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DIMENSIONS: All prints are supplied in matts and backed. Dimensions listed below are the overall size of the matt. Image size: 28 x 42 cm.

<em><i>So cool...so stylish...so 1960s</em></i>
Bob McTavish, Noosa nose ride – 1966
Edition of 100 – 50 x 62 cm
Kodak Endura print
Unframed price – $330
 <em><i>Wayne Lynch's prodigious natural talent began to make its mark on Australian surfing in the mid-1960s with a seemingly effortless fluidity. Wayne was always the radical, consistently breaking new ground with his manoeuvres - with grace and an acute sensitivity to the breaking wave. "This period was one of exploration and experimentation in board design and lines drawn across the wave. I like the way I have lifted my arm to allow the lip to just be touching me without getting hit hard." Wayne Lynch </em></i>
Wayne Lynch at Margaret River – 1969
Edition of 100 – 50 x 62 cm
Kodak Endura print
Unframed price – $330
 Bob McTavish at Point Cartwright in Queensland. For a long time during the early 60s, the dominant aesthetic of surfing had been to pose (arching being a bonus) like one of the ancient Hawaiians – having a setting sun in the background was another plus. Nat Young and McTavish threw this nostalgia aside with an aggressive attack...few other pictures summed up their approach to 'complete involvement' better than this one.
Headless McTavish – 1966
Edition of 150 – 50 x 62 cm
Archival duotone litho print
Unframed price – $235
 The major surfing contests – like Bells and the Australian Championships – were also social events quite unlike any others in surfing. People gathered together who might not see one another again during the entire year. From the left: Kim McKenzie, Micha Mueller, Phyllis OíDonell, Nat Young, Judy Trim, Carol Watts and Alison Cheyne.
Nat and the girls – 1972
Edition of 150 – 50 x 62 cm
Archival duotone litho print
Unframed price – $235
 Nat and Bob McTavish took their short, radical and experimental V-bottom boards to Hawaii in the winter of 1967-68. The boards may have spun out at Sunset, but at Honolua Bay on Maui, "tracks were taken out of the curl in a way which had never been done before...going for blatent changes in direction, looking for the most intense areas of the wave, chasing the curl without too much thought for aesthetics". (Nat Young).
Nat at Honolua – 1967
Edition of 150 – 50 x 62 cm
Archival duotone litho print
Unframed price – $235
Tiny, glassy, late afternoon Main Beach. In the very first years that the Noosa area was surfed, probably no one knew it better, or surfed it better than Bob McTavish. The poise is perfect, the position of the left hand dance-like in its precision.
Bob McTavish at Main Beach, Noosa – 1966
Edition of 150 – 50 x 62 cm
Archival duotone litho print
Unframed price – $235
 Nat Young described Ti Tree as providing "a long-running consistent quality curl" that allowed him to further develop his style. In the mid-60s this included a considerable emphasis on nose-riding...and despite the fact that Nat's win at the World Championship in San Diego in 1966 served to discredit nose riding as the be-all and end-all of surfing, he was pretty useful at it.
Nat at Ti Tree – mid-1960s
Edition of 150 – 50 x 62 cm
Archival duotone litho print
Unframed price – $235
 Nat Young says that in the early 60s a good surfer was judged mainly on their bottom turn - "Midget had the best... Gopher's was 'king'". Bruce Channon describes this as "a wonderful photo of the North Avalon surfer, battling windy conditions, hauling his plank through a 180 degree turn, both arms held stylishly at head-height, shoulders rotated, hair flying".
Rodney Sumpter at Wategos – 1962
Edition of 150 – 50 x 62 cm
Archival duotone litho print
Unframed price – $235
 In his book <em>The History of Surfing</em>, Nat Young described this as the best day he had seen at Narrabeen. Fed on a diet of American magazines and movies, in the early 1960s, we were still unaware of how good waves in Australia were and how fortunate we were in having our remarkable coastline. Photographs of this day in April 1963 helped to convince us that we were doing pretty well.
Jim Fordham, Narrabeen – John Pennings photograph – 1963
Edition of 150 – 50 x 62 cm
Archival duotone litho print
Unframed price – $235
 Taken during the Australian Championships, this wonderful cutback on a far-from-wonderful wave was used on the original poster for Paul Witzig's pivotal 1960s surfing film <em>Evolution</em>. It's difficult to overemphasise the impact that Wayne made at that time...he WAS the wonderkid of the day...Curren and Slater and Tudor, all wrapped up in one. "That board felt as if it was truly on top of the water and not bogged down in the water. It was fast and had a sliding motion that allowed me to drift slightly through turns and surf far more vertically up the face of the wave." Wayne Lynch
Wayne Lynch cutback – John Pennings photograph – 1968
Edition of 150 – 50 x 62 cm
Archival duotone litho print
Unframed price – $235