Dee Why Point, 1989

Shane Herring at Dee Why Point, photographed by Peter Crawford during the rise of one of Australian surfing’s most electric young talents.

At the time, Herring was being spoken about as one of the best surfers in the world. This image captures him with the speed, instinct and looseness that made him one of the most talked-about surfers of his generation.

Burleigh Point, Queensland, 1978

Rabbit Bartholomew on a roll at Burleigh, winning the Stubbies Surf Classic in the same year he claimed his first world title.

The Stubbies was more than a surf contest. It helped reshape professional surfing, bringing the man-on-man format into the spotlight and turning Burleigh into a natural arena for a new kind of competitive drama.

Captured from the water by Peter Crawford on Kodachrome 64 film using a Nikonos underwater camera, this close-up holds the speed, pressure and theatre of the moment.

Rabbit is pictured during the era of Stubbies shorts, Quiksilver, single fins and the emerging professionalism of Australian surfing.

Angourie Point, 1976

Angourie Point, New South Wales, 1976

Angourie was the centre of Country Soul in the seventies — a place where surfing, board design and coastal life all seemed to move together.

Captured by Peter Crawford in 1976, this photograph holds the feeling of the era: clean lines, open water and the raw beauty of the North Coast before it became widely known.

The board is associated with Wilderness Surfboards, shaped by Wayne Williams, linking the image back to the local surfboard culture that helped define Angourie’s place in Australian surfing history.

Mark Richards, Bells Beach

Bells Beach, Victoria, 1983

Four-time World Champion Mark Richards skims across the Bells bowl in the twilight of his professional career.

By 1983, Richards had already shaped the direction of competitive surfing. His twin-fin surfing defined an era — fast, loose and unmistakably stylish — while the early 1980s marked a major change in board design and performance surfing.

Captured from the water by Peter Crawford on Kodachrome 64 film using a Nikonos underwater camera, this photograph holds the speed and movement of Bells with remarkable clarity. Working with limited frames, moving water and manual focus, Crawford had to pan with the surfer to freeze the motion.

MR is pictured riding under his own MR Surfboards label, wearing a Victory wetsuit — two names closely tied to this period of Australian surf culture.

A powerful archival image from a defining moment in modern surfing.

Bells carpark, Victoria
Easter 1981

The inimitable Jack McCoy, circa Easter 1981, post-Tubular Swells and pre
his great 25-year body of work. Due to the 1970 Bells/Johanna World
Championships and the cultural melting pot they created, Jack, as the Hawaiian team’s first alternate, was so captivated by the country that henceforth Australia was home.

Derek Hynd 2026

Cheyne Horan. Easter free surf
West of Bells, Victoria
1983

Cheyne Horan in period colour and board to suit on the groundbreaking
Lexcen/McCoy winged keel design. Whilst critics doubted the validity this
particular Easter with results slipping, next year on a Lexcen/Fitzgerald
winged keel he won the Bell. PC had a unique rapport with everyone. He
could shape-shift to fit a subject’s personality. Notable is Cheyne's
commitment to design evolution, no matter the ramifications, in a highly
subjective sport. Once again, there’s PC striking a photojournalistic balance.
Particularly in the tight space behind PC’s lens, the better the subject, the
better the result. PC could place himself six inches from the best surfers in
the world, pull focus, get the shot, and not be in the way.

Derek Hynd 2026

Wheeler pde (home) 1981
DeeWhy NSW
Australia

PC with array of his slab kneeboards Peter was fanatical about Fin placement and design Peter Patent the long Fin box and had the tri set up before anyone hence why Simon tested his first 3 fin thruster surfboard out Dee Why point. Dee Why point and Peter Crawford went hand-in-hand his technique his style and his approach to The Wave was phenomenal

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.

Pc n his flextail crozier

Little Avalon a.k.a. LA northern Beaches,
New South Wales
Australia

"I'd say pic was taken 1977..given Chris' logo and the fact the board is a single fin (Tri fins were more 79-80). Board is a classic PC SLAB. 5'6" x 22" wide with a 13" half round tail and PC 14" fin box. Blank would be a Farrelly (Peter only ever surfed Midgets foam) Oh yeah and it’s a flextail. 
Shaped by Chris, glassed by Paul Connors (Horse) Bassett Street Mona Vale 🙏." - Brett Hart.

Peter Crawford and Chris Crozier‘s symmetry at creating phenomenal knee boards and pushing the upmost limits in design during this period is something that is still regarded to this day as revolutionary for slab style waves like dee why point 5’6”21”2 ½ flew step flex tail super low rails Peter Crawford signature fin box n fin Zoom zoom

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.

Peter “PT” Townsend - Soularch bottom turn

1976-77 Hawaii

Peter Townsend apart of the notorious crew “ the bronze Aussies” became the Number One contest surfer in the world in 1976-77 with his amazing consistency saw him top the International Professional Surfers points rat-ings. Showcasing a classic dynamic soularch bottom turn demonstrating why he was the best in the world ! N styling too!

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.

"Mr. George Greenough, filming for his revolutionary movie The Innermost Limits of Pure Fun. Here, George is riding his famous Fourth Gear Flyer surf mat while handling his heavily modified 16mm Bolex movie camera inside a homemade water housing — the very setup he used to capture this iconic footage."

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.