Terry Fitzgerald The Sultan of Speed at Sunset Beach, photographed by Peter Crawford. A moment of speed and control on the face of a Hawaiian wave.

Fitzgerald earned this famous nickname from surf journalist Phil Jarratt due to his explosive, high-speed lines, particularly at heavy point breaks like Jeffreys Bay and Hawaii's Sunset Beach.

Selected from the Peter Crawford Archive for the Reserve Collection and offered in limited editions. Available as an archival photographic print, in a white, black or Hayseed box frame, or mounted on aluminium with a resin finish. Mat options are available in selected sizes.

LIMITED TO 100 PRINTS OF EACH SIZE

Peter Crawford in a barrel at Dee Why. Selected from the Peter Crawford Archive for the Reserve Collection.

Selected from the Peter Crawford Archive for the Reserve Collection and offered in limited editions. Available as an archival photographic print, in a white, black or Hayseed box frame, or mounted on aluminium with a resin finish. Mat options are available in selected sizes.

LIMITED TO 100 PRINTS OF EACH SIZE

at the Banzai Pipeline on the North Shore of Oahu during the 1978/1979 winter.

This image was featured on the cover of JANUARY 1979, VOL. 20, NO. 1 SURFER MAGAZINE 20th Anniversary Issue

Jeff Crawford was a powerhouse goofyfooter from Melbourne, Florida. He made history as the first East Coast surfer to win the Pipeline Masters in 1974, breaking the dominance of Hawaiian heavyweights like Gerry Lopez. He was legendary for his fearless, deep tube-riding style at Pipe.

Hawaiian waves are by far the best culture for new learning experiences and the fine-tuning of surfboards. One wonders just how many more wondrous discoveries the Pipeline has left up her sleeve. One suspects many. Jeff Crawford. 1979

Selected from the Peter Crawford Archive for the Reserve Collection and offered in limited editions. Available as an archival photographic print, in a white, black or Hayseed box frame, or mounted on aluminium with a resin finish. Mat options are available in selected sizes.

LIMITED TO 100 PRINTS OF EACH SIZE

Golden light washes across the North Shore as surfers and photographers gather at the water’s edge. Boards, cameras and figures form a line of silhouettes against the ocean. Peter Crawford captures the shared ritual of watching the surf as the day draws to a close.

Because he shot during a transformative era on a manual Nikonos camera without modern autofocus, his golden-hour and twilight surf frames remain legendary.

Selected from the Peter Crawford Archive for the Reserve Collection and offered in limited editions. Available as an archival photographic print, in a white, black or Hayseed box frame, or mounted on aluminium with a resin finish. Mat options are available in selected sizes.

Peterson had just dominated surfing competition in Australia for three years from 1973 to 1975, but by the ’77 Stubbies his star seemed to be on the wane as a new generation of clean-cut professionals like Peter Townend, Shaun Tomson and Mark Richards strived to make pro surfing respectable. MP was surfing’s counterculture hero, the Dark Knight at odds with this new professionalism. But MP rallied for one last hurrah, dominating the ’77 Stubbies with his fierce competitive hunger and other- worldly skills. In front of a packed headland, he defeated Mark Richards in the final, before retreating into obscurity for many years.

Peter Crawford’s black-and-white photograph brings together the energy of the surfer, the texture of the water and the unmistakable presence of the coastline.

Selected from the Peter Crawford Archive for the Reserve Collection and offered in limited editions. Available as an archival photographic print, in a white, black or Hayseed box frame, or mounted on aluminium with a resin finish. Mat options are available in selected sizes.

Dee Why point (Micheal’s last surf) 1981

“In the early ‘70s Michael Peterson was turning harder and riding further back inside the curl than any other surfer competing in Australia.” —Nat Young from the book Nat’s Nat and that’s that. 

Peterson won virtually every major Australian surfing event between 1972 and 1977. This included three consecutive Bells Beach Easter Classics (1973–1975) and the inaugural 1977 Stubbies Pro at Burleigh Heads—a landmark event that introduced the modern man-on-man judging format.

