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Life at the Seaside
Life at the Seaside
Dan Baker
April 24, 2026
Dan Baker spends his time in the seaside town of Cleethorpes and surrounding communities. This is where the Bright Dull Days, By the Sea and Summer of Distance series were created over a period of ten years, as part of an on-going project. He spoke with us about his fascination with beaches and life along the coast.
LFI: How do you go about capturing photographs of human interaction?
Dan Baker: I always work with different perspectives. Sometimes I’m more of a passive observer and I wait for chance compositions to arise. Other times, I’m actively involved at the heart of the action, hoping to capture the essence of the chaos. I also take candid portraits that I come across in everyday situations. Many of those moments are fleeting, so I have to react ad hoc.
How would you describe life along the coast?
There is something free about it, yet repetitive at the same time – I’m truly delighted by this interplay. The same routines are always repeated, defined by the weather, the seasons and the various generations of visitors, who all carry their own emotions. British seaside towns often bear very visible traces of the past, marked by the weather, which has altered the facades of the buildings – like a glamour that is both faded and resilient. Along the coast, you find a mixture of pleasure, endurance and nostalgia.
What is most important to you when taking pictures at the seaside?
I take lively and atmospheric photographs. Light, colours, distance and timing pay a big role in this regard. I want to produce images that convey a mood, inviting the viewer to linger a while longer in front of the picture. I want the photographs to feel visually thought through. Even when the framing is carefully composed, it should still retain the spontaneity and unpredictability of real life. For this, I draw on many sources of inspiration, but I often make reference to abstract expressionism – like in Helen Frankenthaler’s work. She worked with soft colour tones that blended into one another. In this manner, even an overflowing rubbish bin has potential as a motif – if you present it in the scene properly.
What equipment did you use?
I primarily photographed this project with a Leica M10, combined with fixed focal lengths, particularly a Summicron-M 35 f/2 Asph, which sharpens my own perspective and helps me work directly and intuitively. I appreciate the purity of the system, as well as the opportunity it gives me to remain close to the act of observation.
Eliza TrappLFI: How do you go about capturing photographs of human interaction?
Dan Baker: I always work with different perspectives. Sometimes I’m more of a passive observer and I wait for chance compositions to arise. Other times, I’m actively involved at the heart of the action, hoping to capture the essence of the chaos. I also take candid portraits that I come across in everyday situations. Many of those moments are fleeting, so I have to react ad hoc.
How would you describe life along the coast?
There is something free about it, yet repetitive at the same time – I’m truly delighted by this interplay. The same routines are always repeated, defined by the weather, the seasons and the various generations of visitors, who all carry their own emotions. British seaside towns often bear very visible traces of the past, marked by the weather, which has altered the facades of the buildings – like a glamour that is both faded and resilient. Along the coast, you find a mixture of pleasure, endurance and nostalgia.
What is most important to you when taking pictures at the seaside?
I take lively and atmospheric photographs. Light, colours, distance and timing pay a big role in this regard. I want to produce images that convey a mood, inviting the viewer to linger a while longer in front of the picture. I want the photographs to feel visually thought through. Even when the framing is carefully composed, it should still retain the spontaneity and unpredictability of real life. For this, I draw on many sources of inspiration, but I often make reference to abstract expressionism – like in Helen Frankenthaler’s work. She worked with soft colour tones that blended into one another. In this manner, even an overflowing rubbish bin has potential as a motif – if you present it in the scene properly.
What equipment did you use?
I primarily photographed this project with a Leica M10, combined with fixed focal lengths, particularly a Summicron-M 35 f/2 Asph, which sharpens my own perspective and helps me work directly and intuitively. I appreciate the purity of the system, as well as the opportunity it gives me to remain close to the act of observation.
ALL IMAGES ON THIS PAGE: © Dan Baker
EQUIPMENT: Leica M10, Summicron-M 35 f/2 Asph, Summilux-M 35 f/1.4 Asph, Elmarit-M 28 f/2.8 Asph
Dan Baker+-
The British photographer deals with atmospheres, memory and daily life along the coast. His long-term projects dedicated to coastal photography focus on the subtle rhythms of seaside towns in Britain, balancing nostalgia, calm and human presence. In addition to personal projects, he works professionally in commercial photography, bringing a strong sense for colours, light and visual tonality to both fields. He strives to create cinematic images that reflect reality. More
