out in that type of environment. These elements do force creative decisions to be made by the photographer because there are often extremes of contrast in the scene. The bottom line is that we want the snow (and other elements) to look ‘right’ in the final image and to include whatever detail there was present in the original scene.  

In the days of film some guesswork and experience was needed to get perfect exposure in high-contrast situations especially with transparency (slide) film. In the era of digital capture immediate feedback of our images is available in the field, which makes the task much easier.

Our eyes can perceive detail in shadow and in bright areas within the same scene that our cameras cannot. What the camera can record is represented by a histogram which is a graphic representation of the dark to light spectrum of light (from left to right) captured for each photo. Find the menu option to turn on the histogram on your LCD screen either in live view or on the photo review screen to give you feedback.

The lightest part of your photo, snow or white ice, will register on the right of the histogram. The key is to get that edge of the graph to extend to the far right without ‘peaking’ beyond what the camera can record in the light part of the spectrum – a tall line will appear on the right if this occurs. Then detail in the whites will be retained. I also monitor this by using a menu setting that causes any over exposed areas to ‘blink’ when I review an image on the screen. Note that I’m now recommending using the LCD screen to review image histograms to help your creative decision making, this will use more power and needs to be considered in the cold!

Iceberg detail, Antarctic Peninsula, showing the histogram with exposure to the right. (Image: Andrew Peacock)

Importantly an inherent characteristic of camera sensors is that there is more tonal detail able to be recorded to the right-hand side of the histogram than the left. Any detail on the left side can’t be as easily recovered by post-production software ‘shifting’ of the histogram without compromising the quality of the final photo. So getting exposure right ‘in camera’ is important. An underexposed file is not the basis for a high quality photo with snow and/or ice as a main feature.

The camera uses a light meter to help set exposure at the time you press the shutter, the meter doesn’t know you have snow or ice in the scene it just knows what is bright and light and what is not and will try to average out the scene to a mid-tone. If white is the predominant tone in your image then the final histogram may not have much information on the right side at all and any snow or ice will look more grey than white in the photo as a result. Some cameras will do better in this regard than others and many will have a ‘snow scene selection’ option on the mode dial and using that is one way to approach the issue.

Assuming you want to take full control though, you need to manipulate the exposure reading generated by the camera. You will need to switch the mode dial from Auto to open up the menu choice needed. Exposure compensation for a scene with ice and/or snow can be done via a menu function allowing you to override the camera metering and adjust the exposure upward. Given time to set the shot up I will experiment with just how much I increase the exposure and fine tune it based on histogram feedback. Once set then I leave it like that while shooting in that environment. Don’t forget to turn exposure compensation off afterward otherwise you’ll find your next set of photos from a more neutral contrast situation will be way overexposed.

In all snow and ice situations photographing at the each end of the day means there will be less contrast in the scene allowing more latitude in your exposure settings and will especially suit photographing people and other darker subjects in that environment.

One last important point is that I highly recommend selecting RAW file output rather than jpeg in your camera menu settings to improve your ability to get a great shot from a high contrast scene. Jpeg files have already been interpreted and processed by your camera and if you do make a mistake with the exposure on a unique, one off, shot it’s very difficult to ‘fix’ it afterward unless it’s a RAW file. Of course that means having the time to first learn and then use a RAW file editor like Adobe Lightroom to process your files.

A good example of the benefit of shooting RAW is an observation that I can ‘push’ my exposure to the right and even allow some minor ‘blinking’ of highlights on my LCD screen confident that when I open the file in Lightroom I will find I was actually within the range of highlight detail that the RAW file could record even though my camera was telling me otherwise.

Photography in cold environments can be fun and very rewarding and with careful planning you and your camera will perform flawlessly so get out there and be creative.

Dr. Andrew Peacock is a widely published adventure travel photographer based in Queensland (not the coldest of places!) and is a Ted’s Cameras Master and Zenfolio Pro Ambassador.

