Waimea Bay, North Shore, Hawaii, 1985

Tom Carroll and Aaron Chang photographed by Peter Crawford at Waimea in 1985.

The fisheye feel brings the viewer close to the scene, placing people, place and Hawaiian water inside one charged North Shore frame.

Pipeline, North Shore, Hawaii, 1975

"The Big Show", taken by Peter in the historic winter of 1975 at the Banzai Pipeline on Oahu's North Shore, Hawaii

This photograph captures the scale, tension and theatre of the North Shore when the raw power of the ocean becomes the central subject.

Pipeline, North Shore, Hawaii, 1982

Shirley Jones photographed by Peter Crawford at Pipeline in 1982.

The image brings together person and place, holding the raw North Shore setting and the human presence around one of surfing’s most recognisable waves.

A beach portrait from Peter Crawford’s archive.

The image records the people and atmosphere around surf culture, where the beach was as much a stage for style and character as the ocean itself.

Backdoor / Pipeline, North Shore, Hawaii

A North Shore lineup image from Peter Crawford’s archive, looking toward the Backdoor and Pipeline zone.

The tree house reference gives the photograph its sense of place — a view into one of surfing’s most watched stretches of reef.

A beach scene from Peter Crawford’s archive.

The image captures the slower human rhythm around the coast — not the wave itself, but the atmosphere, characters and small details that surround surf culture.

1985

A beach pageant scene from the 1985 OP Pro, photographed by Peter Crawford.

Part contest culture, part coastal theatre, the image records the broader world that surrounded professional surfing in the eighties.

Bells Beach, Victoria, 1977

Steve Jones, Terry Richardson and Keone Downing photographed by Peter Crawford at Bells in 1977.

The image sits inside the gathering energy of late-seventies professional surfing, where international surfers, local conditions and Australian contest culture were all pushing the scene forward.

Indonesia, 1999

An iconic Indonesian wreck image from Peter Crawford’s archive.

The photograph sits between travel document and art image, holding the raw texture of place and the strange beauty of a scene found on the edge of the surf world.

Duranbah, Queensland

Mark “Occy” Occhilupo photographed by Peter Crawford at Duranbah.

The image carries the speed and confidence that made Occy one of the defining surfers of his generation, set against one of the Gold Coast’s most familiar high-performance breaks.

Narrabeen, New South Wales, 1991

A dawn surf image from Peter Crawford’s archive, with a surfer and fish board set against early light.

The photograph holds a quieter edge of surf culture — before the day opens up, when the beach, board and first light carry the whole story.

Sumbawa, Indonesia

An Indonesian image from Peter Crawford’s artistic archive.

Filtered, textured and atmospheric, the photograph carries the feeling of travel through surf country, where landscape and light become part of the story.

Fiji

A warm Fiji sunset from Peter Crawford’s archive.

Simple, atmospheric and open, the image captures the colour and stillness of island light at the edge of day.

Fiji

A Fiji image from Peter Crawford’s artistic archive.

The frame carries the feeling of travel, water and island atmosphere, preserving a quiet moment from Crawford’s wider archive beyond surf action.

Fiji

A second Fiji sunset image from Peter Crawford’s archive.

The photograph holds the quiet drama of tropical light, with colour and atmosphere carrying the scene.

Australia, 1975

A kookaburra photographed by Peter Crawford in 1975.

Quiet, direct and full of character, the image shows Crawford’s instinct for moments beyond the surf — the small scenes and living details around the wider travelling life.

A rare ocean image from Peter Crawford’s artistic archive.

Whale shark feeders move through the frame with a sense of scale and mystery, carrying the same curiosity for water, wildlife and atmosphere that runs through Crawford’s broader work.

1984

Mark “Occy” Occhilupo in a double exposure from Peter Crawford’s archive.

The layered frame gives the image its energy, turning a surf photograph into something more graphic, restless and alive — a study of movement, repetition and eighties performance surfing.

An atmospheric image from Peter Crawford’s artistic archive.

Built around colour, texture and distortion, the photograph sits outside the straight surf-action frame and shows Crawford’s eye for abstraction and mood.

North Shore, Hawaii, 1976

Mark Richards’ Hawaiian quiver photographed at Jocko’s backyard on the North Shore, at Jock Sutherland’s mother’s home.

The image holds the quiet side of surf history — boards, place and preparation — with Lightning Bolt and MR Surfboards sitting inside the Hawaiian season that shaped so much of the era.

Bells Beach, Victoria, 1979

Mark Richards photographed from the water at Bells Beach in 1979.

The image captures MR in the period that would define his place in competitive surfing — fast, stylish and controlled across one of Australia’s most iconic waves.

1978

Louis Ferreira photographed by Peter Crawford in 1978.

With the location and break still to be confirmed, the photograph remains a strong archival surf image from the late-seventies performance era.

Off The Wall, Hawaii

Larry Bertlemann photographed by Peter Crawford at Off The Wall on the North Shore.

A compact Hawaiian surf image, holding the speed, looseness and low-centred style that helped change the visual language of performance surfing.