Gaining access to the community was challenging, as the seacoalers were suspicious of cameras. However, Side Gallery had recently commissioned Ashington photographer Mik Critchlow, whose cousin Trevor Critchlow was a leading figure among the seacoalers. This connection helped establish trust, allowing Amber to embed themselves on-site for over two years. The collective purchased a caravan, initially used by Chris Killip for his photographic documentation before being taken over by the filmmakers. This immersive approach enabled the team to incorporate everyday life into the film, combining documentary footage, improvisation, and dramatised scenes. Special agreements with the actors' union Equity allowed Amber to work directly with seacoalers, preserving the film’s naturalistic approach.

Seacoal won the European Film Award in 1986 and marked the beginning of Amber’s long-term engagement with working-class communities. It also launched Amber’s lasting connection with the harness racing community, which led to later films such as Eden Valley (1995) and The Pursuit of Happiness (2008). Alongside the film, Mik Critchlow continued documenting the seacoalers, creating a broader photographic record of life in Lynemouth. Seacoal remains a key work in Amber’s social realist filmmaking, capturing a disappearing way of life with sensitivity and authenticity.