Michael Peterson's session at Dee Why Point in 1981 holds a legendary, bittersweet place in Australian surfing folklore because it is widely considered the day he realised his era of dominance had come to an end. While out at the powerful right-hand reef break of Dee Why Point, he watched Sydney surfer Simon Anderson absolutely tear the waves apart on his newly invented three-fin "Thruster" surfboard

Selected from the Peter Crawford Archive for the Reserve Collection and offered in limited editions. Available as an archival photographic print, in a white, black or Hayseed box frame, or mounted on aluminium with a resin finish. Mat options are available in selected sizes.

A favourite sunset image from Peter Crawford’s archive.

The photograph is simple and atmospheric, led by light, colour and the feeling of a day closing over water.

Huntington Beach, California, 1984

Tom Carroll, Mike Newling and Simon Anderson photographed by Peter Crawford at Huntington in 1984.

The image gathers three figures inside the international surf scene of the eighties, a moment of people, place and professional surfing on the Californian coast.

1985

A composed people image from Peter Crawford’s 1985 archive.

Known in the file as “Beware Girls”, the photograph has a graphic quality, capturing attitude, scene and period detail in one sharp frame.

Turtle Bay, North Shore, Hawaii

A dusk image from Turtle Bay in Peter Crawford’s sunset archive.

The photograph holds the quiet colour of the North Shore at day’s end, with water, sky and fading light carrying the frame.

Indonesia

Children at sunset in an Indonesian image from Peter Crawford’s archive.

The photograph captures a softer human moment within the travel archive — play, light and coastline held together in the last colour of the day.

Rainbow Bay, Queensland, 1976

Rabbit “Bugs” Bartholomew photographed with locals at Rainbow Bay in 1976.

The Holden, the coast and the people around it give the image its period feel — a slice of Gold Coast surf culture from the middle of the seventies.

A sunset image from Peter Crawford’s archive.

Colour, atmosphere and open light give the photograph its pull, preserving a quiet moment from the edge of day.

Collaroy, New South Wales

A winter sun image from Collaroy in Peter Crawford’s archive.

Soft light and coastal atmosphere give the photograph its calm, holding a Northern Beaches moment at the edge of day.

Kuta, Bali, Indonesia, 1979

Children playing soccer at sunset in Kuta, photographed by Peter Crawford in 1979.

The image captures a gentle human scene within the travel archive — beach, play and warm evening light in late-seventies Bali.

North Shore, Hawaii

A North Shore sunset from Peter Crawford’s archive.

Filtered and atmospheric, the photograph keeps the warmth, colour and stillness of a Hawaiian evening.

Huntington Beach, California

Huntington Pier photographed by Peter Crawford.

A classic surf-location frame, filtered through Crawford’s eye for structure, light and the familiar icons of beach culture.

1970

A seventies petrol station scene from Peter Crawford’s archive.

Part road image, part cultural document, the photograph captures the in-between spaces of travel — the places passed through on the way to waves, towns and stories.

Bali, Indonesia

A Bali location image from Peter Crawford’s archive.

The photograph holds the texture of place — travel, coastline and atmosphere — from one of surfing’s most magnetic destinations.

Aussie Pipe

A surf location image from Peter Crawford’s archive.

Known in the file as “Aussie Pipe”, the photograph carries the force and shape of a serious wave, held as a full frame study of place and ocean energy.

Bells Beach, Victoria, 1983

An overview of Bells Beach photographed by Peter Crawford in 1983.

The image steps back from the action to show the shape of the place itself — cliffs, bowl and ocean — one of Australian surfing’s defining locations.

Waimea Bay, North Shore, Hawaii

A dusk image from Waimea Bay in Peter Crawford’s sunset archive.

The frame holds the quiet end of day on the North Shore, where colour, water and the scale of the bay carry the whole scene.

Japan

A city lights image from Peter Crawford’s travel archive.

The photograph shifts from the beach to the city, holding a night scene with colour, atmosphere and the same curiosity for place that runs through Crawford’s work.