Dijkstra worked on a number of portraits of young bathers, known as the Beaches series, between 1992 and 1996, and then again in 1998. Each time, she chose a similar location and set her camera at a relatively low viewpoint before inviting her subjects to pose. Dijkstra demands the same degree of concentration from her sitters as she has herself in preparing the shot. As a result, her images are filled with psychological intensity. Each bather seems to scrutinise the camera, as they, in turn, are scrutinised by it.