When Koala asks what colour is the sea, she gets so many different answers she decides to find out for herself.

An artist marooned on a remote island in the Arafura Sea contemplates his survival chances. He understands his desperate plight and the ocean’s unrelenting power. But what is its true colour? A beguiling young woman nurses a baby by a lake while hiding brutal scars. Uneasy descendants of a cannibal victim visit the Pacific island of their ancestor’s murder. A Caribbean cruise of elderly tourists faces life with wicked optimism. Witty, clever, ever touching and always inventive, the eleven stories in The True Colour of the Sea take us to many varied coasts: whether a tense Christmas holiday apartment overlooking the Indian Ocean or the shabby glamour of a Cuban resort hotel. Relationships might be frayed, savaged, regretted or celebrated, but here there is always the life-force of the ocean – seducing, threatening, inspiring. In The True Colour of the Sea, Robert Drewe – Australia’s master of the short story form – makes a gift of stories that tackle the big themes of life: love, loss, desire, family, ageing, humanity and the life of art.

Sea turtles, coral reef–dwelling fish, dolphins, and other marine creatures populate these full-page pictures. Lightly printed numbers corresponding to a key offer simple guides to perfect shading and realistic effects.

Children will swim with joy as they discover the rainbow of colors under the sea. Creatures of all sizes and colors entertain and educate the youngest of readers. This colorful board book with chunky die-cut tabs makes page turning easy. Rhyming text and colorful illustrations will engage children over and over again.

At the outset of an adventure filled with disaster and delight, Jack Aubrey and Stephen Maturin pursue a prize through the stormy seas and icebergs south of Cape Horn, where the hunters suddenly become the hunted.

Since the pioneering work of Clarke et a1. (1970) it has been known that chlorophyll a (or. more generally. pigments) contained in phytoplankton in near-surface waters produced systematic variations in the color of the ocean which could be observed from aircraft. As a direct result of this work. NASA developed the Coastal Zone Color Scanner (CZCS). which was launched on Nimbus-G (now Nimbus-7) in October 1978. (A short description of the CZCS is provided in Appendix I. ) Shortly before launch. at the IUCRM Colloquium on Passive Radiometry of the Ocean (June 1978). a working group on water color measurements was formed to assess water color remote sensing at that time. A report (Morel and Gordon. 1980) was prepared which summarized the state-of-the-art of the algorithms for atmospheric correction. and phytoplankton pigment and seston retrieval. and which included recommendations concerning the design of next generation sensors. The water color session of the COSPAR/SCOR/IUCRM Symposium 'Oceanography from Space' held in Venice (May 1980. i. e •• in the post-launch period) provided the opportunity for a reassessment of the state-of-the-art after having gained some experience in the analysis of the initial CZCS imagery. Such an assessment is the purpose of this review paper. which will begin with an outline of the basic physics of water color remote sensing and the fundamentals of atmospheric corrections. The present state of the constituent retrieval and atmospheric correction algorithms will then be critically assessed.