For working magazine photographers, the cover of the magazine is the golden grail. It’s ultimately what the photographers all seek. 

Sean was lucky enough to get his start in photography during the 80s film age before digital took over and made everyone a potential documenter or photographer.

Back then, the only surf photographers were actual surf photographers. They all made a living by varying degrees of success by selling or licensing their imagery to magazines and advertisers. If your work was good back then, it led to success. If you lived for surf photography, you might have made it. You had to scrape through that period of uncertainty. There was a lot more passion in the business back then. The great majority of surf photographers started that way.

Sean used to think how cool it would have been to see the Free Ride sessions with Mark Richards and Shaun Thompson in the late 70s at Off The Wall. Back when they weren’t allowed to call it Off The Wall, because it was considered a secret spot.

So the magazines used to call it Kodak Reef, which was just a perfect name given the boom in surf photography coming out of that 100 or so yards of Hawaiian reef.

With publishing declining over the last several years, Sean has spent this time building a print business from all his archives of travel photography. He now runs a thriving art photography business. Sean prints art prints and canvas for collectors, worldwide and offers photographic services with own creative vision.

While a large majority of Sean’s collectors come from the USA and Australia, he still receives regular orders from all over the world including Germany, Russia, Italy, the UK, Japan, Brazil & New Zealand.

Sean has found that people gravitate towards the beauty of the sea, and it’s those same images that he’s strived to capture since the very first image that he took back in October 1977.

Read more about the life-changing experience that started his career here.

Today, you can find Sean printing his own nature canvas prints and tropical wall art right in his home studio. He’s able to scale up to really large “mural” sizes using exhibition canvas, premium papers, and archival inks from Epson while keeping its true museum quality that never fades or changes color.