More of his images, some from not so cold places, can be found at www.footloosefotography.com

The post Photography in a cold environment appeared first on Australian Geographic.

In this comprehensive video tutorial on photography composition, AG Photographer Chris Bray explains why that approach won’t cut it on so many levels.

In the 16-minute tutorial, Chris covers his top 10 tips for photography composition, from the ‘rule of thirds’ to framing your photos and more.

This tutorial is Part 3 of Chris’s popular one-day course, which he is currently releasing in 10 parts for free online here.

RELATED:

• How to photograph storms
• How to photograph star trails
• How to shoot the Moon
• Tutorial: Photographing fireworks

The post Video tutorial: composition appeared first on Australian Geographic.

When captured in an image, a storm can add a dramatic element to a popular location, or it can stand alone as a showcase of the forces of nature.

Whatever they might convey to an audience, storms are an increasingly popular subject for photographers. But when nature does put on a show, the decisive moment can be fleeting, and as a photographer you must be prepared. This really is the essential ingredient to good storm photography: preparation. It applies to gear selection, location scouting, and weather prediction.

The following tips cover some important areas that photographers should consider when photographing storms in here Australia.

Gear

Camera

For best results, a camera’s settings need to be manually adjusted, so iPhones and point-and-shoot cameras aren’t the best option for storms. A DSLR will work much better as you’ll have control over our settings, which is crucial.

Lens

Although good results can come from zooming in on a storm, you can’t beat a wide-angle lens for capturing the full force of a storm front. You’ll also have more chance of getting lightning in your frame with a wide-angle lens, so this is the best place to start; anything from a 10-20mm lens on a crop-frame camera, or a 14-35mm lens on a full frame camera.

Tripod

Whether photographed in the light of day, or in the dark of night, storms should be photographed with a tripod. This is for one basic reason – lightning. The only reliable way to capture lightning in your image is to increase your exposure time, and for these long exposures we need to use a tripod to prevent image blur and camera shake. Bring the sturdiest one you can.

Tip: Try hanging your camera bag from the base of your tripod to help stabilise it if things start to get wild.

Rain gear

A rain jacket, lens cloth, and towel are essential accessories for storm photography. You and your gear will likely get a few spots of rain, and using a clean lens cloth is much better than using your shirt sleeve. Even if your camera is weather sealed, you should try to protect it as best you can by using an umbrella, towel or even a specially designed waterproof cover.

Settings

Focusing at night

Many people want to have a go at shooting lightning, and the best time to do this is at night as the darkness allows for longer exposures. Focusing in the dark can be particularly challenging and usually involves trial and error, so take some test shots and review your images until you get it right. Always ensure sharpness before composing your shot of the storm.

Tip: For distant storms (e.g. storms out at sea) the focus should be set at infinity and then tweaked back slightly. A good shortcut here is focusing on a bright object far away, like a distant light from a ship or a town.

Shutter speed

This can vary. You can get lucky and capture lightning at most shutter speeds – but you’ll have far more hits with a slow shutter speed. I try to stay between 5 seconds and 10 seconds as a rule. Too much longer and a fast moving front will start to take on a soft or even blurred look. During the daytime these longer exposures are made much easier with filters.

Tip: Try a neutral density filter to slow your shutter speed right down and increase your chances of capturing lightning in the daytime.

Aperture

Shooting at night usually means shooting with your aperture wide open to take in as much light as possible. This works for many low-light subjects, but lightning can be intensely bright, having the potential to blow out all the highlights in your image. I try to avoid this by stopping down my aperture to f/8 or smaller. This also ensures more of the scene is in focus.

Tip: Experiment with your settings to account for the distance of lightning. The closer the lightning, the brighter the scene will become.

