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Issue 1 of Bish Bash Bosh features  Simon Bedak's unique personal use photos known as "The Utzons" (25 pages)

Issue 2 of Bish Bash Bosh features a short story and  Bedak's view of Sydney through the eyes of the Ancient Greek Goddesses of vengeance "The Furies" (15 pages)

Issue 3 of Bish Bash Bosh shares some of the most iconic of all Simon Bedak photographs (21 pages)

Issue 4 of Bish Bash Bosh contains the weirdness of the Bedak imagination as the Archibald fountain's Goddess and Gods are violently brought to life in their touristy pond (21 pages)

Issue 5 of Bish Bash Bosh captures Bedak's search for a softer "Skagen-Denmark" light in a naval and pie-eating corner of the Australian continent (16 pages) 

Issue 6 of Bish Bash Bosh contains  images from the place Bedak considers one of the finest places to both take photos and catch a train anywhere in the world, Circular Quay Railway Station (19 pages)

Bish Bash Bosh Issue 7 is what can happen when Bedak goes for an early morning Bondi swim, but hears Cypiren Katsaris perform Liszt's transcription of Beethoven en route and becomes enamoured with a shoreline chunk of sandstone  (21 pages)

Issue 8 of Bish Bash Bosh incorporates some of the most inspired personal photographs taken from Mrs Macquarie's Chair  as Bedak chases what he calls "Saccades" straight into the sun.  (53 pages)

Bish Bash Bosh Issue 9 touches on the thoughts of Herodotus and the differences between times of war and peace and the funeral arrangementss,  images taken at Sydney's Anzac Memorial located in Hyde Park (13 pages)

Issue 10 of Bish Bash Bosh emerges from the incense and stale beer stench alley-ways of 1982 as at 15 year old Simon takes his School's camera out for a spin just before he ditches school to become an unemployable surf photographer (14 pages)

In Issue 11 of Bish Bash Bosh, Bedak shares informal studies of foreground and background subjects, beginning with a small piece of driftwood before attempting to crack open the heavens using just a camera (21 pages)

Issue 12 of Bish Bash Bosh gives centre-stage to an area of Sydney as Bedak re-visits where he used to live in Redfern on the day his father died, befriending Clarence, an angel of kindness disguised as a busker (20 pages)

Issue 13 of Bish Bash Bosh reveals Bedak inventing a new word that's far to long to remember in order to describe the effects of the chicken scratching light-paintings obtained near a favourite ocean pool (15 pages)

Issue 14 of Bish Bash Bosh comprises photographs of Max Eulo at age 86 conducting a smoking ceremony in the centre of Sydney (15 pages)

In Issue 15 of Bish Bash Bosh, Bedak declares that William Dobell is the master of tint of the titanium and zinc white light, attempting to capture the ocean with the delicacy of one of his heroes (28 pages)

Bish Bash Bosh Issue 16 is proof that the Sydney Mardi Gras is inclusive of all. Even though Bedak was born on Oxford Street, he was never drunk enough to ever think that he could dance up it when very sober behind the RFS Mardi Gras float. Unfortunately for the audience, he was right.  (21 pages) 

Issue 17 of Bish Bash Bosh shows Bedak discovering that ironically, there is a spectacular darkness surrounding the most iconic lighthouse in Sydney.  (15 pages)

Bish Bash Bosh Issue 18 provides a short story and unique light-painting using fire as the brush, from a bonfire a year in the planning (18 pages)

Bish Bash Bosh Issue 19 also provides a short story that explains Bedak's  first attraction to light, photons, ophthalmology textbooks, black-holes and creating images using Euler's God formula (36 pages)