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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

North Shore, Hawaii, 1978

A North Shore tree house image from Peter Crawford’s 1978 archive.

The photograph holds the feeling of place around the surf — the lookout, the coastline and the quiet architecture of a surfing life lived close to the water.

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.

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 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.

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.

Derek Hynd, sans contest vest, blown off him during a first wave wipeout, becomes the only surfer in pro contest history to successfully come through a pro heat minus requisite garb, if not in any heat at all - and in soul-black wetsuit at that. Also, the only time this day that a competitor has gone the Hail Mary deep Rincon gamble, about to pay off against the unsighted Dane Kealoha. It is also the only heat featuring both riders on guns. The wind has earlier swung from stormy Sou West to abating West to perfect due North in sculpting best ever conditions. Far off Point Addis has registered every wrapping set over eight hours. All day at this signal, surfers have stroked head down for the horizon. This particular afternoon has literally been the greatest show on Earth.

Out of shot, 1000 plus people stand behind the spectator in a superb act of photographic deception. The sun and the howling offshores have already combined for Simon Anderson's historic centre stage with light beginning to fade. Photog Crawford has already risked life in having been dropped into the lineup by helicopter, survived the experience, and is back on the clifftop for this last main event heat, yet the surfing isn't done. Not by a long shot. The cap comes from two complete surfers - Wayne Lynch via stunning hook under the lip and above the head of rookie Barton Lynch, and Terry Fitzgerald on an island gun with undoubtedly the greatest handful of soul arches ever likely to be seen. By way of grand climactic prelude the prior day, orchestrator Doug Warbrick had privately called this mega swell to just a handful of people at the bottom of an emptying Bells carpark. Most winning pros had left for the day in the assumption that a playful day of diminishing swell was all but gone.

NOT - QUITE. Doug's old secret contact, in the days of finger to the wind and chart at the ready, was 50 miles to the west as the crow flies - and at a lighthouse. He'd just spoken to Doug by phone, "The biggest lift in a sea that I've seen in all my days is bloody well in front of me". Every pro was about to be clobbered without a big wave gun in the arsenal - save Terry Fitzgerald's mob - literally blindsided in dark horror from midnight until incredulous 7 a.m. first light. Few slept right through - from the foundations of Torquay houses shaking.

Derek Hynd 2026

On the face of it, just the big kid in Kong holding court on the main drag. This Easter in Torquay, however, all the attention is running his way. He's the future of Australian surfing. In the looming generation beyond Horan and Carroll, Quiksilver, Rip Curl, and the entire Tracks and Surfing World readership know it.

At this point, notably being 18 months off Occhilupo's transition to Rusty boards,all that needs to unfold at Bells Bowl in the surf. In flash red and yellow neoprene 'leathers’, Kong proceeds to decimate solid Bowl in the greatest debut Australian surfing has thus far seen. Kong's method: low-line-to-high-line power.

Seen here; Kong, obviously; Hans Hedemann to his left; probably Clarke Jones on the roof; possibly Rory Russell driving; maybe Derham Tutton back to camera; chance it's Thornton Fallander through the window, sitting in a cafe, smiling.

Another example of PC's lens setting the stage for a fresh dimension. If Dane at Johanna was all about harmony, this one captures the stage setting for raucous behaviour. The Tour back then wasn't about ratings as much as it was about finding your own level on land.

Derek Hynd 2026

Dane Kealoha, Johanna Beach, Easter 1979, alone to pick a bank. Far from the madding crowd, PC captures the fastest, most frenetic, most fearsome pro on the surging I.P.S. Tour in peaceful symphonic wonder. The shot is primarily dated by the team jacket of the age - the exclusive Rip Curl satin disco blazer. Dark Blue or Maroon, not every team surfer got one, just as not every employee got one, but everyone wanted one. Looking back on the state of the industry, the period from '77 -'82 was pretty well open sky front and back despite primitive financial numbers. Strange perhaps, but despite international growth of core surfing outfits Rip Curl, O'Neill and Quiksilver, the jacket was a symbol of communal evolution before the profit crush - not hinged to cost or benefit. This photo shows the effect Peter Crawford had on every pro surfer, no matter the personality. When with PC, subjects mostly entered a fresh albeit finite dimension.

Derek Hynd 2026

Dorothy x Peter Pan

New Zealand

Peter’s fascination with exploring and travelling would always leave him to explore his creativity through the camera lens here Peter shows the use of fish eye to capture the way you use feeling cruising the countryside of New Zealand.

Printed on aluminium composite panel and finished with a hand-applied resin coating that enhances colour, depth and detail.

Produced in a limited edition and supplied with a certificate of authenticity.

Manly Beach, New South Wales, Sydney Australia

Just a utmost classic Peter Crawford signature stylish shooting capturing the moment for how it actually was Man sun baking with his Dunlop collies dick stickers, a.k.a. speedos basking in the sun notice only got half his body on the towel. The other half is like a lizard baking in the Australian hot sun.

Printed on aluminium composite panel and finished with a hand-applied resin coating that enhances colour, depth and detail.

Produced in a limited edition and supplied with a certificate of authenticity.