A storm cell moves out into the Pacific Ocean. The intense rain inside the core glows from the back-lighting of the Sun. (Image: Will Eades)

Storm prediction

In Australia, our storm season is typically in the more humid months from November to March, with storms building through the morning and hitting mid to late afternoon. But how do we know when and where to find storms? Barometers are great to indicate changing weather conditions, but you can’t beat radar for storm prediction, and checking the radar has never been easier with the advent of smart phones. I personally prefer mobile weather apps, but you can also look up the national radar loop on the Bureau of Meteorology website and select your region to see if a storm is on its way.

Tip: You can learn to predict severe weather without radars and barometers by looking for natural indicators such as large cumulonimbus clouds towering high up into the atmosphere.

Location scouting and timing

Storms present many different photo opportunities at the different stages of their development, but they aren’t always a pleasure to shoot, often bringing strong winds, rain, hail, and (hopefully) lightning. Lightning, though spectacular when captured in an image, is deadly. So apart from striving to be in the right place at the right time when photographing storms, you also need to consider being in the wrong place at the wrong time. When scouting locations for storm photography, the ideal vantage point will offer a wide and unobstructed field of view, like a beach, a field, or an elevated headland. Keep safety in mind and always have an escape plan.

The different stages of a storm can be broken up into the following stages.

Approaching storm (the front)

Photographs of inbound storm fronts can look fantastic. A menacing shelf cloud or a glowing rain core are powerful images worth capturing. I get my best results with the approaching storm, but the weather can be just as wild prior to the storm hitting as it is during the storm itself, so once again, have an escape plan, i.e. keep your car close by or another form of shelter.

Overhead storm (the danger zone)

No, it’s not as cool as Kenny Loggins makes it sound – people die in severe storms. Cars don’t fare well either. No matter how photogenic a storm might be, when the storm is nearly overhead, I move to cover. At this point many people make the mistake of calling it a day and going home when they should wait it out from the safety of cover and prepare for the final stage of the storm.

Aftermath (the light show)

A distant storm passing out to sea can be even more spectacular than an inbound shelf cloud. Make sure you bring extra batteries, as these light shows can last for hours into the night.

Will Eades is a photographer living on the east coast of Australia. His images have featured in the Australian Geographic journal. You can find more work by Will via his Instagram page and Facebook.

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The post How to photograph storms appeared first on Australian Geographic.

1. Location: Find an area with minimal light pollution, generally far from a big city.

2. Timing: The Milky Way is at its brightest around the time of the new Moon, during the middle of the year. Try an app or program such as Stellarium or Photopills to plan your shoot according to the position of the Milky Way on a particular day.

3. Weather: A clear night is best because there will be no clouds to obscure the stars.

4. Stability: Because the shutter of the camera will be open for a long time during the exposure, use a sturdy tripod and a shutter remote to avoid camera movement. The self-timer works too if you don’t own a shutter remote.

5. Lens: Wide-angle lenses are generally best because they allow for longer exposure times before star trailing can be seen. They also fit more of the sky in the frame.

6. Camera: Use manual mode to control shutter speeds and aperture.

Luke Tscharke‘s star-filled image of a Tor in Kosciuszko National Park was featured on our AG#126 cover.

7. Exposure time: If the shutter is open too long the stars start to become blurry due to the Earth’s movement. Begin with an exposure time of 30 seconds and reduce that if required until you get the best results.

8. ISO: Choose the maximum ISO value offering images with an acceptable level of noise. This is generally in the range of ISO 1600–3200.

9. Aperture: Choose the widest possible aperture (lowest F-stop value) to allow as much light to enter the camera as possible. This is generally between F/2.8 and F/4, depending on the lens.

10. Focus: Focusing can be difficult in the dark; essentially the focus should be set at infinity. This can be done by selecting ‘infinity’ on the focus scale of the lens, or sometimes focusing on the Moon or a bright object far in the distance. Trial and error may be required to get it right; don’t forget to review your images after they are captured to confirm they are in focus.

This originally appeared in AG#128.

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