1975

Buzzy photographed by Peter Crawford in 1975, surfing without a leash.

The image carries the looseness and consequence of the period, when commitment, board control and instinct sat at the centre of the ride.

West Side Oahu, Hawaii

Dane Kealoha photographed by Peter Crawford on the west side of Oahu.

A strong compositional surf image, holding the rhythm of Hawaiian water and the confidence of one of the era’s most powerful surfers.

Sunset Beach, Hawaii, 1980s

A Hawaiian surf image from Peter Crawford’s late-eighties archive, capturing Kong at Sunset Beach on the North Shore.

Heavy water, clean positioning and the scale of Sunset give the photograph its weight, holding a classic moment from one of surfing’s defining arenas.

Surf Study 33

Snapper Rocks, Queensland

Mark Richards photographed by Peter Crawford at Snapper Rocks.

The image places one of Australian surfing’s defining figures at one of the Gold Coast’s most iconic waves, capturing speed, line and the clean geometry of performance surfing.

Hawaii

A full frame Hawaiian surf study from Peter Crawford’s archive.

With the surfer, break and year still to be confirmed, the image is held for its atmosphere, movement and place inside Crawford’s broader Hawaii archive.

Bali, Indonesia, 1999

Dave Smith photographed by Peter Crawford in Bali in 1999.

Peters fascination with getting the shot was prevalent up until he’s passing in 99 here. There was a boat, come a shore shipwrecked on the other side of Bali Peter had sussed out which swell and which angle the boat barge would connect perfectly with the swell. When peter had a vision he would create it this depicts his photography style capturing the moment in time

This photo went on to become the last ever paperback Tracks magazine and dads last cover shot before he’s passing on Christmas Eve 1999.

Shot on a nikonos 111 (borrowed from me )
Pared up with velvia 50 iso
Push processed 1 1/2
Shutter speed 500
Fstop 5.6

Sunset Beach, Hawaii

An unknown surfer at Sunset, photographed by Peter Crawford.

The image holds the scale and force of Hawaiian water, with the surfer placed deep inside a large, open face — a powerful full frame image from the archive.

Hawaii

A full frame Hawaiian surf study from Peter Crawford

The surfer, break and year are still to be confirmed, leaving the image as an open archive piece shaped by water, movement and the feeling of the North Pacific.

Composition Sunset, 1987

A composed surf image from Peter Crawford’s 1987 archive.

The photograph balances line, water and space, showing Crawford’s eye for structure as much as action — a quieter full frame study from the late-eighties surf archive.

Sunset Beach, Hawaii

Tom Carroll photographed from above at Sunset Beach, captured by Peter Crawford from a helicopter aerial perspective.

The image gives the wave, surfer and line a rare sense of scale — a full frame view of Hawaiian water and one of Australian surfing’s most recognisable names.

Mystery Bolt, 1989

An unidentified surf image from Peter Crawford’s 1989 archive.

The surfer, location and board details are still to be confirmed, giving this full frame piece the feeling of a true archive mystery — a sharp moment held in motion.

Hawaii, 1989

Paul Burnett photographed by Peter Crawford in Hawaii in 1989.

A full frame surf image from the late-eighties archive, carrying the scale, speed and atmosphere of Hawaiian water.

Banzai Pipeline, Hawaii, 1976

An unknown surfer at Banzai Pipeline, photographed by Peter Crawford in 1976.

The image captures the raw power and precision of Pipeline during the seventies — heavy water, tight timing and the kind of commitment that defined North Shore surfing.

Russell L, Surf Study

A full frame surf study from Peter Crawford’s archive.

Bruce Raymond, 1976

Bruce Raymond photographed by Peter Crawford in 1976, during a sharp and influential period in Australian performance surfing.

With the location and break still to be confirmed, the image remains a strong archival study of speed, line and control from the seventies surf era.

Pipeline, Hawaii

A full frame Pipeline image from Peter Crawford’s Hawaiian surf archive.

With the surfer and year still to be confirmed, the photograph holds the classic intensity of North Shore water — compressed, powerful and close to the edge.

Indonesia, 1989

A full frame surf image from Peter Crawford’s late-eighties archive, captured in Indonesia during a period when the region was becoming central to modern surf imagination.

Sunset Beach, Hawaii

A powerful Sunset Beach surf image from Peter Crawford’s archive.

The photograph captures the weight and scale of Hawaiian water, with the surfer held against one of the North Shore’s most enduring and demanding waves.

North Shore, Oahu, Hawaii, 1970s

A powerful North Shore tube riding image from Peter Crawford’s 1970s archive.

This photograph holds a moment between old-style positioning and a more modern approach to tube riding — low, committed and moving with the speed of the wave rather than against it.

With the surfer and exact break still to be confirmed, the image remains a strong study of line, timing and Hawaiian water during one of surfing’s most influential decades.

Dane Kealoha sails over a 1981 boomer far outside to check the wave of battler Gabe Callaghan's life. Photog Crawford pulls focus with a Century 650. Bells Beach, Victoria

1981

The 1981 Easter Swell at Bells Beach, famously known as "Big Saturday," is regarded as the most iconic day in the history of the Rip Curl Pro. Occurring on Easter Saturday, April 18, 1981, the event featured massive, clean waves generated by an intense low-pressure system in the Southern Ocean. The swell was so significant that it shook nearby Torquay and Jan Juc, with spectators hearing the "dull booms" of the waves before seeing them. Gabe Callaghan rode a particularly memorable wave that started at Bells, passed "the Button," and continued down into Winki. The wave was captured on video and became part of surf lore, often referenced in discussions of epic Bells Beach sessions. While the famous "Big Saturday" swell provided huge 15-to-20-foot waves for the early rounds, the final itself was contested two days later in significantly smaller surf, around 2 to 3 feet, at the Rincon section of the break.

Big Saturday is often cited as the largest clean swell during a professional contest at Bells Beach, surpassing previous records set in 1965. Local lore suggests that "when Easter is late, Bells gets big," a prophecy fulfilled in 1981 when Easter fell in mid-April. The day is remembered not just for the wave height but for the perfect alignment of wind and swell direction, creating long, rideable walls of water. Footage from the day, including the documentary Wizards of the Water, remains a primary reference for big-wave surfing at the location.

D. Hynd - caption / Amac - text 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

Aussie pipe a.k.a. Black rock 1981
South Coast New South Wales
Australia

Aussie pipe was the perfect location for Crew looking for a fun slabbing left hander hugging Into The Huskisson Bay for Sydney crew a 2 1/2 three hour drive in a short walk Into it perfect set up

Picking up all is well from the south and being sheltered from the north-easters. It was a perfect getaway for the manic wave hungry surfers.

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.