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.

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.

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.

Pipeline, Hawaii, 1978

Rory Russell photographed by Peter Crawford at Pipeline in 1978.

A classic North Shore image from the late seventies, capturing the intensity and poise required at one of surfing’s most powerful breaks.

Pipeline, Hawaii, 1987

Marvin Foster photographed by Peter Crawford at Pipeline in 1987.

A North Shore image full of speed, edge and Hawaiian water, capturing one of the era’s powerful surfers in a defining place.

Pipeline, Hawaii, 1988

A Pipe Masters composition from Peter Crawford’s 1988 North Shore archive.

With the surfer still to be confirmed, the photograph holds the scale and theatre of Pipeline under contest pressure.

Pipeline, Hawaii, 1984

Joey Buran photographed by Peter Crawford at Pipeline during the 1984 Pipe Masters.

The image places Buran inside the intensity of the North Shore contest arena, where timing and nerve were everything.

Pipeline, Hawaii

Derek Ho photographed by Peter Crawford during the Pipe Masters era on the North Shore.

A composed Hawaiian surf image, holding the scale, danger and focus that made Pipeline one of competitive surfing’s great stages.

Backdoor, Hawaii, 1988

Derek Ho at Backdoor in 1988, photographed by Peter Crawford during a charged North Shore contest period.

The image captures the size and pressure of a heavy Hawaiian set, with Backdoor’s speed and angle giving the frame its force.

1984

Occy photographed by Peter Crawford in 1984, driving through a powerful top turn.

The image holds the raw force and instinctive timing that made his surfing feel so explosive through the eighties.

Off The Wall, Hawaii, 1978

Dane Kealoha at Off The Wall in 1978, photographed by Peter Crawford on the North Shore.

The photograph carries the speed, pressure and compact power of Hawaiian surfing at the end of the seventies.

Off The Wall, Hawaii, 1977

Dane Kealoha surfing Off The Wall in 1977, photographed by Peter Crawford on the North Shore.

Fast, low and committed, the image captures the tension and looseness that made Hawaiian surfing of the late seventies so influential.

Pipeline, Hawaii, 1981

Simon Anderson bottom turning at Pipeline in 1981, photographed by Peter Crawford during a pivotal period in performance surfing.

The image holds the compression and drive of a surfer setting his line beneath one of the North Shore’s most powerful waves.

Stubbies, 1977

Shaun Tomson photographed by Peter Crawford during the 1977 Stubbies era.

A tight water image from the early Stubbies period, the photograph captures the intensity of late-seventies contest surfing and the close physical presence of Crawford’s archive work.

Stubbies, 1978

Cheyne Horan photographed by Peter Crawford during the 1978 Stubbies era.

Captured in a driving water moment, the image carries the pressure and speed of late-seventies contest surfing — a raw full frame piece from the emerging professional surf scene.

Burleigh Heads, Queensland, 1978

Terry “Fitz” Fitzgerald photographed during the second Stubbies contest at Burleigh Heads in 1978.

A major figure in Australian surfing, Fitzgerald brought speed, precision and unmistakable style into the competitive arena.

This image places him inside one of the defining contest settings of the era — Burleigh, Stubbies and the growing theatre of professional surfing.

Associated with Stubbies, Rip Curl and HB, the photograph captures a key moment in the late-seventies Australian surf scene.

Sunset Beach, North Shore, Hawaii, 1975

Michael Peterson photographed from the water by Peter Crawford at Sunset Beach in 1975.

A defining Australian surfer in Hawaiian water, Peterson brought his own sharp, coiled style to one of the North Shore’s most powerful waves. This image holds the feeling of that period — raw ocean, heavy water and the quiet intensity of a surfer completely in rhythm with the line ahead.

A rare archival photograph from the golden era of seventies surfing.

Off The Wall, North Shore, Hawaii, 1975

Montgomery Ernest “Buttons” Kaluhiokalani surfing Off The Wall on the North Shore during one of the most electric periods in Hawaiian surfing.

Known simply as Buttons, he brought a kind of freedom and invention into surfing that felt completely his own — fast, loose, playful and radical. His surfing helped open up a new language of movement, especially in freesurfing, where style, risk and instinct could lead the way.

Photographed by Peter Crawford, this image captures Buttons riding without a leash, wearing Da Huey shorts and surfing an Ipa board from the early stinger era — a short-lived but influential design moment between the single-fin years and the rise of the twin fin.

A wild and beautiful archival image of one of surfing’s great natural talents.